The Best Of Phish – 2013 – Part I

1376985_10151642180686290_587081184_nOn 31 December 2012 Phish opened their final show of the year with a cover of Ricky Nelson’s 1972 hit “Garden Party.” A song Nelson had originally written after being booed off that same Madison Square Garden stage during the 1971 Rock ‘n Roll Revival Show, it was a fitting nod to the place Phish found themselves in both musically, artistically, and personally at the onset of their 30th year. Highlighted by the line, “You can’t please everyone, so you’ve got to please yourself,” the song would not only serve as a tongue-in-cheek jab at some of the more impatient members of Phish’s sprawling fan base, but would become something of a rallying cry for the band as they embarked upon their 30th year together as a collective unit.

Throughout 2013, the message of “Garden Party” felt ever-present, as the band sought to craft a six-month-long celebration of everything that had come to define Phish since 1983. In the summer, they emerged from hibernation with an overtly old school, foundational-setting run of shows from 07/03 – 07/21. Beaming with confidence, they went on to poke fun at their more obsessive fans in Chicago’s, ‘Poster Nutbag, the right way’“Harpua,” before crafting one of their seminal pieces of extended improve in the “Tahoe Tweezer” just ten days later. Friday night at Dick’s was once again devoted to gimmickry, this time as the band informed us that Most Shows Spell Something (Backwards). The Fall Tour that followed was a non-stop dance party with a signature throwback feel. And on Halloween the band debuted their new album – tentatively titled Wingsuit – in a move that has had the entire Phish community buzzing with thoughts and analysis ever since. Closing out the year with one more celebratory gag, Phish played an entirely coverless NYE Run, honoring the songs that had brought them so much acclaim throughout the years. Without question, 2013 was defined in large part by Phish’s desire to “please themselves” – without any regrets – in commemoration of everything they’d built (and rebuilt) since their college days.

What’s more though, was how “Garden Party” worked as a premonition for a band seeking to do more than simply garnish their 30th year with a nostalgic hue. Rather, 2013 saw Phish acutely pivot towards the next phase of their career. For, as much as 2013 was indeed about celebrating the essence of Phish – and their legacy – it was in many ways, more so about what’s next for a band that has systematically rebuilt itself from near-death, and now, at the onset of their 31st year, is in the midst of their most substantial peak period since the halcyon days of 1993-1998.

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Let’s pause for a moment, and take a step back to July 2010. At that point Phish had been back together for 17 months. Throughout they’d compiled four 10-15 show tours, alongside three, smaller, holiday-based/reunion runs. There’d been nights where they’d felt like Phish again. Nights where everything clicked: where they told jokes, where they pulled oft-forgotten songs out of nowhere, where their setlists flowed with precision, determination, and ease, and where they hooked up for extended pieces of forward-thinking, emotive, and ultimately revealing improv. But for all of the positivity that surrounded the 70 shows that had thus far made up Phish 3.0, there was a prevailing fear throughout much of their fan base that, perhaps, the band simply didn’t have it anymore. Too often they’d follow a breakthrough show with a run of unfocused and disconnected duds. Too many jams either followed a strict formula of assaulting rock -> rhythmic breakdown -> ambient fade, or would be cut off prematurely by Trey’s insistence on keeping the show moving. Too many shows featured a band that, simply put, appeared a shell of its former self. During the month-long break in Summer 2010, many openly wondered what would become of Phish 3.0?

Would they follow the same trajectory of their haunting and ultimately unsustainable 2.0 era; fading unfulfilled, full of regret, bemused with far more questions than answers?

Had Phish become (gasp) a nostalgia act?

Could they reestablish the unspoken communication that had led them to so many musical and artistic heights throughout their heyday?

Would they ever again evolve with the kind of abstract precision and focused experimentation that saw them transform from a psychedelically-infused speed-jazz quartet in 1993 to a spacious, patient, rhythmic juggernaut just five years later?

Could they do it again?

From the vantage point of January 2014 we know what happened. Barring a few setbacks along the way – parts of June 2011 and NYE 2011, most notably – when Phish reemerged for the second leg of their 2010 Summer Tour, they were a fundamentally different band. Since then they’ve been on a consistent upward trajectory, evolving with patient determination, overcoming many of the challenges set in front of them in 2009, and undoubtably blowing away even the headiest expectations any of us could have had for them when they announced their reunion back on 1 October 2008.

Beginning in earnest with the infusion of Trey’s Ocedoc – a move that systematically rounded-out his tone, resulting in him taking a more deliberate approach to building simple melodic lines, while also focusing more on rhythm – Phish has evolved with stunning speed over these past four years. Stylistically morphing – from the melodic jams of late-2010 to August 2011’s dive into the storage shed, to the cubist approach of 2012 – and further deepening their communication, they have consistently driven forward from the moment the Greek “Cities” dropped into its infectious whole-band groove-jam. A reflection of their own musical maturity and craftsmanship – and also the experience they’d gained from 25-years of friendship and collaboration – from August 2010 onwards, each tour has provided crucial reference points to Phish’s current peak. Be it the improvisational boon of August 2010; the self-referential gimmickry and humor of Fall 2010; June 2011’s experimentation & embrace of potential failure over conservatism; “The Storage Jam” and the darkness that engulfed many of their subsequent jams throughout August and September 2011; the 200-song challenge of June 2012; the fully-realized, multi-layered jams of August 2012; or the masterful run of creativity and exploration that was Dick’s and MSG 2012; there’s no denying the fact that following their initial – and necessary – 18-month rebuilding project, the Phish of late-2010-2013 in many ways mirrors the same band that rose from irrelevancy in the early-1990’s to become one of the largest, and most influential, creative forces in the country.

The only difference now: they are clearly wizened by their years. Trials & errors, fights, audits, drugs, failures, fuck-ups, youthful bliss, et al, behind them, the Phish of today is both healthy, happy, and inspired. Whereas in 2009 many wondered if such a “family-friendly” version Phish could muster up the kind of psychedelic expansionism and unadulterated experimentation that had drawn so many to them in the first place, it’s clear now that this version of Phish may not only match the creative ingenuity of their initial peak, but could in fact surpass their former selves in both musical discovery, and artistic sustainability.

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All of which brings us to 2013.

Beginning the year with a three-week foundational setting period, Phish toured the East Coast, fairing off torrential rains, all the while focusing on a tight rotation of songs which emphasized the original artistic statements of their career. Determined to perfect the whole-show-craftsmanship that had reemerged in Fall 2010, Phish used their first night at SPAC to send a message that 2013 would be more about patiently crafting complete shows rather than simply expanding upon big jams. Resulting in thematic concert experiences, the tour required noticeably more patience, reflection, and insight from their fans than the overtly jam-heavy August 2011, or bustout-driven June 2012 tours had. From 07/10’s “Maria” set, to 07/12’s “practicing safe music,” to Merriweather Post’s old-school affair, to 07/16’s “Heartbreaker” set to the existential masterpiece of 07/21’s second set, this first leg of the tour saw the band further advance their artistic intentions, while still infusing more than enough highlights to satisfy everyone in their fan base.

Following a five-day break, they reemerged at the Gorge intent on celebrating every aspect of their musical past, while systematically using each previous peak as a building block towards their next era. The rain behind them, comfortable enough to expand upond the strict rotation that had marked their entire East Coast run, rarities returned, jams popped, and the band played with an ease that could only result from the kind of foundational setting they’d initiated. From 07/26’s explosion of howlin’ energy, to 07/27’s album-like fluidity, to 07/30’s dance-party, to the methodical brilliance of the Tahoe “Tweezer,” to 08/02 and 08/04’s schizophrenic mind-fuck, by summer’s end Phish left no doubt in anyone’s mind that they’d not only coursed out their 30th year exactly as they’d intended to, but that they knew the “right way” forward for their creative evolution.

At Dick’s they keyed us in once more to their goals for the year by noting on 08/30 that “Most Shows Spell Something.” That they unveiled the gag backwards only lent itself more to their playful spirit and the multitude of angles with which one could approach understanding their music.

And then, as with 2010, Phish scheduled a two-week Fall Tour through some of the most historic – and smallest – venues within their home base of the Northeast. Needing no time to reacquire their bearings, it was clear from the jubilant jam that emerged from “Carini” on the tour’s opening night, that Phish had, once again, reached yet another level of unspoken communication and refined musicianship. Be it jams – “Carini,” “Ghost,” “Tweezer,” “Golden Age,” “Down With Disease,” “Twenty Years Later,” “Drowned,” “Light,” “Twist,” each built into fully-formed, innovative, and memorable excursions – or shows – 10/20, 10/23, 10/25, 10/26, 10/27, and 11/01 are some of the strongest complete shows the band has played since the 90’s – the band was completely locked-in throughout the Fall, and consistently able to tap into an vast wealth of creativity. At times one wished the band would simply have an off night to give fans re-listening, and avidly discussing, a chance to catch-up and breathe.

On Halloween the band once again repelled against expectations. Whereas traditionally they’d used the holiday to don a musical costume of one of their forbearers, here, in their 30th year, they instead used the moment to debut 12 new originals. Loosely dubbed Wingsuit, the second set of 10/31 represented yet another leap forward for this 3.0 incarnation of Phish. Like the Greek Run in 2010, the Storage Jam, and FUCK YOUR FACE before it, Wingsuit is a clear break between one era and another. Cultivated from various jams over the past two years, and containing some of the most advanced and deeply personal lyrics of the band’s career, the songs – and the symbolic nature behind their unveiling – provide the band with the necessary material and inspiration to enter the next phase of their remarkable career.

Closing out the year, once again, with four shows at Madison Square Garden in New York City the band honored their 30th Anniversary by focusing on the singular element that birthed their existence: their songs. Opting to only play originals, the four shows took on much of the same vibe that had marked the entire year. Nostalgically rich, yet full of forward-thinking jams in “Steam,” “Down With Disease -> Carini,” “Chalk Dust Torture,” and “Light,” the 2013 NYE Run both celebrated everything that has made Phish such a unique force in modern pop culture, and pointed the way towards their next thirty years.

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As with 2009 (Part I & Part II), 2010, 2011, & 2012 I’ve assembled a list of ten shows and jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. These are not simply shows/jams 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are assembled chronologically, thus reserving the title “Best Ever” as a subjective accolade. Hope everyone had a wonderful holiday season! Happy New Year! Can’t wait to see what 2014 brings to the world of Phish!

The Best Of Phish 2013

Honorable Jams

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“Down With Disease -> 2001” – Toronto, ON – 07/22/2013

After kicking off the summer with three fairly contained versions of one of their most cherished Set II Openers, Phish finally broke through in Toronto with a jam that built off of their pivotal second set on 07/21,  thus pointing the way westward. Featuring patiently built melodic and rhythmic riffs from Trey throughout, the jam ultimately settled on a remarkably pleasant platitude, which felt entirely composed. A direct prelude to jams like the 10/23 “Twist,” 10/26 “Drowned,” 10/27 “Tweezer,” and 11/01 “Twist,” this “DWD” is not only one of the key, foundational jams of 2013, but it is also the kind of jam one could listen to on repeat without ever growing tired.

In short, this is simply one of the most enjoyable, and pleasing jams of the entire year. A section of wholly deliberate, rising melodic playing followed the Trey/Page melodic peak, ultimately giving way to a full-on tease of “Sea Of Love” from The National. Further proof of how much musical insight Trey has gained from his time spent listening to – and playing with – those in the indie rock world. Building towards a truly patient segue into “2001” rounded off one of the most subtly diverse jams of the year, one that clearly helped to initiate the band’s massive peak over the next four months. While this jam has become significantly overshadowed in the past four months, its influence on the stylistic evolution of 2013 cannot go unnoticed.

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“Harry Hood” – Hollywood, CA – 08/05/2013

There’s that moment in every single jam where everyone – band and audience alike – collectively realizes we’re suddenly in wide open, untapped, and unknown terrain. It may come via a reliable Set II opening vehicle, or in a totally unexpected song/slot in the show. Wherever and whenever it comes, the moment is ultimately defined by an immediate percolating of the senses, and a rush of euphoria, as the stakes of a show suddenly take upon unknown – in many ways, indefinable – potential. This moment is, for many, the entire reason why we see Phish. When that moment happens to come in a song steeped in as much historical lore as “Harry Hood” is, however, it raises a show to an entirely different level of excitement, sentiment, and lasting resonance.

While it’s clear here that Trey’s dedicating much of his energy to painting a backdrop of sound throughout the initial post-“Thank you, Mr. Hood…” section, we’re essentially still in typical “Hood-ville” until 9:37. From that point on, however, the jam enters completely unknown territory like it hadn’t since 07/31/03. A rock-based jam ensues, sounding in many ways like a leftover from the previous night’s “Runaway Jim,” before building into a full-on call-and-respond woo segment. Then, when it seems as though the band could momentarily snake back into “Hood,” they instead move into a more rhythmically-oriented realm, crafting a mosaic, where one member’s leads are effortlessly supplanted by another’s. Ambient-based jamming enters the fray, and suddenly the jam has become blissful. Abstract-cubism is the order, and, for a while, between 15ish and 17ish minutes, it feels as though we’re back in Dick’s 2012. Connecting on a dreamlike, plinko-esque jam that sounds like the denouement of a soon-to-be-unfinished jam, Trey plucks the “Hood” theme out of thin air, and the band rebuilds back to a subdued peak.

A creative palette of themes and varying musical passages, this jam harkened back to the band’s most prolific exploration within “Hood” from 07/25/03. A clear statement to the band’s M.O. moving forward in 2013, this “Harry Hood” opened the doors even further to what was possible in the coming Fall, here, coming on the last night of Summer Tour proper.

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“Carini” – Hampton, VA – 10/18/2013

On the opening night of Fall Tour, in the midst of a risky & self-conscious show, in their first performance back in the mothership since their reunion weekend in March 2009, “Carini” emerged mid-way through the second set and ultimately set the course of the entire tour. Rooted in the kind of bluesy, melodic, and celebratory rhythmic jams that had defined the best parts of the summer, what separated this “Carini” from the jams that had preceded it, was how simple and how overtly groove-oriented it was.

A bulbous and infectious dive into a rock-based, dance foray, this was the kind of jamming that would ultimately define Phish’s two-week Fall Tour. A fusion between the sparse, rhythmic jams of their 1997 peak with the rootsy, rock-oriented jamming that emerged in 2009 and 2010, further shaped by the cubist approach of 2012, and finished with the celebratory rhythmic style of the summer, this “Carini” felt like an ode to the nostalgically-rich, yet forward-thinking engine that was Phish 2013. Fading into their 3.0 hymnal, “Backwards Down The Number Line” was an entirely appropriate move for a band that had just shouted from the mountaintop their intentions for the proceeding Fall Tour.

The Top Ten Jams Of 2013

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“Split Open & Melt” – Saratoga Springs, NY – 07/06/2013

Wow. What a statement. What a glorified mess. A conscious experimental push into the unknown as anything heard from Phish 3.0. This jam covers so much terrain in its 18-minutes, it’s really quite exhausting.

Abstract, gorgeous, uneven, risqué, unpolished, raw, emotive, completely human; an absolute pure example of a band seeking out the elusive hook-up. It’s also perhaps the loosest, and unfocused Phish has allowed itself to be throughout the past five years.

For every jam that has either foreshadowed or reflected the various thematic terrains of 2013, there’s really no other jam produced this year that sounds anything like this “Split Open & Melt.” This might be the most important pre-Tahoe “Tweezer” jam played in the entire summer. One just has to hear the vocal inflection and laugh from Page at the end when he says, “We’ll be right back…” following their sloppy re-entry to “Melt” to understand how unexpectedly deep the band went, and how gloriously lost they became. If any jam in 2013 could symbolize a much-needed trust-fall for Phish, it’s this. Just, wow.

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“Carini -> Architect” – Saratoga Springs, NY – 07/06/2013

The first of four versions for Señor Lumpy Head on this list, this one pops immediately with an incredibly focused, highly expansive, delicate, interwoven and intricate piece of music that has continually resided in the upper echelons of Phish’s 2013 output since the moment it concluded. Reminiscent of the 08/31/12 “Undermind” and “Chalk Dust,” this is one of those democratic/full-band conversations we’ve now come to expect in 2012-2013 Phish.

In many ways though, this jam is all about Trey, as he plays with a determined and deliberate precision that would go on to define many of Phish’s best moments in 2013. An example of foundational setting leading to deliberate playing from Trey, this jam sounds like a direct prelude to Fall Tour more than most of the jams played throughout the summer.

Oh, and this jam also segues flawlessly into a debut. So much so, that, for a moment, “Architect” felt like it was simply just another part of the “Carini” jam.

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“Crosseyed & Painless> Harry Hood” – Holmdel, NJ – 07/10/2013

Two crucial things happen from 9:20 – 15:01 in this “Crosseyed,” which sets the foundation for literally every moment of fully-connected Phish in 2013.

1.) First, Mike creates an exorbitant amount of space through his melodic and atmospheric playing – something he’d been incorporating into Phish’s improv since mid-2011 – thus slowing down the jam’s typically galloping pace, and allowing more textural space for each member to communicate with each other.

2.) As a result of this, Trey recedes into the shadows and further incorporates his rhythmic playing that had been so evident during the Bangor “Golden Age,” building the jam to a unified peak based in large part around the familiar theme from the 02/16/2003 “Piper.”

Whether or not they were conscious of it, that they were jamming on a specific theme from one of their peak moments in the early stages of 2.0 was yet another of those unexplainable moments of pure musical magic that seem to find their way into the best Phish shows and jams. Fading some two minutes later into “Harry Hood,” which built upon the beauty of Bangor’s encore, was a clear nod to the brilliance of this “Crosseyed.”

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“Tweezer” – Stateline, NV – 07/31/2013

A moment of profound unity between both band and audience, as each rediscovered once again what was truly possible in the medium of a Phish show.

Listening back, there are just so many raw moments that harken back to the halcyon days of 1993 – 1998 when the band and audience engaged in the kinds of extended, abstract, absurdist, and inside-joke experiments that were both only possible at a Phish show, and made this whole cultural experiment feel that much smaller, and that much more unified and connected, even as it simultaneously widened as the word of the circus spread throughout upper-middle-class, white America.

A Few Examples:

10:20 – 13:30 — when Trey and Mike are both clearly so desperate to extend what, at this point, is just a standard 3.0, “Tweezer-themed-Tweezer-jam”, that they push atmospheric melodies outwards, building towards Trey’s rhythmic in-and-out fades, which – once Page catches on – leads to the hard-rock segment that defines the 13:42 – 16:06 section of the entire jam.

22:29 – 26:18 — Trey latches onto a deliberate riff which builds towards a gorgeous hose segment that would have single-handedly made this one of the elite jams of the year had it ended right then and there. No woo’s. No 30-minute barrier broken. No matter. This section of Trey-led riffing is among his most impressive playing of the entire year – in fact it’s a direct predecessor of that gorgeous, Allmans-esque jam that concludes the 10/29 “Down With Disease” – and would have been the single reason why – had the jam ended immediately after, as so many have throughout 3.0 – the “Tahoe Tweezer” would have still, at that point, been the longest jam of 3.0.

26:18 – 26:23 — This is, for all intents and purposes, the moment when the “Tahoe Tweezer” becomes THE Tahoe Tweezer. It’s all thanks to Page McConnell. He’s been following Trey’s lead for the past four minutes, and sensing – correctly – that the current theme is about to wind down, inserts the celebratory melody which, once Trey latches on at 26:24, becomes THE Tahoe Tweezer.

27:29 — The first WOO!

27:53 – 28:19 — Trey plays a riff that’s so driven, so celebratory, so deliberate, yet so thoughtless at the same time, so rooted in his purest feelings and emotions – from so deep in his heart – you can literally feel the shit-eating-grin spilling out across his face through your headphones. You can hear him realize right then and there just how big a deal this jam is. It’s not just the fact that it’s a great “Tweezer” to open a set. It’s not just the fact that this is the new longest jam of 3.0. It’s not just the fact that the band has allowed all their fears of playing deep into the unknown wash away. It’s not just the fact that the band is proving both to themselves and all their fans that they’re so locked in once again that they can play with an unending, limitless abandon, and still produce totally focused, driven, and unquestionably listenable, compositionally-sound music. It’s the fact that all these things were happening at once AND they’d latched onto a melody so contagious, so infectious, so rooted in the essential nature that has made music a communal and spiritual force for the entirety of human existence, that they’d spurred a wholly original conversation with their fans in the process. It’s the fact that if the entire goal of Phish’s entire existence – spontaneous moments of shared energy and musical brilliance resulting from carefully crafted compositions allowed to run wild – were boiled down to one moment in time, this moment would be it. That they discovered this through the peak in a “Tweezer” jam is all the more fitting.

32:46 – 35:07 — The Victory Lap. As if they even needed to keep playing following the woo’s. This is all Rock-Star-Trey here. Based loosely off the jam from “Dear Mr. Fantasy,” the band built towards one more massive peak – complete with Woo’s, because, why the fuck not at this point (???) – before coyly snaking back into “Tweezer.”

35:48 – 35:50 — Woo’s within the “Tweezer-riff” comedown. Fuck. This section is a lot like that loose and sloppy “Psycho Killer” that emerged from “AC/DC Bag: on 12/07/1997 as the denouement commenced upon Fall 1997. It’s so unserious, so ridiculous, so clear that whatever the band’s intentions were as they stepped on the stage for that night’s second set, they weren’t prepared for this. As Wax Banks said, “bag>psycho killer to open, seriously? they’re just dorking around at that point…”

36:09 – 36:47 — The final note. The final Woo. The fade. The band holds out this last note, systematically dementing it and burying it in the ground. It’s as if they don’t want to let it go. And why would they? If they only knew at that moment what this would ultimately build to…

Is it the best jam they’ve ever played? No. But it is the most important piece of music the band has played since the 07/29/1997 “Gumbo” or the 11/17/1997 “Ghost.”

It’s that revolutionary moment where the band is clearly searching for some ambiguous sound, some indefinable goal, and unquestionably uncovers something totally new about themselves in the process. Say what you will about the after-effects of the ‘woo’s,’ what’s clear to everyone involved is that without the “Tahoe Tweezer, “none of the brilliance that emerged with such stunning ease and consistency throughout the Fall would have been possible.

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“Chalk Dust Torture” – Commerce City, Co – 08/31/2013

Just listen to the segment from 10:02 – 12:36 and try – seriously try – to resist boogieing your ass off wherever you may be. Of all the moments of musical connectivity the band found themselves in throughout the entire 2013 Summer Tour, perhaps none felt as effortless, as mechanical, as choreographed, or as pre-planned as the immediate peak jam segment out of the Set II Opening “Chalk Dust Torture” from 08/31. A year to the date after their revolutionary FUCK YOUR FACE show, a night after informing their fans that MOST SHOWS SPELL SOMETHING, Phish connected on an aggressive, set opening jam, that systematically pointed the way towards the Fall.

Listen to the aforementioned segment again. Within it you can hear the first hints of what will become known as “Fuego.” What’s more is how deftly the band is able to hook up through rhythmically induced passages of deliberate playing, the very kind that would come to define all the highs of the looming Fall Tour.

Perhaps we couldn’t fully understand it at the time. Perhaps we weren’t aware that the band really just wanted to use Dick’s 2013 as a weekend-long celebration. But it’s clear now that this “Chalk Dust” was an essential moment that separated summer from fall in the same way the Toronto “Down With Disease” separated the East Coast Run from the West. A supremely confident statement from a band at the height of their powers once again, this “Chalk Dust” proved that all the foundational setting of early Summer were more than worth the patience required. And, just like in 2012, it was “Chalk Dust” that left perhaps the most lasting legacy on another memorable weekend at Dick’s.

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“Tweezer -> Golden Age” – Hampton, VA – 10/20/2013

In 2003 and 2004, Phish regularly dove wildly into the deepest and darkest holes of the musical underworld, drumming up some of the most baroque and macabre jams of their entire career. A result of the personal crises faced by Trey and Page at the time, these jams are, in many ways, singular to perhaps the most harrowing era in the band’s history. Rarely has Phish allowed themselves to even glimpse these seedy and hopeless terrains throughout their overtly-joyful period of rebirth since 2009.

On the final night of their Fall Tour-opening Hampton Run, Phish – and especially Trey – granted themselves a dip back into their darkside, resulting in their most inspired, and passionate improvisational excursion of 2013.

Channeling the guitar-wizardry of Yo La Tengo’s Ira Kaplan, Trey incorporates his effects with caustic shreds of his guitar, cultivating a demented soundscape. There’s a stark nakedness to his playing throughout this jam, a peeling back the layers to his soul, a revealing insight into the darkness that still resides within.

This is the Yin to the “Tahoe Tweezer’s” Yang.

Yet, perhaps what makes this jam so rewarding, and ultimately so influential, is the segment of music that emerges at 19:57. Distantly related to the ethos of “Wingsuit” – a song that would debut some eleven days later, this denouement to the preceding jam segment offered a window into exactly what was possible when the band gave a seemingly fading jam one more look. Reminiscent of comments Page made in the IT DVD regarding the type of music that’s only possible after 18…19…32-minutes of jamming, this final segment would help push the band further, to the moments found in the latter parts of the 10/26 “Drowned,” 10/29 “Down With Disease,” 11/01 “Twist,” and 12/29 “Down With Disease -> Carini.”

In “Golden Age” Phish finally capitalized on the most profound excursions they’d thus far embarked on with the song – 07/02/2011, 07/03/2012, 07/03/2013, 07/30/2013 – pushing it further than it’d ever been before. A fully-realized, groove-based conversation between all four members, this version – along with its accompanying 10/27 version – finally unlocked the code on a song that had evolved in fits and spurts for the band.

A forty-minute segment of music that ultimately transcended everything else the band was capable of accomplishing throughout their brilliant 30th year, one can only imagine how much deeper Phish will now be willing to push their music in 2014.

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“Tweezer” – Hartford, CT – 10/27/2013

If the “Tahoe Tweezer” represented a moment of critical mass in Phish’s grand experiment, and the “Hampton Tweezer” was a marked dive back into the netherworld of their musical souls, then the “Hartford Tweezer” was a pronouncement of the celebratory rhythmic/melodic jamming the band had been busily perfecting all year on an extremely meta level.

We’ve long known that the ultimate key to Phish’s improvisational success is simplicity. A concept that’s often far easier said than done – especially when you factor in each member’s exceptional skill level, and the pressures associated with playing live, improvisational music – this version of “Tweezer” immediately gets to the point of itself, and then patiently rides itself out to its proper conclusion. Proof that less is more. Touching distinctly on the theme from “Weekapaug Groove,” this jam feels deeply rooted in the historical lexicon of Phish. It’s the kind of jam that fundamentally fit the conceptual goals of 2013.

Throughout 2013 Phish’s best moment came when they seemed to stop trying. Akin to 1997’s peak based around minimalist funk grooves, the diversity of their stylistic peaks in 2013 are only matched by the effortlessness it took the band to reach them. A moment when each member latched onto a singular idea and ran with it, the “Hartford Tweezer” is equally one of the most pleasurable, and important pieces of music played all year.

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“Down With Disease -> Taste” – Reading, PA – 10/29/2013

If one were to try and summarize the reasons for Phish’s two-week-long peak tour during October 2013, one could hypothesize over the bulbous and rhythmic interplay of Mike and Fish. Perhaps one would reference the archaic and personally historic venues the band toured through within their home turf. One might look to the impending performance of Wingsuit as inspiration. In their fifth year back following a five-year break-up, the overall health and friendship within the band has certainly led to a lot of possibilities as to why now, in their 30th year of existence, Phish has reached one of the highest peaks they’ve ever been on artistically. Yet, to me, one aspect of Phish’s playing sticks out as the most profound reason why this past Fall Tour was one of the greatest Phish has ever had: Trey’s deliberate approach to playing his guitar.

Nowhere is this approach more fruitful, nor more rewarding, than in the stunning jam that flowed out of “Down With Disease” on 10/29.

What was initially a funk-laced stroll through familiar “DWD” jam-terrain changed at 13:10 when Page began infusing melodic themes into the mix. Immediately latching onto his ideas, and toying with them before copying them, Trey built this initial foundation into an Allman-laced jam that harkened back to his heavily-lauded Hose-era-playing. Akin to the 12/30/1995 “Hood,” the “Went Gin,” the “IT Ghost,” and the “Tahoe Tweezer,” the melodic and spiritually uplifting notes that emanated from Trey’s guitar with such ease, passion, and deliberateness felt like a step back into an earlier time.

Beyond it’s musical brilliance, the “Reading DWD” provided one final twist for the thousands of fans trying to decipher any and all clues from the band about their upcoming Halloween performance. Immediately following this show, and continuing until the Playbills were dispersed two night’s later, the entire community was convinced we were getting Eat A Peach on Halloween. A fusion of Phish gimmickry, with musical ingenuity, along with the emotive thrill that’s associated with their best improvisational moments, the “Reading DWD” is one of those rare jams that repeatedly delivers on the hype.

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“Ghost> Carini” – Atlantic City, NJ – 10/31/2013

On 08/15/2004, following the whole-band collapse in “Glide,” and the emotional breakdown in “Wading In The Velvet Sea,” Trey told the crowd that the band needed to just “blow off some fucking steam…” They then proceeded to dive into a 50-minute firestorm of noise-ladened abstract improv within the limitless confines of “Split Open & Melt” and “Ghost.”

Just over nine years later, following a Halloween set where they debuted twelve completely new originals, Phish responded with this 35-minute segment of blissfully exuberant, and wholly-connected music within the limitless confines of “Ghost” and “Carini.” Without notifying their fans, the symbolic gesture was in many ways related to the necessary move to blow off some emotional steam at Coventry. The difference being the fact that in August 2004 they were a band grasping for their last breaths, whereas in October 2013, they were on the verge of rebirth once more.

The 10/31 “Ghost> Carini” is the sound of a massive weight being lifted off of Phish. For much of 2013 – no one knows exactly how long – the band carried around a secret waiting to be unveiled, live, in front of their fan base: Wingsuit. A burden that must have caused an incredible amount of artistic stress on the band, this jam segment was all the band needed to display how grateful they were for the open-mindedness of their fans to allow them such artistic freedom. Throughout the “Ghost” a sultry and sinister groove builds. The kind of deliberate and simple musical concept that had tracked their best improv of the year, this jam is the confident strut than can only follow a nailed risk. This is DiCaprio dropping the mic after one of his megalomaniacal speeches in “Wolf Of Wall Street.” This is Jordan shrugging after his 6th 3-pointer in the first half of Game 1 of the ’92 Finals. This is Trey’s prowling stomp around the stage during the surprise “Tweezer Reprise” encore on 04/03/1998.

It is, however, the “Carini” that gets all the glory in this segment. A 19-minute excursion that touches on literally all the moments of profound communication throughout the past two years, this jam is up there with the best improv the band has offered throughout the entirety of their career. Led by Trey’s celebratory rhythmic playing, this “Carini” reaches a full-band peak that would be further explored in the following night’s “Twist.” Stylistically reminiscent of the 08/31/2012 “Undermind” and “Chalk Dust,” the 09/01/2012 “Light,” 09/02/2012 “Sand,” 12/28/2012 “Tweezer,” 07/06/2013 “Carini,” and 07/31/2013 “Tweezer,” this is one of those Phish jams that moves effortlessly from one musical passage to another without giving the listener time to lament the conclusion of one before rewarding them with a fully-realized segment of music in the next.

Two songs that just scream All Hallow’s Eve in their musical origins and lyrics, “Ghost> Carini” was a fitting centerpiece for the band to blow-off some steam on a night when they confidently catapulted themselves into their next era.

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“Down With Disease -> Carini” – New York City, NY – 12/29/2013

“Thank you, we wrote that…”

By the end of 2013 Phish was on such an artistic peak, and on such a creative roll, that it became second-nature for them to hook-up and explore passages of musical brilliance. Fully-formed ideas seemed to simply emit from their instruments, and questions over if they’d produce another transcendent jam disappeared. Because of this, there are numerous jams from their recent Fall Tour and NYE Run that were painstakingly left off this list: 10/23 “Twist,” 10/25 “Waves -> Carini,” 10/27 “Drowned> Light,” 10/27 “Golden Age,” 10/29 “Twenty Years Later -> Piper,” 11/01 “Twist,” 12/30 “Chalk Dust Torture,” most notably.

When they stepped to the stage on 12/29, following their most fluid first set of the NYE Run, they unveiled yet another masterpiece of improvisation through two of their most reliable vehicles for musical discovery: “Down With Disease” and “Carini.” Two songs that have been featured extensively on this list, for whatever reason, both of these songs consistently allow the band an ideal passage into the unknown. In “DWD” Phish explored the melodic underbelly of the song’s origins – highlighted by Mike & Trey’s interplay as much as the soundscape crafted by Page – before rebuilding itself into a full-on “DWD Reprise.” A moment of euphoric magic for both band and audience alike, the blissful conclusion that rose naturally from the depths of improv was the kind of unexplainable point of connection that has so often marked the best moments of Phish’s 30-year career. Many claim you could feel the walls of the Garden shaking as the band reached a peak of a musical theme that is the composed sound of euphoric joy within the confines of Phishdom.

A yin to the “AC Carini’s” yang, the 16-minute “MSG Carini” was a demonic beast of minimalist groove. Deliberate, haunting, demented, abstract, insane, unified… the “MSG Carini” built from the Yo La Tengo-esque jam in the “Hampton Tweezer” into a hulking beast all its own. A sure sign that the seedy, under-worldly jams, which defined Phish 2.0, are at least back in part here in 3.0, this “Carini” felt like the unification of two eras. The fact that Phish can so willingly dive deep into the darkness again – during an era of such renowned health and personal well-being, no less – is as clear a sign as any of the artistic peak Phish is on right now.

Just as “Down With Disease” and “Carini” provided both the musical peak of the 2012 NYE Run, while simultaneously pointing the way towards the band’s improvisational future, the two songs once again served this symbolic purpose here in 2013. Who knows exactly what direction(s) the band will take their improv in 2014? One thing however, is certain: if they can in anyway build upon, and expand within the musical accomplishments of their 30th year, we’re all in for an absolutely mind-blowing 31st year of Phish.

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Part II coming this week!

Photo Cred: 1 – 10/20 Hampton, VA – Dave Vann; 2 – 07/17 Alpharetta, GA – Dave Vann; 3 – 08/05 Hollywood, CA – Brantley Gutierrez; 4 – 10/18 Hampton, VA – Dave Vann; 5 & 6 – 07/06 Saratoga Springs, NY – Dave Vann; 7 – 07/10 Holmdel, NJ – Dave Vann; 8 – 07/31 Stateline, NV – Dave Vann; 9 – 08/30 Commerce City, CO – Dave Vann; 10 – 10/20 Hampton, VA – Dave Vann; 11 & 12 – 10/29 Reading, PA – Dave Vann; 13 – 11/01 Atlantic City, NJ – Brantley Gutierrez; 14 – 12/29 New York City, NY – Rene Huemer

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What Can We Reasonably Expect From Phish In 2013?

228575_10151002926501290_1761768171_nWith just over two weeks to go until the start of Phish’s 2013 Summer Tour, the Phish community is abuzz with plans, predictions, and expectations for the coming year. After a peak year in 2012, the expectations for Phish 3.0 have never been higher. Whereas each year since 1999 has ended with a litany of questions about the band’s health, focus, direction, etc, 2012 concluded on a unanimous high note. And, while their NYE Run didn’t quite stack up as a whole to the entirety of their brilliant summer tour, it was still a far cry from the puzzling no-show that plagued the end of 2011.

So, the question begs asking, what can we reasonably expect from Phish in 2013? I emphasize “reasonably” because, more often than not, these types of columns result in writers predicting everything from 30min jams to guaranteed-Gamehendge performances. Here at tackle & lines we try to view Phish’s career and music with as much of an even-handed approach as possible, and this column will be no different.

Before we get to the predictions, however, we must take a quick retrospective look back at how we got to where we are now.

In the five years since Phish emerged from an extended hiatus in Hampton, VA the band has far exceeded the expectations that any fan could have had when they announced their return in October 2008. While during much of June 2009 they appeared to be a band lost within themselves, by the time Leg Two of their tour started out west, they immediately rediscovered what made Phish Phish. Jams returned, gimmicks became something of a norm, and Phish shows became re-listenable once more. With their eighth festival, and an incredibly apropos Halloween cover of Exile On Main Street under their belt, the band toured their East Coast stronghold’s, before celebrating their first NYE in six years in Miami. Featuring two dynamically different sides of Phish, their Fall Tour showed them tightening up and adding a bit more energy into their shows, while their NYE Run resulted in some of the more interesting jams of 2009.

Six months later the band’s second Summer Tour of 3.0 began in Chicago. What started with a string of uneven shows eventually proved to be the band’s weakest tour of 3.0. Dominated by Trey’s overuse of the Whale Call effect, jams lost steam midway through, shows lacked flow and energy, and, by July 5th, the band looked totally lost. While the 06/27/2010 Merriweather Post Pavilion show is still highly regarded among fans, it proved to be little more than an anomaly, as the band entered the second leg of their tour with more pressure to deliver than anytime since 2004.

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In typical Phish fashion however, the band came out the gates on a mission. Armed with a new guitar that gave more overall body to his sound, Trey moved away from the atmospheric sirens of the June Tour, incorporating more notes and rhythm into his playing. The results were immediate with jams off of “Cities,” “Simple,” and “Light” from the Greek Theatre displaying how much more dexterity they had when their sound was opened up to more communal playing. The August Run proved to be the point where everything changed in 3.0. A massive step forward for the band, they followed it up with an even more groundbreaking Fall Tour. Clearly in control of the direction of their music once again, Phish used the Fall Tour to revert back to age-old gimmicks, and an overt playfulness that bled throughout their shows. Shows like 10/16/2010, 10/19/2010, 10/20/2010, 10/26/2010 and 10/30/2010 carried the same energy, element of surprise, and aggressive playing that harkened back to their glory days in the 90’s.

Closing out the year with a five show NYE Run through Worcester and MSG, all was right in the Phish community. While there were still questions about certain aspects of their playing – their jamming was still not totally consistent, their shows still had the capability of becoming tedious recitals at Trey’s initiation, and their fluidity seemed to come and go at will – overall, 2010 ended on an incredibly positive note, in much the same way as 2012.

When Phish kicked off 2011 with a string of shows from Bethel, NY – Cincinnati, OH that ranked as some of the most consistent and transcendent they’d played in all of 3.0, it immediately seemed that all the trepidation and uncertainties of the first two years of their comeback were all but behind them. And yet, while 2011 featured some of the biggest breakthrough’s of 3.0, it was still marred at times by the inconsistency that continued to define Phish’s return. Losing steam midway through the tour when most would have assumed they’d have kicked it up a notch, the band treated their home turf to some of the shakiest shows in recent memory.

However, at their SuperBall IX Festival over Fourth Of July the band engaged in their biggest musical risk in years: locking themselves in a storage unit on the night of July 2nd and performing an abstract, noise-based jam for all who were still awake. On the next night they played their best concert since reforming, weaving the Storage Jam into the first narrated “Col Forbin’s” in eleven years within a first set that saw the band compliment expert song selection with adventurous playing. A show for the ages, they returned to the road a month later with essentially all the baggage of year’s past off of them. Over the course of August and early-September the band infused many of their jams with the seedy and industrial noises of the “Storage Jam,” embracing full-on experimentation in ways they simply hadn’t since 2004.

Concluding with two incredible three-night-stand’s in Chicago and Denver, the band took the Fall off at essentially the highest they’d been in all of 3.0. For whatever reason – rust, lack of inspiration, lack of communication, side-project distractions – their 2011 NYE was one enormous dud. Save for a surprisingly fun 12/28/2011 show, and a scintillating “Piper” jam on 12/30, Phish simply couldn’t muster the ability to play up to the standards they’d created on three of their biggest night’s of the year. As a result, the good vibes that resonated thanks to the breakthrough’s in the summer were overshadowed by the questions that lingered as a result of the NYE Run. Rumors of problems within the band persisted all winter and spring, and Phish entered 2012 with more questions hanging over their head than any time since July 2010. After all their hard work to reinvent themselves in 3.0, it felt to many that the band was back to square one all over again.

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For whatever reason, 2012 was without question the band’s best year since 2000. Armed with a goal of playing over 200 unique songs throughout the Summer, the band injected fresh songs into their setlists, creating an immediate element of surprise at each of their shows. Also, from night one in Worcester, it was clear that a focus on improvisation had been pushed to the forefront. For the first time in 3.0, the band played a better June Tour than an August Tour, as June was filled with humor, bustouts, and a genuine sense of fun from both band and audience. Gone were the clunkers that could dominate whole runs. Phish shows’ felt like Phish shows again. As shows like 06/15/2012, 06/22/2012, 06/23/2012, 06/28/2012, 07/03/2012, 07/06/2012 displayed, the band could now really play any style of show and nail it.

In the Second Leg they battled their first bout with inconsistency in San Francisco and throughout the SE, yet whereas in the past this would have resulted in complete duds for shows, here, in 2012 there are still plenty of moments of inspiration that can be found within each. More to the point, shows like 08/19/2012, 08/28/2012, 08/31/2012 and 09/01/2012 displayed a total command the band had over their sound and sonic direction.

The tour concluded with the best three-night-run of 3.0 at Dick’s Sporting Goods Park in Commerce City, CO. A venue they’d closed their 2011 Tour with to rave results, Dick’s featured the band as probably the best they’ve been since 1.0. Taking hold of the “FUCK YOUR FACE” gimmick on 08/31, Phish jammed with dexterity and ambition in ways we simply hadn’t heard throughout 3.0. It was an affirmation of sorts for all who’ve stood by Phish since their return. A Summer Tour that had started with so many questions and uncertainty concluded with the best show they’d played in over a decade.

Following another four-month break before their NYE Run, the band proved far more prepared this time around, assaulting MSG at times with jams on the level of those we’d heard at Dick’s, while closing out a banner year with their best NYE gimmick in years. While it was clear that they could have used a few buffer shows between Dick’s and MSG, overall the run was a success, and has us standing on the brink of the band’s 30th Anniversary with more anticipation than anytime throughout 3.0.

Below are a list of things I think we can reasonably expect from Phish in 2013. Aware of the fact that the overall point of listening to Phish is to embrace the unexpected, these are presented as more of a preview of what’s to come in 2013. As always in 3.0, we’re simply lucky to have the band back, the fact that they’ve reinvented themselves is such a powerful way is simply icing on the cake.

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I. Further Development In The Three Dominant Styles Of Jamming

Everyone can agree that 2012 was the year the jams fully returned to the forefront of Phish. Whereas in the formative years of 3.0 the band would go multiple shows in a row without a single exploratory jam, in 2012 nearly every show contains at least one example of genuine improve. Even more encouraging to fans of their exploratory excursions is the fact that by year’s end Phish had settled on three defined styles of jamming that displayed communication, diversity and regularly produced standout jams.

First, you had the Dick’s “Light,” and “Sand,” and the MSG “Tweezer,” three jams which spent upwards of ten minutes exploring the unknown, before becoming focused and building towards an old-school tension & release peak.

You also had more abstract jams such as the Cincy “Twist,” Alpine “Fee,” Long Beach “Rock & Roll,” San Francisco “Crosseyed,” Dick’s “Carini,” and “Runaway Jim>Farmhouse,” and the MSG “Down With Disease,” and “Carini,” which meandered like many of the late-90’s and 2.0 vehicles, contemplatively covering a plethora of ground with little focus or tension.

Finally, you had, perhaps the most intriguing of all, the melodic-driven jams, that are purely a product of 3.0. From the AC “Birds Of A Feather,” and Burgettstown “Light,” to the Dick’s “Undermind,” and “Chalk Dust Torture,” the band used a melodic approach with each of these jams resulting in whole-band communication, along with a multitude of terrains explored, solidifying them as some of the most innovative and memorable jams of the era. One can only expect that, as 2012 built off the improvisational advancements of 2010 and 2011, that 2013 will display even further the potential each of these styles of jamming have.

II. Bustouts……Even More Bustouts

Entering 2012 with the ambitious goal of playing 200 different songs throughout their Summer Tour helped to infuse the tour with fresh songs, and ultimately resulted in an anything-goes feeling throughout he tour, and overall year. Since the onset, 3.0 has been chock-full of bustouts like no period in Phish’s history before. Partially due to the fact that the band simply played less shows between 1997 – 2004 than they had in the previous eight years, and thus focused more on rotational songs than rarities. Yet, perhaps even more so, thanks to their emphasis on celebrating their own musical history, Phish has brought many once-forgotten songs like “Fuck Your Face,” “Skin It Back,” “Tela,” “Sparks,” and “Alumni Blues” back from the dead over the past five years. Based upon this trend, and the fact that this is the band’s 30th year of existence, one wouldn’t be too out of place to suggest we can expect more of the same in 2013. Could songs like “Acoustic Army,” “Ain’t Love Funny,” “All Things Reconsidered,” “Amazing Grace,” “Axilla (Part II),” “Bye Bye Foot,” “Chalk Dust Torture Reprise,” “Crossroads,” “Dave’s Energy Guide,” “Dear Mrs. Reagan,” “Don’t You Wanna Go,” “Fourplay/Long Time,” “Izabella,” “The Landlady,” “Lushington,” “Spock’s Brain,” and “Prep School Hippie” be far behind?

III. “Harpua,” “Col. Forbin’s Ascent -> Fly Famous Mockingbird,” and “Icculus”

Believe it or not, but 2012 was the lone year of 3.0 that didn’t feature any of the above songs. Lost in the mix of the band’s musical renaissance were three classics that focus more on the theatrical side of Phish than their musical. While one certainly can’t complain about their exclusion from a year that featured so many highlights across the board, one has to assume they’ll be back this year. A year that’s poised to feature a number of surprises, and referential moments towards the band’s legacy, each of these three songs would fit perfectly with the overall vibe of the year. Be it in Toronto or Alpharetta, or even in Chicago, each of these songs are welcome at any show, for they immediately raise the bar in terms of energy and historical significance.

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IV. A Substantial Fall Tour That Builds Off The Achievements Of Summer

For as boundary pushing as the last two Summer Tour’s have been, the only thing they’ve clearly suffered from is a lack of Fall Tour to continue pushing their sound further. Just imagine for a second what would have happened to the sounds of Summer ’95, Summer ’97, and Summer 2010 if they hadn’t had a Fall Tour to be fully realized. Then think about how much more consistency the band could have played with, and how much further they could have pushed their music had they spent the last two Fall’s on the road.

By all accounts a Fall Tour is happening this year. The sheer fact of it is nothing to predict. This is Phish’s 30th Anniversary, the rumors are all across the web. What we can predict however, is that, unlike Fall 2009, the Fall 2013 will better resemble Fall 2010 in the way it will push Phish’s sound even further. Rumors of a Halloween show being tossed in there only raise the bar even further, for we know what positive effects practicing and covering full albums have historically had on the band. With a summer set to hit up some of the most storied shed’s in Phish history, we can only imagine how much music they’ll have to build upon with a short break before Fall.

V. A 30th Anniversary Run That Actually Celebrates The Band’s Legacy

If there’s any takeaway from the 2003 Turkey Run it’s the fact that it really couldn’t have honored the band’s twentieth anniversary any less than it did. After a four-month gap following their IT Festival, the Run featured a band in an awkward state of denial over their current health and dismal future. Sure they brought The Dude of Life and Tom Marshall out. Hell, they even brought out Jeff Holdsworth for the first time since 1986. And, yes, there are some intriguing moments throughout, see: “Ghost -> WTU,” “Twist -> Simple,” 12/01, “Piper,” and the “Rock & Roll -> Weekapaug -> Tweezer Reprise -> FranKungstein”. But the historical legacy of the run is more of failure, and foreshadowing, and less of a band fully embracing their historical significance.

Here, however, in the healthy and joyful era of 3.0, you can be certain the band is going to go to great measures to celebrate the fact that after 30 years, they’re still alive, and going strong once again.

VI. More First Set “You Enjoy Myself’s”

Played only seven times in the last two calendar years, “You Enjoy Myself,” has in three of those instances, been played out of it’s normal slot, and in the first set. Expect this to continue. It appears the band really likes its ability to inject fresh energy and intrigue into a show through a first set performance. It’s also proven to help expand Set I’s from what were strictly song-based affairs, into more fluid and jammable mediums.

A noticeable trend throughout 2012 was the band’s re-embracing of the first set. From 06/15 and 06/22 to 07/06, 08/19, and 08/31, Phish attacked their first set’s with energy and a focus on exploration like they hadn’t since 1.0. Further appearances from the band’s seminal song will only solidify their dedication to explore within Set I.

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VII. A Dick’s Run That Will Fail To Live Up To The Hype

With a two week gap between their UIC run and their initial Dick’s Run in 2011, many wondered if Phish would lost steam from their August Tour and play a rusty set of shows to close out the tour. At the time, Dick’s looked more or less like bonus Phish. As it turned out however, Dick’s 2011 turned out to be the run of the year, solidifying 2011 as the year of the three-night-stand’s, and gracing us with some pretty monumental music to keep our faith alive throughout the winter and spring of 2012.

Last year Phish timed everything perfectly, with their whole tour leading up to Dick’s. Easing themselves throughout the tour, they picked their spot’s perfectly, allowing them to be energized and fresh by the time Dick’s came around. As a result, they absolutely tore the soccer stadium to pieces, playing the best show they’ve played in almost a decade, while littering three nights with monumental jams.

This year, there’s a twenty-five-day gap separating their tour finale at the Hollywood Bowl and Dick’s. Many surmised that this break would allow them to have a storied, mid-August NE Festival akin to 1996 – 1998. This, however, has proven to be little more than baseless rumors. Either way, seeing how the band has crushed Dick’s in year’s past, along with the fact that their going to have close to four weeks between their last show and Dick’s, I’ve got to imagine that this is the year Dick’s fails to live up to the hype. This doesn’t mean there aren’t going to be memorable moments throughout, or even a solid show tossed in the mix. Just simply based on the fact that like how Phish can’t crush MSG every single year – nor any other legendary venue – odds are one year is going to be an off year at Dick’s. My gut tells me this year is that year.

My heart on the other hand, has me hoping they come through once again. Anyone who’s been there know’s, there’s a damn good reason they keep coming back to Commerce City.

VIII. A Banner Year For “Harry Hood”

“Harry Hood” has been something of a wandering classic for the last ten-odd years. In 2.0 the band chose to explore it in ways they’d rarely done in the past. In 3.0 it’s shifted between performances that have completely fallen flat, and those that have just almost reached that place. In 2013, one has to imagine that all the time back, the vastly improved chops of Trey, and the inert communication that’s been brewing for five years will lead to a glorious return of one of Phish’s true masterpieces.

Listen closely, and it’s clear, from 09/04/2011 to 08/15/2012, 09/02/2012 to 12/30/2012, slowly but surely the band has been rebuilding “Hood” back to its former glory heard clearest from 1993 – 1996. While still scattered with versions that were either rushed, forced, or just couldn’t quite get there, 2012 was the best year we’ve had for “Hood’s” since the 90’s. In 2013, expect the majority of Hood’s to be the kind of emotive and connective forces that made us fan’s of it so long ago. No better way to celebrate 30 years of Phish than with a transcendent “Hood” after all.

IX. SPAC, Chicago & San Francisco…

Within the first twenty-two shows of the tour are three individual three-night runs. In 2011, Bethel, SuperBall IX, Chicago, and Dick’s reigned as the runs of the year. While 2012 still faired pretty well with AC, SPAC, San Francisco and Dick’s, only SPAC and Dick’s truly mastered the three-show run. Here in 2013, one has got to imagine the SPAC is going to explode with the energy of the band out the gates, the mid-tour stop at Chicago’s Lakefront will produce some particularly inspired music, and their comfort on the road after a month will lead to a three-night romp in San Francisco. With only Dick’s coming at an awkward time within the tour, these three three-night runs are sure to be the most memorable stops of tour. A unique medium, and one that can either bring out the best in the band, or prove how off they are, the three-night run, when played accordingly, usually result’s in some of the most transcendent moments of a tour. With enough time to get settled into a venue, and ideas that build from one show to the next, there’s simply no way they won’t destroy the above runs.

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X. Even More Six & Seven Song Set II’s

Hand-in-hand with the inspired jamming of 2012 came a plethora of six and seven song second set’s. A simple product of mathematics – when you play longer songs, you have to play less of them – the band filled much of the last part of 2012 with a number of inspired sets focused more on their playing, rather than what songs they were playing. Look no further than 08/15/2012, 08/31/2012, 09/02/2012, 12/28/2012, and 12/30/2012 for some of the best examples.

While, in the same sense that longer jams don’t necessarily mean better, there are also examples to the counter, of 10+song second sets that were fantastic – 06/22/2012, 06/28/2012, 07/08/2012, 08/19/2012, and 09/01/2012 per example.

What makes the six and seven song Set II so special is the fact that it offers the band the unique opportunity to fully incorporate flow and thematic music into a cohesive set. These set’s listen more like albums, rather than a simple conglomeration of songs. With an increased focus on improv, expect these types of second sets to become something of a norm in the summer of 2013.

XI. A NYE Show That Totally Delivers

It’s strange to consider, but, for however good as Phish’s NYE Runs typically are, the band has yet to deliver on a monster 12/31 show since 1999. Sure, 12/31/2012 was an all-around fun show to be at, complete with a fully-flowing Set II and a classic gag to ring in 2013, but more often than not, since the 90’s, NYE shows have often felt more like after-parties to the mayhem of 12/29 and 12/30. One’s got to imagine that coming into this NYE Run the band is going to be so amped up from their 30th Anniversary celebrations, along with a complete Fall Tour, that they’re going to finally put everything together to craft a NYE show of lore.

In the past, their best 12/31 shows have revolved around three factors: classic song selections, monumental jamming, and ideal gag’s that fit perfectly with the music. Look back at 12/31/1993, 12/31/1995, 12/31/1998, and 12/31/1999 for the best examples. It’s bound to happen one of these years, and it just makes perfect sense that the combination of playing, gimmickry and song selection will come through this year. If you’re on the fence about NYE 2013, man-up and make the commitment. This year has classic NYE Run written all over it.

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That does it for tackle & lines 2013 Phish Predictions. As with all these types of columns, the key is to read them for pleasure, and take them with a grain of salt. At this time last year few could have ever predicted the year of Phish we were in for.

Hope everyone’s looking forward to tour as much as we are! Please feel free to leave comments, thoughts, suggestions and rants to the column as we will respond to any and all questions.