The Next Level: Thoughts On The West Coast Leg Of Phish’s 2013 Summer Tour

577216_10151503226831290_30855049_nAnd so we’ve come to the end of Phish’s 2013 Summer Tour. Yes, we do have that Dick’s run looming just two-and-a-half weeks away, but Dick’s is something all to itself at this point, right?

After just over a month on the road Phish capped off their summer tour with an eleven-day stretch of shows along the Pacific that has to rank as one of the most profound peaks of their entire career.

(This isn’t to say of course that their music is somehow better than anything they’ve played in, say, the last 15 years – how could one even begin to be able to quantify that, after all? Yet, there’s an undeniable energy surrounding Phish right now that hasn’t been present this consistently for a long, long time…)

More on this later.

Leaving behind the rain for good, Phish built upon, and expanded on the foundations of their NE run, the celebratory vibes of their SE run, and the conflicts overcome in the midwest to produce a string of diverse, exploratory, uniquely engaging, and overall classic shows chock full of highlights.

One night they were throwing down rapturous funk, the next they were weaving together rarities in an unending seguefest. Any style could, and would, be explored from one show to another – and often within each show – displaying a dexterity in a consistent peak that we honestly, may have never truly experienced with Phish to this point.

(It’s the thing that completely separates Phish 2013 from their past. Where their sustained peaks in 1995, 1997, 1998, and 2003 for example, were centered around a singular style, here in 2013, the band is attacking a variety of styles within each show – often times within a single jam. The diversity of music played within this past week is nothing short of astounding from a purely musical level.)

Jams abound, songs perfectly placed, the string of shows from The Gorge on 07/26/2013 to Los Angeles on 08/05/2013 represents the most consistent, highest quality Phish we’ve heard in over a decade.

I’m still trying to wrap my head around everything I’ve just heard.

Below I’ve once again compiled an assorted list of thoughts on the finale week-and-a-half of the tour.

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So, How’d We Get Here?

Perhaps the best place to start is by looking back on everything Phish has done since reemerging from hibernation on July 3rd in Bangor, ME.

While it was clear throughout the opening weekend of summer that the band was focusing on laying the groundwork for the tour that would ultimately unfold, it’s also clear that their plan hit a bit of an unexpected moment of advanced inspiration within the second set of 07/05. Weaving together a fully-flowing set of music that started with the debut of The Apples In Stereo song “Energy” – also the eventual theme song of Phish 2013 – and ended with their age-old classic, “Slave To The Traffic Light,” from the onset, one couldn’t deny the high level Phish was already playing at.

Continuing southwards – following the 07/09 postponement of their Toronto show – the band reached an initial peak in the tour with their PNC – MPP run of shows. Fusing old school setlists with high quality, boundary-pushing jams – 07/10 “Crosseyed & Painless,” 07/12 “Rock & Roll,” 07/13 “Simple,” 07/14 “Light,” – the band showed two differing, yet ultimately united sides of modern day Phish. In emphasizing their most time-honored classics – “Stash,” “It’s Ice,” “Maze,” “Harry Hood,” “Mike’s Song,” “You Enjoy Myself” – while also centering their 07/14 show around a harangued take on “Light,” the band played a show that could only have happened here in 2013.

A point that must be emphasized: 2013 Phish is everything that Phish has been, everything that Phish currently is, and everything that Phish is working towards. This career-spanning sound is no better heard than in these four shows.

A brief midweek stoppage in Alpharetta, GA allowed the band opportunity to let their hair down, while still expanding upon the improvisational advancements of their first week on tour. Basing their entire 07/16 second set around the riff from “Heartbreaker,” the band built a massive seguefest that read: “Rock & Roll -> Heartbreaker -> Makisupa Policeman> Chalk Dust Torture> Wilson> Tweezer -> Silent In The Morning> Birds Of A Feather.” A wholly-engaging musical moment, it fused the band’s modern-day melodic jamming with their endearing sense of humor, resulting in absolutely classic Phish.

The following night’s highlight came in the monumental “Energy -> Fluffhead -> Piper -> Fast Enough For You” quartet, a segment which displays both how keen Phish is right now at sparking creative jams out of the ether, and how aware they are of fusing their past and present together – be it through setlist construction or various jamming styles – within each of their shows.

The first half of Phish’s 2013 Summer Tour came to a close in a three-night run in Chicago, and a makeup show in Toronto. For however memorable the music made at Chicago was – and much of it is very memorable – it will always be overshadowed by the rain that cost the band half of their 07/19 show, and nearly cancelled their 07/21 show. Regardless the fact that 07/19’s first set is among the strongest of the first three weeks of tour, nor the fact that 07/20 was a surprise three-set show that saw the band construct a fully-flowing (sorry, @waxbanks) second frame which featured a sublime “Golden Age> Waves -> Piper> Slave To The Traffic Light” closing segment, those two nights in particular will always be seen as casualties of THE RAIN.

On the run’s final night it poured and poured and poured. (And poured and poured and poured and…) Rain fell from the heavens in biblical fashion cutting the first set short, while also breaking the internet for the first 25mins of the second frame.

It was in the second set however where the band emerged phearlessly, and pointed the way towards the west – and towards their own future – within a 35min segment that read: “Energy -> Ghost -> The Lizards.” Infusing literally every style of improvisation the band has experimented with throughout their career – before giving a nod to their past through a perfectly placed “Lizards” – the band sent a message about where they were, where they’d been, and most importantly, where they were going.

Following this with a “Harpua” gag for the ages, one in which the band sent a message to their fans that it was in fact they, and not us, who knew what the “right way” forward was for Phish, and it simply was a set we’ll be talking about for years to come.

The next night in Toronto they opened Set II with a lengthy, uplifting, and melodic take on “Down With Disease” whereby Trey and Page hooked up for over seven minutes of improvisational bliss. The trail westward had been marked. Little did we know what was to come…

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There Are No More “Standard” Songs

Immediately evident in the rollicking first set on night one at The Gorge – and only further emphasized as the tour wound south along the Pacific – is the fact, that, no matter the setlists, no matter the set, there’s no such thing any longer as a “standard song.” Proof of the absurdly high level the band is playing at right now, there are seemingly no more filler songs anymore.

Listen back to the “AC/DC Bag,” “Timber,” “Funky Bitch,” “Architect,” “The Curtain (With),” “Ocelot,” and “After Midnight” from The Gorge. Listen to the “Bathtub Gin>Tube>Walk Away,” the “It’s Ice,” and the “Stash” from Tahoe. Listen to the entire first set from 08/02, to the blistering seven song opening segment from 08/03, and the “Divided Sky” and “Ya Mar” from 08/04. Listen to the “Wolfman’s Brother,” “Scent Of A Mule,” and “Ocelot” from LA.

First sets, which, particularly from 2009 – 2011, were the definition of banality and sterile song selection, now pop with ease.

You can say whatever you want about how jamming displays the evolutionary steps forward for Phish, but, as the irreplaceable Walter G Holland (@waxbanks) showed us in his insightful piece from last week, the energy the band is now putting into their individual songs – particularly those in Set I – proves the refined peak we now find ourselves at with Phish.

Ever since they stopped focusing on their individual song performances in 1997, this singular aspect of the Phish experience has been missing. A point of emphasis since 2009, not until last year was the band truly capable of stringing together complete shows that featured consistently unique performances of their most time-honored classics. Yet even last year, many shows still relied on extra-musical aspects such as song selection, jamming lengths, and gimmicks to be memorable. Here, now, in 2013, there’s simply no question of whether or not their whole shows are going to be standouts, they just are.

Perhaps we can hear this best in the three-song opening segment from 07/27: “Architect,” “Golgi Apparatus,” and “The Curtain With.” A run of songs that, on paper would appear to be a rigid – even, awkward – way to kick off a show, here, in the idyllic setting of The Gorge – and played with such a unified passion as these were – the songs flowed with an organic, and thematic brilliance.

The kind of moment that signifies Phish at their best, one can only imagine that, by the time the band invades their favorite soccer field just outside of Denver, and then tears through some of their most classic venues back east, that this approach will be further explored and capitalized on.

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About That “Tweezer”…

I recently spent a week in Tokyo, on summer vacation from my job as an English Teacher in Korea. On our second day in the country, my wife and I wandered through the Shinjuku and Shibuya neighborhoods, sampling various ramen and sushi shops, soaking in the youthful and creative vibe that permeated around us. We felt alive with that tangible elevation that can only come from travel in a completely new place. At night we made our way to a pub we’d discovered the previous night run by a Japanese man who obsessively collected classic rock records. He graced us with drinks, music that reminded us from home, and invited us to share in a late-night Izakaya feast with his wife.

At one point he put on the 09/02/2012 “Sand,” and the bar, packed with aging Japanese hippies, boogied down like life-long fans.

It was one of the best days I’ve ever experienced in my entire life..

When I arrived back at my hostel I jumped on the internet to discover that Phish had just played a 37-minute “Tweezer.”

I sat at a public computer laughing hysterically.

Somehow this “Tweezer” made this perfect day even better. I wouldn’t even hear the jam for another week, but somehow I just knew…

The thing about this “Tweezer” isn’t so much its length – yes, it’s incredible to see the band played a 37-minute song, but it could have been half that long and it still would have been one of the best jams of the year – nor is it the connective peaks the band reaches throughout – though they are pretty epic. What ultimately makes it so unique, so special, and yes, so important in the historical lineage of monumental Phish jams, is the fact that it reached such a moment of full-band-interplay that it ultimately peaked with a united band AND audience jam, that will go down as one of THE top moments of Phish’s entire history whenever it is they finally decide to hang it up.

By now the topic has been almost beaten into the ground through a series of follow-up “woo’s” in the tour’s final days, and in the endless discussions on the jam that have spread throughout the online community. But, for a moment, just consider the fact that the true peak of the Tahoe “Tweezer” – and the reason the jam will ultimately be remembered – came as a result of an audience instigated cheer within a start/stop jam, that the band immediately latched onto, leading to an apogee within the entire Phish experiment.

This is the artist creating based upon the environment that their audience has created for them.

For all of their history the band has made a point to emphasize how important their relationship with their audience is; how the crowd’s energy often pushes the band to greater heights. Yet, never before has crowd & band seemed so united, so in the moment, so spontaneously connected as they do during the peak of this “Tweezer.” Just listen to the force with which Trey re-enters the jam following the first set of “woo’s” and try to tell me the band wasn’t completely taken aback, and totally blown away by the unified moment of improvisational connection that had just occurred.

Yes, the “woo’s” became a tad over-exhausted by the end of the tour, but, honestly, could you really blame the band for capitalizing on this moment and trying to replicate it? Like their secret language in the early-90’s, their chess match in the Fall of 1995, and the entirety of Big Cypress, the Tahoe “Tweezer” represented yet another completely unexplainable moment of band-audience interplay where Phish just seemed bigger than a rock & roll band.

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A New Old School Approach – 08/02’s First Set

You can just feel the energy seething from the August 2nd Bill Graham Civic Auditorium show simply from watching the YouTube clips. The first set since the Tahoe “Tweezer,” the band enters to a crowd that has seemingly lost its collective mind. Just watch how shocked Trey is as he humbly waves towards the fervent fans.

It looks like what one might imagine a 1994 show in some dingy IHL Arena might be like.

In the moment, and in hindsight, “Free” was the perfect song to open that show with. Could anything else have summed up the unified feelings of their entire fanbase quite as well?

I feel the feeling I forgot…..

I feel freeeeeee………

Freeeeeeeeeeeeeeeeee!

And then that guitar riff…

Without question, 08/02’s first set is the most diverse first set of the entire tour. Combining rarities – “Meat,” “Oh Kee Pa,” “Vultures – tour debuts – the aforementioned along with “Roggae,” “When The Circus Comes,” and “Babylon Baby” – with absolutely stellar playing throughout, it’s – if not the best – then certainly one of the best first sets of the entire tour. Trey just sounds so alive, and in the moment, in the dirty, and building solo out of “Sand,” and in the patient, yet focused, “Reba” that came two songs later.

While one can’t deny the impact of the band’s tighter song rotation here in 2013 – be it more exploratory playing or an influx of repeats – regardless your stance on their structural approach this year, there’s just something about the feeling of being at a show where the band decides to throw down a number of unexpected rarities and bust-outs. Not something any of us should be actively chasing – particularly now, when the band is at the top of their game regardless what they play – when you hear a show full of songs you’d have never guessed the band would have played that night, it just seems to raise the energy and sentiments surrounding the show to an unexpected level.

By mixing “Meat,” “Oh Kee Pa,” “Vultures” and “Roggae” in with rotational staples “Free,” “AC/DC Bag,” “Sand,” and “Reba,” the band crafted a setlist that both celebrated their diverse history, while also displaying their current peak. That they played each of these songs with fresh energy, innovative musical passages, and precision delivery only further emphasized the new/old school gem they unleashed in 08/02’s first set.

Whereas in recent years, these kinds of sets tended to sound bloated and even awkward, everything gelled on the first night in San Francisco.

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The Second Set Of 08/04 & Where We Go From Here

If the first set of the San Francisco run represented a veritable link between Phish’s past and present, then the run’s final set displayed not only how far the band has come over the last five years, but also, where they’re headed.

All summer long the band has used “Energy” to usher in their most innovative and consequential second sets.

On 07/05 it displayed the high level in which Phish was entering their tour at, and graced us with the theme of the tour: Energy & Electricity.

On 07/21 it was the only song Phish could have played at the time, expanding into a limitless jam that eventually flowed into “Ghost,” summing up the phearlessness Phish was playing with, and turning the focus towards the west.

On 08/04 it closed out the BGCA run in perfect fashion, summing up the entire vibe surrounding Phish’s 2013 Summer Tour, while reminding us of the electricity that coursed through the community.

Like the two previous sets it kicked off, the entirety of the 08/04 second set flows from the intangible force that that song has on the band here in 2013. Following with an expansive, rock-based jam off “Runway Jim,” a “Light” that both explored all the musical terrain contained within itself before moving into the Storage Unit, and ultimately towards the original kiln of the storage jam: “David Bowie,” the set was constructed in a way to emphasize their jamming vehicles of old, and of new, while systematically pointing the way towards Dick’s, and the Fall.

So, where are we going?

I wrote about this in my recap of the second week of tour, just about a month ago, which you can read here. In that essay, I argued that – up until 07/14 – the 2013 Summer Tour reminded in many ways of August 2010, in that, while it was an incredible tour to be a part of, little did we know until October, that it was actually the building block for the first true peak of 3.0.

Lo and behold, as this tour moved westward, faced with torrential weather that had consumed the tour until that point, with the band fully aware of timing and the moment, Phish pushed the tour to a completely new level with their second set on 07/21. From there through Hollywood the tour remained on an absolutely consistent and mind-bending high.

I cannot see this ending any time soon.

Phish is completely comfortable back on stage, communicating with each other like they haven’t since 1998. The growing pains that plagued them in their first years of 3.0 aren’t even a conversational bit anymore. There’s no longer a need for a “settling in” process whenever they get back on tour.

When we look towards the remainder of the year, what we find is a Dick’s run that’s sure to be a HUGE moment for the band. Regardless if it actually “tops” last year’s run – something that has more to do with subjectivity than it does with what the band actually plays – one has to imagine the shows are going to have a deeply emotional impact on the band. Beyond that: Fall Tour, most notably a return to Hampton. If one thinks Dick’s will hit the band emotionally, just think what Hampton’s going to be like…

Following the first three-night run in the Mothership since March 6th, 7th, and 8th, 2009 is a tour that takes the band through their most hallowed stretch of country – returning them to Hartford, Worcester, Glens Falls, Rochester, and a Halloween date in Atlantic City. And after all that is the 30th Anniversary Run the band has clearly been building towards, and then finally a return to MSG to ring in 2014!

When was the last time the back-half of a year looked this promising for Phish fans? 1997??? 1995???

The point is, the band built to a sustained peak out west at a time when they’ve only got monumental show after monumental show on their horizon. The thought of where (mentally & emotionally) the band is right now musically, and where (locationally) they’re going to be playing over the next five months is somewhat incomprehensible.

Moreover, the fact that they’re playing sets like 08/04 II where they’re throwing out stunning jams from new songs such as “Light” and “Energy,” combined with innovative takes on their classics – “Runaway Jim,” “David Bowie,” “You Enjoy Myself” – while also fucking around with the crowd by continuing to play a “Horse”-less “Silent In The Morning,” or encoring with “Sanity” and “Bold As Love,” just raises the possibilities even higher as we move towards Fall.

So, where are we going?

Gamehendge, duh…

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When Is The Last Time Phish Peaked Like This?

In my recap of the second week of Phish’s 2013 Summer Tour, I argued that this was the best start to a tour since Summer 1998. Not only do I not feel this statement was in anyway shortsighted or, even overfluffed, but I firmly believe that the way the tour has unfolded since then has only worked further confirm this opinion.

It’s time to go a bit further….

This recent peak from 07/21 through 08/05 represents the most consistent stretch of high-quality music the band has made since 11/17/1997 – 12/07/1997.

It’s true. Go back through the setlists and the shows of the past fifteen years, and try to find a stretch of ten shows that have been played at as high a level as these have. Add in sets like 07/05 II, the run from PNC – MPP, even the Alpharetta run, and this tour is without question the band has played since at least Summer 1998.

This is not to compare the music made from these two eras – a task that would be as impossible as it would be pointless – rather it’s simply a statement on how great things are in the world of Phish right now.

This is also not to say that this peak here in 2013 is somehow better than any of their peak periods from 1998 – 2012 were. This is only to say that Phish has reached a point of consistency on a high level that is absolutely unprecedented in 3.0 and 2.0, and, that the absence of such a recent period was a major factor in why the band decided to take their first hiatus back in 2000.

Ever since the final show in Chicago, Phish has played with both a driven energy, and an understood ease that has always been present in their peak periods. Regardless if they were exploring minimalistic funk grooves, abstract patterns of dissonant noise, the hellish depths of their souls, or prying open the pockets within their own songs, the combination of a driving force, and a relaxed ease has always been needed for the band to reach these heights.

The only difference between these current heights and those from 1998 – 2012, is that, now, the band can sustain them for weeks on end.

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Favorite Shows/Jams Thus Far

I’ve been compiling this list as the tour’s moved along. Were I to grant you my full list that’s currently occupying an itunes playlist, this post would become a lot more bloated than it already is…. Once again, I’ll be focusing here on only a select number of my favorite shows and jams. Rather than ranking them, or trying to grant any a “best-of” status, they’re all simply listed chronologically. More than anything, these are the shows and jams that have really grabbed me as the tour’s evolved.

For any show/jam listed that I’ve discussed prior, I’ve left any sort of write upon them blank. I’d invite you to check out the past lists/write-ups compiled here and here.

Favorite Shows

– 07/05/2013 Saratoga Performing Arts Center – Saratoga, NY

– 07/07/2013 Saratoga Performing Arts Center – Saratoga, NY

– 07/10/2013 PNC Bank & Arts Center – Holmdel, NJ

– 07/12/2013 Nikon @ Jones Beach Theater – Wantagh, NY

– 07/13/2013 Merriweather Post Pavilion – Columbia, MD

– 07/14/2013 Merroweather Post Pavilion – Columbia, MD

– 07/20/2013 Northerly Island – Chicago, IL

– 07/21/2013 Northerly Island – Chicago, IL

– 07/26/2013 The Gorge Ampitheatre – George, WA – To me, this is the most complete show of the entire summer. Combining rarities, gimmickry, jamming, a crafty setlists, and the overall magic that just permeates The Gorge, this is one of those special nights we spend so much of our time and energy as Phish fans searching for.

– 07/27/2013 The Gorge Ampitheatre – George, WA – A more refined approach after 07/26’s throwdown. 07/27 opens with my favorite opening segment of the year, fully summarizing what makes Phish such a special bend. The second set is the definition of perfection in my mind. Fully-flowing, expert selections, top-notch playing of some of their best songs, one listen to this will go a long way in displaying just how high Phish is right now.

– 08/02/2013 Bill Graham Civic Auditorium – San Francisco, CA – Set I might be my favorite of the entire year thus far. Set II is a gem in and of itself as well. With so many rarities and tour debuts in the first set, one might have assumed by simply glancing at the setlist that the flow was sacrificed, but that simply doesn’t happen anymore with Phish. Energy prevails throughout, and the band busts open “Seven Below” and “Stealin’ Time” in Set II before capping the night off with the first ever “Walls Of The Cave” encore, perfectly setting things up for the tour’s final weekend.

– 08/04/2013 Bill Graham Civic Auditorium – San Francisco, CA – Similar in structure to last year’s 08/19/2012 show at BGCA, this show perfectly displays where Phish is at here in mid-2013. Nailing every single song in Set I, the band focuses Set II on two remarkable jam segments – “Energy> Runaway Jim” and “Light -> David Bowie” – while never relenting energy. A perfect show to cap off the best tour of Phish’s career in fifteen years.

Favorite Jams

– 07/06/2013: “Split Open & Melt”

– 07/06/2013: “Carini -> Architect”

– 07/10/2013: “Crosseyed & Painless> Harry Hood”

– 07/12/2013: “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge”

– 07/21 2013: “Energy -> Ghost -> The Lizards”

– 07/22/2013: “Down With Disease”

– 07/27/2013: “Down With Disease -> Undermind> Light -> Sneakin’ Sally Thru The Alley -> 2001” – A 50-minute segment of music that opened up the final set at The Gorge, this flowed from sparse/rhythmic themes in “DWD” and “Undermind,” to contemplative melodies in “Light,” before building to a massive funk/rock peak in “Sally.” The first half to my favorite set of the summer, this is just further proof of both the power of The Gorge, and the unique peak Phish currently finds themselves in.

– 07/31/2013: “Tweezer” – 37 minutes. The woo’s. Trey’s riff. Tears. What more can I say?

– 08/03/2013: “Rock & Roll -> Steam” – A diametrically different take on “Rock & Roll” than JB’s extended-Type I jam, this version explores the innate groove within the song before segueing fluidly into one of the stronger “Steam’s” we’ve heard thus far. For me, there’s just something about the force in which the band enters the “R&R” jam segment that says so much about how high they’ve been over the past month.

– 08/04/2013: “Energy> Runaway Jim” – The theme song of the summer combined with an age-old classic that’s jammed to a menacing and lengthy rock-based peak. It’s the kind of stuff that’s becoming commonplace here in 2013.

– 08/05/2013: “Harry Hood” – Three songs before the tour’s conclusion, the band expanded on “Harry Hood,” crafting a 22-minute gem that stands up with some of the best versions ever played. No matter the fact that the band clearly wanted to play an upbeat, if, safe show, IT was still racing through their veins. Times like these, even the band can’t even control when they’re going to hook-up.

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And this concludes tackle & lines recap of Phish’s west coast run. Hope everyone has enjoyed this tour as much as I have! Please feel free to leave me comments here, or at my twitter feed: @sufferingjuke. Can’t wait for Dick’s!!!

Review: Saratoga Springs, NY – 07/06/2013

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Saratoga Performing Arts Center – Saratoga Springs, NY – 07/06/2013

Set I: Crowd Control> Chalk Dust Torture, The Wedge, Funky Bitch, Heavy Things, Bug, Bouncing Around The Room, Tube> Julius, Split Open & Melt

Set II: Backwards Down The Number Line> Tweezer> Sand> Carini -> Architect^, Wilson> Boogie On Reggae Woman> Possum

Encore: Show Of Life> Tweezer Reprise

^ “Architect” made its Phish debut

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Phish is so good. (well, duh)

Phish is so good right now.

The fact that they’re able to play a show like they did tonight, and achieve as much musical greatness as they did is a huge testament to everything they’ve worked towards since March 2009.

In a show that, at worst, felt run-of-the-mill, and at best felt like more foundational work for the year ahead, that the band was able to connect like they did in “Split Open & Melt” and “Carini” is nothing short of remarkable. Both alone are reason enough to give this show a full (re)listen. They’re easily the two best moments of this young Summer Tour.

Perhaps though, the show could best be summed up in the Set II closing “Boogie On Reggae Woman> Possum” segment. While yes, the second set was the kind of classic Saturday-night-hits set the band routinely throws out in 3.0, these two songs – neither of which did anything surprising – both featured the kind of interplay that defines where Phish is right now. They listen to each other, and toy within songs in ways they just couldn’t from 2009 – parts of 2011. A show like this would have been as bad to listen to/attend as it would have looked on paper.

Yet here, in 2013, the band is able to turn a standard “Boogie On Reggae Woman> Possum” into an engaging and memorable closing segment. Sure, it’s not the greatest way they could have closed a set. Sure, there are probably a hundred more songs fans are clamoring to hear in that part of the show than “Possum.” But it’s as sure a sign as any that the band is back to crafting greatness at will when even their most standard moments become transcendent.

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The first set worked in essentially the same way that each of the two previous first sets of tour did: a well-played run through the band’s standard first set ‘singles’ followed by time-honored connection to take us to intermission.

In many ways the “Crowd Control through “Heavy Things” segment sounds exactly as you would expect it to sound. The songs are nailed, and immediately create the type of summery/no-worries vibe that constitues a Phish show. A rare Set I “Bug” – first since 09/25/2000 – provided the first moment of surprise in a set that I’m guessing won’t be granted a re-listen by many-a-fan.

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Musically, “Tube” offered fans the first moment of space and exploration as the band took a lengthy stroll through the song’s funk breakdown between the second and third verses. Moving into the semi-unknown, the jam seemed to be extended by way of the rousing applause that accompanied each continued moment the band didn’t return to the song proper. While it never truly left the structure of “Tube,” it’s the kind of moment that makes listening to and following Phish so rewarding.

You’re at a show, everything’s going along as expected. Everything is GOOD. You’re dancing, you’re drinking $14 schwill. It’s hot as hell. Everyone is happy. Then, you start to hear something, and wonder if you’ve ever heard it before. I mean, you’ve heard the band jam “Tube,” but you haven’t hear this, this thing that they’re playing right now.

Is this a jam?

Is it an extension of “Tube?”

You don’t know.

But it is happening. It is being created right now, right in front of your eyes. It’s these brilliant little moments, these steps out into the unknown, in the present tense, that only work to elevate a Phish show from its already expected release of emotion and elation, to something more unknown, muddying, and interesting.

Two songs later the band expanded upon this kind of exploration in what has to be regarded as, if not the best, then certainly the most compelling “Split Open & Melt” of the entire 3.0 era. A song that has been voraciously lambasted by many fans for the band’s insistence on employing dissonance and noise into the jam, last night’s “SOAM” transcended any musical landscape the song has traversed in years. Through an initial segment dominated by Trey’s pitch-shifting, Fish just stops playing at one point, moving the jam into an abstract/beatless territory, before it finds itself in a beautiful zone of pure melody.

It’s all the more powerful that they found themselves here in “Melt” because the song has represented in so many ways the conflicts present within 3.0, at least until 2012. Trey has long been persistent in playing dissonant harmonies over Mike, Page, and Fish creating a wall of sound – which, by the way works perfectly for the industrialized lighting rig Kuroda’s using – that rarely has led to any legitimate hooking up. While I have personally loved everything about 3.0 “Melt’s” I can certainly understand why so many fans take issue with its jarring nature.

For all those who’ve long despised what the band has done with the “Melt” jam in 3.0, the 07/06/2013 “Melt” should go a long way to change minds. It is literally representative of everything Phish does so well. It’s weird, it’s beautiful, it’s discomforting and embracing all at once. Throughout it all, the band is constantly moving forward. It’s only flaw is that Trey forces a jarring transition back to the “Melt” theme as the band continued to push deep into the unknown. And yet, maybe the transition had to be so jarring. Maybe it works. After all, how they landed in such beauty out of “Melt” of all songs is jarring in and of itself, right?

——–

If there’s anything guaranteed with Phish these days it’s that Saturday night’s are rock shows. Routinely, the band has treated their Saturday shows throughout 3.0 to a more structured, energized, rock-based approach that tends to feature less improve, and more songs. In some ways 07/06’s second set broke this mold, in others it played right into the pattern.

A quick glance at the show’s setlist and one would have to assume the “Tweezer> Sand> Carini” segment was upwards of 50 minutes of uninterrupted improve. Well, that’s what we thought about 06/01/2011 as well.

Rather than attempt to explore “Tweezer” or “Sand” in any meaningful way, the band instead hung within the song’s structures. While not bad versions by any means, the “Tweezer” and “Sand” were simply unspectacular in the way that tepid songs tend to be when they last ten minutes. In short, “Tweezer” and “Sand” just aren’t good enough proper songs to simply be played without any additional effort or will. There’s a reason they were both written structurally to allow for a seamless passage into the musical unknown.

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“Carini” on the other hand instantly developed into what has to be regarded as the best, and most complete jam of the Summer Tour thus far. Like all GREAT 3.0 “Carini’s” this one immediately became interesting once the band switched into a major keyed-theme. Quickening the pace, the song took on almost something of a bluegrass feel, featuring delicate and poignant lines from Trey, and linear musical communication throughout. It’s up there with anything from Dick’s or MSG, and surpasses the 07/05 “Light” and 07/03 “Golden Age” based wholly on the fact that it left nothing on the table, even resolving itself in a perfect segue into the debut of “Architect.”

(I kinda hate the fact that I just compared it to two jams from the past four days as if this is some sort of competition. I really hate that this is my third comparison of the piece. Both the “Light” and “Golden Age” are phenomenal in their own right, and each of the above jams just fit their individual show in an overtly thematic way that wouldn’t have worked in the other shows. Maybe I just like the “Carini” more. Maybe it just clicked. Maybe had the other two concluded a bit more naturally I wouldn’t feel this way. Who knows. I’m trying to avoid comparisons in these reviews, and I’ve only lasted three shows.)

One of the better songs off Traveler, “Architect” completed easily the most seamless part of the set and show, and instantly feels like a rotation song for Phish. Like many of Trey’s post-rehab work, this song is heavy on themes of redemption and gratitude. Like many of his post-rehab work, it’s also incredibly cheesy, a bit too direct, and could use some serious editing, especially in the imagery department. Regardless, it fits the aura of 3.0, and provided a proper landing pad for the phenomenal “Carini” jam, while also boasting a moving solo itself.

The set ended with “Wilson” (cause sometimes you just need to rawk-the-fuck-out mid-Set II) and the aforementioned pair of “Boogie On> Possum.” Capping the night with a “Show Of Life> Tweezer Reprise” I couldn’t help but wonder why they didn’t just save the latter for the final show of the run. Sometimes, particularly when the band plays an uneventful “Tweezer,” or a somewhat incomplete show, it feels a bit like cheating when they still close with “Reprise.” I mean, did they really earn the “Reprise” tonight?

——–

From where we stand right now, three shows into the 2013 Summer Tour, one can’t help but wonder if there’s that BIG show just lurking in the near future. Don’t get me wrong, none of the first three shows have been bad. They’ve all been essentially flawless shows boasting energy, improv, fresh setlists, segues, and three excellent debuts. At this point in the tour, you’d be a fool to suggest the band is a.) mailing it in, b.) rusty, or c.) delivering underwhelming shows. And yet, one has to consider that, based upon the unprecedented highs of 2012, and the fact that the band just sounds great right now, bigger things are both possible and immediately attainable.

With one more night at SPAC to cap off the holiday weekend and the tour’s first week, that show, that unexplainable gem of a show where everything just works, regardless what songs they play – think 12/30/2012, 08/28/2012, 08/19/2012, 07/06/2012, 06/22/2012, for recent examples – feels within reach. The foundation has been laid in the Summer of 2013. Phish sounds incredible, they’re playing is fresh, and their jams have been expansive. Throw in a complete show to the mix and this tour would immediately look unstoppable.

——–

Thanks to Phish.Net (www.phish.net) and The Mockingbird Foundation (www.mbird.org) for organizational assistance and sourcing of setlists!

Review: Saratoga Springs, NY – 07/05/2013

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Saratoga Performing Arts Center – Saratoga Springs, NY – 07/05/2013

Set I: Kill Devil Falls, The Moma Dance, Sample In A Jar, Roses Are Free, Birds Of A Feather, Yarmouth Road^, Bathtub Gin, Nellie Kane, Army Of One> My Friend, My Friend&> Cities -> David Bowie

Set II: Energy^^> Light -> The Mango Song#> 46 Days -> Steam> Drowned## -> Slave To The Traffic Light

Encore: Character Zero###

^ “Yarmouth Road” made its Phish debut

^^ “Energy” (The Apples In Stereo) made its Phish debut

& “My Friend, My Friend” was unfinished

# “The Mango Song” contained a “Light” tease

## “Drowned” contained a “The Divided Sky” tease

### “Character Zero” contained a “Jean Pierre” tease

——–

Two shows into the 2013 Summer Tour, and there’s a pattern developing. Whereas in 2011 and 2012 Phish emerged from hibernation with a focused determination, and immediate connection, thus assaulting their fanbase with some of their strongest overall shows in each respective year, it appears that in 2013, the band is taking a bit of a more refined approach.

No one in their right mind would say the last two shows have been bad shows. No one would either say they’ve been resoundingly great shows. (Quite frankly I’ve seen both extremes espoused on PT and Twitter, but we’ll just assume those extremes are, well, extremes…) What they’ve been instead are solid overall shows that have featured both patient foundation setting, interspersed with moments of chemistry and hooking up, which if nothing, but foreshadow great things to come as the tour unfolds.

In some senses you could look at 07/03/2013 as Tour Opener A. and 07/05/2013 as Tour Opener B. Like I pointed out yesterday, let’s not go calling either of these the best shows ever, nor the onset of Phish’s demise.

——–

In many ways Set I of 07/05/2013 played out like the first half of a basketball game. With Trey playing the role of facilitator, he made certain to get each member involved throughout the somewhat uneven frame. Setting the foundation for the tour, Page got his moment with the delicate, contemplative, and (while, yes, a bit mawkish) deeply personal “Army Of One,” Gordo debuted a bubbly, reggae number, that just sounds like summer at a Phish show – “Yarmouth Road” – even Fishman got to stretch his vocal chords with a second song “Moma Dance.”

Kicking things off with the banally standard triumvirate of “Kill Devil Falls,” “The Moma Dance,” and “Sample In A Jar,” each song did what they needed and nothing more, much like the “Possum> Runaway Jim” opening segment from 07/03. “KDF” rollicked in its musty barroom stomp, proving no matter how unsurprising it is to hear, it’s never not fun, “Moma” was graced by the Meatball effect, and “Sample,” well, “Sample” couldn’t quite get to that place that ever justifies its existence.

The middle part of the set took on something of a recital feel to it with the energy combo of “Roses” and “Birds” – the latter of which featured a blistering solo from Trey – a resoundingly boastful peak in “Gin,” the aforementioned debut and Page-number, and the always welcome prettiness of “Nellie Kane.”

(I say none of this with any overt criticism, mind you. And, like I pointed out yesterday, these songs, and their intended effect, was assuredly elevated by the idyllic setting of SPAC, the left-over day-drinking buzz, and the sweet stench of recently puffed marijuana lingering listlessly in the air. If you want my honest opinion, I feel like the band more than deserves the three sets they’ve opened the tour with. They more than proved their improvisational ambitions and abilities in 2012, and, now, coming off a seven-month layoff, in preparation for what’s most likely to be their heaviest touring year since 2009 (and perhaps even longer) have more than earned the right to take their time settling into this tour. If they want to focus on establishing chemistry, confidence, and full-band communication through “Possum,” “Kill Devil Falls,” “The Moma Dance” and the like, more power to them.)

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Closing with a phenomenal “My Friend, My Friend> Cities -> David Bowie” segment was  just the thing the set needed to send it into setbreak. “MFMF” featured some choice theatrics from Trey who used his mic stand as a slide effect; he then looped the noise to be used as part of the fade to “Cities.” I’ve always loved how “My Friend” begins in such pristine territory, but by the song’s end, you’re grasping your skull, wondering what the fuck went so wrong so quickly?!?!

“Cities” initially felt a bit flat only to pick up a groove that then led into an interesting Page-led jam segment. A moment that felt like it could have turned into something had the band stuck with it, instead turned into an effortless fading segue into “Bowie.” No harm/no foul here. An improvisational end to “Cities” would have certainly felt jarring at the end of such a structured set. The “Bowie” built upon the phenomenal 12/28/2012 version without surpassing it. Finding itself in a genuinely beautiful zone of music, Trey led the middle-segment of the jam which featured patient and melodic trills, rather than aggressive chromatic shifts. It’s clear at this point that the band simply loves what’s possible once they’re in the middle part of “Bowie,” something that’s gotta resonate throughout their fan base.

——–

Is there anything worse than this kind of sideline reporting? Couch tour rehashing of music that was made four hours ago, some 8000 miles from where I sit?

I mean, I can’t even feel the grass of the lawn below my feet. I haven’t paid $14 for a beer since NYE. I haven’t tasted the chemical wonderland of Molly since the night prior.

There’s truly a distinct feeling that comes with being AT a Phish show that can’t be surmised in 2000 words from a couch (ahem, chair) in the middle of the afternoon in Osan, South Korea, right? Right?

I don’t know. That’s in large part why I’m attempting this project to review the entire Summer Tour from where I currently reside. You have to admit that I’m at least right on a few of the points from Set I, no matter that I simply couldn’t have felt the roar – that roar – of the crowd when they peaked “Roses” like they always peak “Roses.” Yet, this was that “Roses” that happened when you found yourself in that perfect pocket of dancing space, and the mix of white and red lights were just fucking perfect in the way they shone on the balcony, even peaking through to the endless hordes of people on the lawn, thus bringing EVERYONE in for one unified roar, and for one second, one moment in time, it felt that everything, I mean EVERYTHING, was going to be okay.

EVERYTHING, for one moment felt solvable. It lasted only a second, but it happened. It’s been recorded. And you were there. It’s why you came to the show, afterall, for that one moment in time.

Did I feel this moment? I know I certainly felt something as I watched this show while simultaneously cooking eggs. I know my wife and I turned and smiled at each other in the way we always do when those moments of communal purity happen at a Phish show.

But could my feelings, which are in so many ways so removed from the feelings of the 20 – 25,000 attendees at the show, yet so connected in the way that technology and music can only allow them to be, could my feelings help to explain what happened musically tonight? Or any night of tour for that matter?

I still don’t know.

——–

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Set II flowed in the kind of way every Set II should. The kind of set you can just put on and let it go, do your own thing, check in from time to time, work out to, mow the lawn to, cook to, read to, write to, etc. When the band creates a fully-flowing album-like set in the live setting, in front of 20,000 people, it’s a remarkable thing.

While it may be forgotten by the end of the weekend – remember, everyone was lauding 06/08/2012 in the break between Worcester and AC, but you hear nothing about it anymore – for the moment, it’s a perfect representation of Phish in the zone. Thematically it ran the gauntlet through an intriguing swath of emotions that retraced many of Trey’s biographical steps in essentially reverse order.

— the ecstatic-preacher (“Energy)> new-agey celestine explorer (“Light”)> momentary bliss -> resident goofy/loopy prankster (“The Mango Song”)> middle-aged drug-fueled disillusionment (“46 Days”) -> secret D&D extraordinaire (“Steam”)> rawk/cawk guitar god (“Drowned”) -> expansionist minimalism -> simple nonsensical beauty for the sheer sake of being nonsensically beautiful (“Slave To The Traffic Light”) —

Could it have been better? (Sure, but that depends on your definition of better…) Could the band have pushed “Light,” “46 Days,” and “Drowned” even further into the unknown in search of the elusive Dick’s/MSG improvisational aura? Of course. But that would have in some ways compromised what they did do so well.

Opening with a cover debut of the Apples In Stereo 2007 song “Energy” felt initially out of place, but ultimately worked with the overall set. Filled with a sung “Awww Yeah,” from Trey, and repeated lines “In The World (!)” from Mike and Page it resonated in the cheesy new-agey way that so many of Phish’s 3.0 songs do. Flirting with dissonance, the song ultimately gave way to “Light,” in all actuality, the song everyone WANTED to hear.

Building off a solid foundation that held true to the 08/19 and 09/01 versions, the jam left “Light” for a more rhythmically-centered terrain before effortlessly (really emphasize the effortlessness here. It’s amazing how fucking easy Phish makes transitioning mid-jam appear these days.) moving into a subdued, Trey-led segment. It then entered an absolutely gorgeous realm highlighted by a Page/Trey interwoven duel (ala 07/01/2012) that represents the best pure moment of the Summer 2013 Tour thus far. A jam that felt destined for greatness (in terms of further evolution and a natural resolve) Trey forced – a bit – a pre-meditated segue into “The Mango Song.” While a bit jarring on re-listen, in all actuality there are worse fucking songs you can segue into than “Mango,” so who can really bitch at this point?

The “46 Days -> Steam” segment just flat out kicked ass. The band just kills “46 Days” every damn time they play it now. They’ve got it down to a science (similar to how they crush every “GBOTT”) and this version simply did not disappoint. From the all-out cawk-rawkiness of the Trey solo, to the hints of dark funk that ultimately led to a reprised, full-on funk workout that hinted at “Manteca,” the song crushed its mid-Set II placement. Following what many presumed would be the closing coda of the song, Trey initiated brilliantly led the funk jam into the first “Steam” in over a year.

Is there anything cheesier than releasing steam in the chorus of a song when the the band says “Steam”???

Is there anything more perfectly Phish-like?

Like the way this song just fits the nerdy/70’s arena rock vibe that constitutes so much of a Phish show, the use of the steam just fits the song and the band’s overall show so perfectly. Placed perfectly in the middle of the set, “Steam” proved to be one of the overt highlights in a set full of them. Reaching a massive peak while flirting with dissonance and infringing melodies, this version is easily the best we’ve heard the band play thus far.

The set ended with an apropos “Drowned” (a nod to the pre-show rain storm) that rocked in the way it should before landing in a gorgeous ambient jam that led seamlessly into easily the best damn “Slave To The Traffic Light” the band has played in all of 3.0. Building off the sublime 12/30/2012 version, this “Slave” was emotive, it was patient, it built to a proper and rewarding peak, it was a beautiful take on a song that’s there simply to provide beauty and release. Similar to the previous show’s “Hood,” it’s clear the band has re-embraced playing their classic emotional rock peak songs with the kind of patience and power that the two require.

A cawk-rawkish “Character Zero” ended things, and in many ways was a fitting send-off to a show that balanced a rock-based, structural approach, with the fluid, and improvisational high points in “Bowie,” “Light,” Drowned,” and “Slave.”

Two shows into the tour and the band is clearly laying the groundwork for some massive music to come, while also interspersing their current shows with some of the most fluid and improvisationaly-strong music they’ve played in all of 3.0. Could they be doing more? Sure. Should they be doing more? I think not. The approach they’re taking as they ease into their 30th year is but a microcosm of the one they’ve taken throughout 3.0. Great things are sure to come.

——–

Thanks to Phish.Net (www.phish.net) and The Mockingbird Foundation (www.mbird.org) for organizational assistance and sourcing of setlists!

Review: Bangor, Me – 07/03/2013

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Darling’s Waterfront Pavilion – Bangor, ME – 07/03/2013

Set I: Possum> Runaway Jim, Stash, NICU> Wolfman’s Brother, Rift, Theme From The Bottom> Chalk Dust Torture> Mike’s Song> Silent In The Morning*> Weekapaug Groove

Set II: Golden Age> Twist> Backwards Down The Number Line, Ocelot, Rock & Roll -> 2001> Cavern> Run Like An Antelope

Encore: Harry Hood#

* First “The Horse” – less “Silent In The Morning” since 17 June 2012

# “Harry Hood” contained a “The Divided Sky” tease

——–

The first show of a summer Phish tour is always about more than just the music played.

It’s a celebratory rejoicing of the band being back and making new music once again.

It’s an opportunity for old friends to reunite in a random parking lot, open field, or sports arena.

It’s – as Andy Greenberg, Zach Cohen, and Mr. Miner so eloquently said yesterday – a return to that metaphysical quest we’ve all undertaken for truth and purpose through music and travel.

It’s the first chance we all have to gauge what the layoff did to the band, and surmise at what music we may hear from them in the coming touring season.

It’s like Opening Day in baseball; in the end, it matters little if your team wins or loses, just that the game is back in your life. For the first time since winter, there’s opportunity (and reefer, of course) in the air.

——–

Historically, tour openers have typically been regarded as opportunities for the band to simply re-settle into the road. However, in the 3.0 era, Phish has regularly come out firing on all cylinders from show one. From 06/11/2010 to 05/27/2011, 08/05/2011, and 12/28/2011, to 06/07/2012, 08/15/2012, and 12/28/2012, the band has, in recent years, jumped fully back into a tour with standout shows that typically set stylistic tones for the tour ahead.

Yet, what a tour opener can really tell us about a tour is up for the debate. The Chicago 2010 show preceded the weakest overall tour in 3.0. The 12/28/2011 show looked to carry the fire from Dick’s straight through to MSG, which turned out to be all for naught. To the contrary, a severely underwhelming three-night-run to open Fall 2010 in Broomfield, CO did little to hinder the magic of that tour’s final two weeks. Even in 2012, when the band opened with perhaps their best opener since 1999, (though what does that really mean anyway?) few could have predicted the highs the band was going to hit as the tour unfolded.

Essentially, it’s best to take tour openers with a grain of salt. Enjoy them for the sheer fact that Phish is back in our lives, but don’t go calling anything the best/worst ever before, during, or after them.

1012304_10151444225366290_976737831_nAll this brings me to the first night of the 2013 Summer Tour, and the onset of the band’s 30th Anniversary.

By showtime two things were clear:

1. The band had made their first adjustment in their stage alignment since Coventry. Fish rotated to the back between Mike and Trey, on level with the band, and positioned slightly ajar facing Trey. It’s essentially a mix between their 1999 – 2000 and 2.0 set ups. Enacted so Trey can clearly hear the entire band without the drums being in the monitors, the move bodes big things for the band in terms of overall communication and improvisation.

2. Kuroda has totally overhauled his lighting rig. Gone are the three screens that he used to create patterns, and write Phish on with his lights. In their place are a vast array of canned lighting, some new, old-school floor lighting, and a canvas screen backdropping the ENTIRE stage that allows for even bigger and bolder lighting patterns.

What these two aesthetic adjustments do to the music is still unknown, but you’d nary find any fan with a good reason not to praise the band tinkering with their system here, some thirty years in.

As for the music…

Set I kicked things off with a run through a litany of old-school Phish classics. By set’s end, there wasn’t a single song played that had been written after 1995. Reminiscent of 10/31/2009 and 06/13/2010, the set was a clear nod to the past, here at the onset of the band’s 30th Anniversary.

“Possum” got things rolling the way “Possum” is meant to get things rolling; nothing more, nothing less. At first listen, Trey’s use of his older Languedoc gave him a much cleaner sound, as he offered spry and playful licks throughout both the opener and the subsequent “Runaway Jim.”

Neither shocked nor awed, though neither one had to.

I’m sure that being in the venue, ankles deep in the sodden grass, perspiring beer in hand, that old, funny feeling rushing through your veins, the sight of balloons and beach balls bouncing through the air, the sheer greenness of a post-rained sunny summer day in Maine, the pot drifting through the air, the energy of 15,000 fans and friends cheering with all their might, helped to make both tracks feel bigger, and more impactful than they were.

In terms of your own personal memories and emotions tied to the show, it is neither my duty, nor my desire, to alter them.

From my perspective however, much like the opening combo, “NICU,” “Rift,” “Theme From The Bottom,” “Chalk Dust,” and even “Mike’s” did exactly what the were placed there to do – which was reacquaint both band and audience with being at a Phish show, while subsequently keeping the energy flowing – and nothing more.

The most interesting aspect of Set I came in a “Stash” which toyed with dissonance, as the band played around with the concepts of darkness and light. While never fully embracing the underworld, nor becoming an overtly major-keyed, happy-“Stash” jam, (ala, 10/31/2010) the song proved, nonetheless, that the band is both excited to build from their monumental 2012, and is also feeling that loose-tightness that only comes from practice and chemistry.

Beyond the “Stash,” “Wolfman’s Brother” messed with some seedy funk before resolving itself in a satisfyingly high-fiveable type of arena-rock peak, “Chalk Dust” featured incredible energy due to its placement and an excellent solo from Trey before fading into “Mike’s.” The high point of energy from the set, and perhaps one of the peaks of the show, the two songs paired perfectly together in the moment. While “Mike’s” still remains a caged beast, it’s nevertheless, always effective at offering an energy burst to a show in just seven minutes that few other songs will ever be capable of.

Ending things with the first “Horse”-less “Silent In The Morning” since Father’s Day 2012, and a Mike-a-fied “Weekapaug Groove,” the set ended in not only more interesting territory than it began, but also displayed a consistent upward mobility of energy and playing from the band. Solid, solid way to kick off 2013. While few may revisit it from here on out, this is the kind of set you can throw on at a bbq and not catch too much flak from your non-Phish fans. Great songs, great energy, great fun.

Welcome to Phish 2013.

——–

I recently wrote an essay about “Golden Age” highlighting while I believe the band is struggling with improvising on the song. You can read it here.

Regardless your opinion on how the band is fairing in terms of jamming it, one thing will always be clear: it’s just a damned fun song to hear at a Phish show. A perfect song to open the second set of the first night of their 30th Anniversary year, the song speaks directly to the Phish community, and the 3.0 era, like few of their originals ever could.

Musically the jam on the TV On The Radio hit moves effortlessly into a pseudo-funk dance-territory almost immediately. Employing subtle rhythmic licks from Trey, its Page who takes the lead here on his Rhodes. Anchored by Mike and Fish, the jam is immediately less frenetic than it has been in past versions, allowing Trey a bit more leeway to trade leads with Page rather than scatter ideas all over the place. Following some meatball magic from Gordo, Page infuses the jam with some major scales offering a distinctly different take on the jam.

A year to the day after the most successful and transcendent version the band has played of the song, here they were, once again harnessing a new approach to the jam. Space is key in the jam’s final minutes, as each member balances rhythmic groove with patience and atmosphere. Yet right before it had a chance to take off into some truly untapped space, the jam was cut short for a fade into “Twist.” A hopeful sign nonetheless for the jam in the coming year, I myself am incredibly eager to hear how the band can build on yet another version that almost got there.

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A lot has already been said about the middle part of the second set. A lot more doesn’t need to be said. They played “Twist> Backwards Down The Number Line, Ocelot.”

Individually I love each one of these songs. (Hate if you will, “Number Line” just sounds like Phish to me in the happiest state, and “Ocelot” always makes me feel like I’m dancing on the lawn at Alpine no matter where I am.) Together, in the 2,3,4 slot of the first second set of the tour, not so much. From the seedy bounce of “Twist,” to the bubbly happiness of “Number Line,” to “Ocelot’s” slow-trotting western groove, they are an odd mix at any time in a show. Props to the band for mixing up their sets, and I for one, would certainly love to hear “Ocelot” expanded upon in a future second set, but we’ll chalk this segment up as the first genuine misstep of the tour.

The second set ended however, in commanding fashion with a segment that reads: “Rock & Roll -> 2001> Cavern> Run Like An Antelope.”

A thrilling run of songs, it’s more energy than jams, and a great cap to the first night back. “Rock & Roll” does it’s cawk-rock thing before it finds itself in some interesting space through its last minute and a half. Ultimately, however, it serves as a lengthy fade into “2001.” Offering Kuroda his first chance at truly testing out the new lighting rig, the song does what all modern-day “2001’s” do: groove, peak, groove, peak, fade to next song. “Cavern” adds to the old-school feel still lingering from Set I, and “Antelope” shines for a second straight July 3rd. An expansive version that features interwoven chromatic phrases from Mike, Trey and Page, before building towards an explosive, and unified peak, the song is up there with the 08/14/2010, 10/20/2010, and 07/03/2012 versions as the cream of the 3.0 crop.

Is there anything better than a “Harry Hood” encore? How about a standalone “Harry Hood” encore? How about a standalone “Harry Hood” encore to end the first show of the tour?

While something of an odd choice after a show that ultimately just ushered the band back into tour with a standardly solid first set, and an energetic, if a bit uneven, and wholly contained second set, no one in their right mind will ever deny the sublime brilliance of Mr. Hood commandeering us into the post-show reality. This version does what it needs to and even offers a bit more. An excellent take on the classic that builds off the gorgeous versions from 08/15/2012, 09/02/2012, and 12/30/2012, my prediction that 2013 would be a banner year for “Harry Hood” already looks like my safest pick of the year.

——–

And with that, night one of Phish’s 2013 Summer Tour is in the books. The band now heads to SPAC fully charged, kinks out, knowing that on a night when they weren’t fully capable (or, perhaps willing) to take too many chances, they still got to that place with “Stash,” “Wolfman’s Brother,” “Golden Age,” “Run Like An Antelope,” and “Harry Hood.”

A tour opener in the historical sense, my guess is few will be talking much about this show three months from now. Not for nothing, however, for a show that will probably be forgotten by summer’s end, it still carries enough promise to keep all our hopes up for the summer to come. Like I said at the beginning of this piece, the tour opener is like Opening Day in baseball. Phish certainly didn’t play their best show of 2013 tonight. But, so what? Phish is back, that’s all that matters for now. If this is an “off” show, just imagine how the band is going to sound once they really get in a groove.

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Thanks to Phish.Net (www.phish.net) and The Mockingbird Foundation (www.mbird.org) for organizational assistance and sourcing of setlists!

Summer 2003 – Ten Years After

phish100This month marks the tenth anniversary of the 2003 Summer Tour, which saw Phish trek across America – their last to properly span both coasts. A tour that blurred the lines of their overall 2.0 legacy, it also displayed a band – 20 years deep – pushing their music far into the unknown on a nightly basis. A year, and a tour that was unfairly maligned in many ways as it was happening, few tours have aged quite as well as Summer 2003 has. Much of this is due to the band’s relentless exploration throughout its entirety. Much of it is also probably due to the fact that Phish fans tend to come around on every era the band has played. Enough time passes, even 2009 starts to look like the best year of 3.0. Insipid music listening patterns will do that to a lot of people.

After returning from a two-year hiatus with a sub-par reverse-NYE Run in New York City and Hampton, Phish finally rediscovered their form throughout the two-week-long, LA – NC, Winter Tour in February. Hinting at many of the themes that would come to fruition throughout July, they nightly tore down into the rabbit’s hole in search of any light that could guide them through the unknown. That they often found even more darkness only worked to push them even further. Defined in many ways by Trey’s uncompressed, distorted, and gruesomely dirty tone, their jams took on a distinctly bluesy sound, rife with unrefined psychedelia, which bore little resemblance to any music they’d ever made before. For examples and confirmation, direct your ears towards the Chicago “Simple,” Cincinnati “Gin,” Nassau “Tweezer,” and Worcester “Moma Dance” (among, obviously many, many more jams) each of which displayed the untapped musical mine they’d unearthed throughout the tour.

Stylistically, the music they made throughout 2.0 has been called oxyjamming. Whatever that means. While sure, there are stories that Trey was struggling mightily with the on-again/off-again patterns of a hooked narcotics user, by all accounts, the Summer 2003 tour was a totally sober tour. (Whatever that means.) Are these the kinds of jams that would sedate an oxy-addict in withdrawal? Would one recommend steering clear of the pot and LSD and heading right for the pharmies in order to properly understand the musical mess Phish conjured up in 2.0? I have no idea. I guess the name just sounds like these jams in an abused, disoriented, ominous way that certain words just sound like what they’re describing. Oxyjamming has such a sloppy connotation to it, after all.

These were the first jams the band graced me with as a 18-yr-old noob seeing his first shows. To me, they often sound like the literal confusion I was experiencing in the period between high school and college. For the first time, life appeared both full of unknown potential, and increasingly baleful all at once.

At times it sounds like the band is literally fighting to stay afloat. At others, you’d have thought they were on the fringe of a massive breakthrough. It’s all very convoluted and messy.

Some people take issue with the apparent slop that dotted the band’s typically button-tight classical compositions throughout 2003. This is a fair point, to a certain extent. By all accounts the band re-engaged as Phish without participating in a single focused practice session in almost five years. Age and side project obligations played a part as well, as the band had clearly lost the youthful camaraderie – the whole inside-joke part of their performance – that had served them so well in their ascent from outcasted UVM Dead-cover-band, to regularly headlining MSG, and commanding upwards of 100,000 people to make a four-day trek to the upper reaches of Maine. And yet, while you can certainly find moments of slop throughout 2003, it’s not as if you can’t find numerous incidences of slop, and inconsistent dedication to their time-honored approach throughout much of 1997 – 2000 as well. Taken as a whole, 2003 is clearly the tightest they were as a band throughout 2.0. But, then again, I guess that’s not saying much.

The argument people love to make is that in 1995 – the summer tour in particular, which is the closest amorphous musical brethren to Summer 2003 – the band balanced a precision/energy-based approach within their compositions, while regularly spawning maximalist musical adventures into the far reaches of the unknown. To that point, all’s one can say is: true. But, it wasn’t 1995 in 2003, now was it…

The overall point is, that in the isolated Phishdom between October 7, 2000 and March 6, 2009 – a period wherein only 58 shows were played – that the band was able to tap into whatever connective force was driving them, and muster as many memorable shows/sets/jams as they did in 2003, is as true a testament as any to them as a creative engine. That these shows/sets/jams often coincided with the literal breakdown of both the band’s aesthetic, and their own personal lives only further separates the entire era from everything that else Phish has ever done.

People often complained – many times, rightly so – throughout 2009 and early 2010 that we were experiencing an era of Phish Lite. (Some continue to grouse this same point today, but it’s best to just ignore them.) Essentially saying that the music being created by the band was something of a weak imitation of everything they’d been capable of just eleven and twelve years earlier. Granted, in 2009 they had five years separating them from their last tour – ten from their last year of consistent touring – that was all moot in the face of the fact that the jams – THA JAhhhMS brAh (!!!) – were lacking. Yet, for however justifiable the criticism was in 2009, that the band needed essentially no time diving back into the netherworld when they reemerged in 2003 (technically speaking 2002, but…) is, well, the aforementioned testament.

Perhaps the key to all this inspiration can be found in the loose, late-nite-stoned-laziness of The Victor Disc. But, what was the spurt for that? That’s for another post and another time.

This essay is less here to find the historical roots of Summer 2003, as it is to honor and try to understand what happened throughout the tour.

While yes, 2003 initially received a burst in fan support and recognition in mid-2009, once it became clear the jams weren’t immediately coming back in 3.0. In many ways still, 2003 could take the award for ‘most underrated year of Phish’s career.’ Sure, a completely subjective argument – and one probably not really worth anyone’s time trying to quantify – the point is, that for however misunderstood the 2.0 era is in Phish’s overall legacy – I mean, did Parke Puterbaugh dedicate more than two paragraph’s to it in The Phish Bio?? – it’s home to some of the most jaw dropping, innovative, frightening, fall-on-your-face-failure, moody and introspective elations, and simply, unique examples of improvisation the band has ever engaged in throughout their entire career.

As follows is: Summer 2003 – Through The Jams. Ten jams, tracking the entirety of the tour. Each one signifies the various stylistic dimensions the band was willing to toy with, while also displaying the overall unifying elements that gave the tour its signature sound. That each tour has its own distinct sonic quality should come as no great revelation. Perhaps though, aside from Summer 1995, Fall 1995, and Fall 1997, Summer 2003 just sounds like Summer 2003 more so than most other tours in literally every moment of its existence.

Maybe it was a political message about the decade of war, paranoia and instability we were settling into. Maybe it was a response to all the intra-band issues still unresolved. Maybe it was just the right place and the right time. Whatever inspired them throughout the tour, one thing’s for certain: Summer 2003 stood the test of time, and is more than worthy of yours.

Big thanks to the guys over at www.phishtracks.com  for all the links for this piece!

*One quick note about the selected jams — this is neither a “Best Of” nor a “Favorite Jams” piece. These jams were all selected based on my sense of how they display the overall evolution of the 2003 Summer Tour.

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“Bathtub Gin” – 07/09/2003 – Mountain View, CA

Three shows into the tour, Phish dropped their first complete set and show, displaying a musical dexterity only heard in glimpses during the tour’s first two shows. With a five-song first set that opened with a sublime “You Enjoy Myself -> Simple,” and a fluid second set that featured a bizarre and scintillating take on “Piper,” the keystone of the whole night could be found at the end of the first set in “Bathtub Gin.” A song that produced a number of top-notch jams throughout 2003 – see, 02/14/2003, 02/22/2003, 02/28/2003, 07/26/2003, and 12/30/2003 – the version from Shoreline may be the most noteworthy. Less danceable than many of its counterparts. Less obscure that other versions. The 07/09 “Gin” is the sound of Phish 2003, the way one would expect to find them when locked in a studio, or mid-soundcheck.

Emerging from the song’s theme with a rollicking dance-beat from Fish and Mike, Trey intends to keep the jam grounded, employing his over-effect’d tone to explore the spaces between Mike and Fish, rather than command the lead, or try to impact the jam with rhythm. Employing the blues/rock riffs that had become so common throughout the winter, the jam neither meanders, nor stays put, nor necessarily takes off. Sure there’s some climax happening here, and a few moments of tension and release – see, 14ish min – 15:45ish – but it’s clear throughout that the band is far more focused on how far they can push the jam, rather than achieving any defined peak.

To this point, the most compelling aspect of this jam comes from 17:56–on when Trey signals a fade from the lethargic groove. Initiating a stoned, late-night, come-down jam, space opens up, and Page’s ambient washes become the central part of the jam. Hinting at the musical landscape the band would explore with far more earnestness in the IT “Tower Jam” and “Waves,” this is a musical space that’s perilously distorted, and yet soothingly blissful all at once. A unique blend of darkness and light, the Shoreline “Gin” is the first real indication we have in July 2003 of a band eager to dive as deep into their improvisation as possible; in constant search of a musical plane that wouldn’t have been discovered had it not been for the experimental dive that preceded it.

http://www.phishtracks.com/shows/2003-07-09/bathtub-gin

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“Piper” – 07/19/2003 – East Troy, WI

In what’s perhaps the best year for the red, red, worm – though 1997 and 1999 certainly have something to say about it – the version played at Alpine Valley on 07/19 is neither the best, nor even the most interesting. In the summer tour alone, there are two versions that are more coherent, and more dynamic than this particular version – 07/09/2003, 07/31/2003. Yet, what separates the Alpine Valley version from the rest of the tour, and what puts it on this list, is the similarly subdued – read: peakless – jam that shares distinct thematic ideas with the 07/09 “Gin.”

Peaklessness was an overall focal point of 2003, as the band sought – deliberately or not – to direct their jams into more abstract, open soundscapes, rather than groove on a few themes while building towards some all-inclusive “big bang.” Many of the best jams of the year flow with seemingly reckless abandonment. Conflicting stews of alternating musical concepts are tossed together, all leading to an often confusing, if not incoherent, period of wading through the ideas tossed at the proverbial wall, before one is loosely latched onto until the next moment of musical amalgamation. Perhaps the jam that most displays 2003’s union with Summer 1995, the 07/19 “Piper” is more about the journey of the jam, than any sense of destination.

If there is any moment of full-band-connectivity, it comes from 12:01 – 14:05 wherein which Trey brilliant employs his Tremelo effect over a sturdy support system from Mike, a top-of-his game, abstractly holding-a-driving-beat, Jon Fishman, and Page littering the entire section with ascending and descending scales of complying melodic and dissonant passages. Yet once they discover this moment of unified jamming, they dive head-long back into the swamp, surrendering the last 10-odd minutes to soupy, psychedelic-driven-mayhem. Akin to a Fall 1997/Island Tour jam gone mad, there are moments where it feels like if the band just willed it, they could hook-up and discover transcendence – see, 20:55 to the end.

And, yet, that’s not the point of the 2003 Summer Tour. Less was the band in search of the simplified moments of ubiquitous groove that defined their 1999-2000 period, which directly preceded the hiatus. Instead here, the whole goal is the depth of music discovered. Often times, in jams such as the 07/19 “Piper,” this search yielded few tangible rewards. And yet, this was a band undeterred by the potential of falling on their faces. Like so many of the jams that needed large swaths of muddingly tedious experimentation to discover bliss, the tour itself needed a host of jams akin to the 07/19 “Piper” to overcome both their fears of the unknown, and prove that even if the band didn’t always come across brilliance, the rewards of simple exploration were more than worth it.

http://www.phishtracks.com/shows/2003-07-19/piper

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“Harry Hood” – 07/25/2003 – Charlotte, NC

The much-revered Phish classic – capitol C – for it’s historical legacy, consistently transcendent versions from 1993 – 1996, and emotive peak that is often positioned as cap to whatever show it appears in, in 2003, the band regularly took “Harry Hood” where it had rarely even hinted at going before. While yes there were some truly captivating exploratory versions throughout 1997 – 08/14/1997 and 12/30/1997 immediately come to mind – you’d be hard-pressed to find a single traditional version of the song played on the 2003 Summer Tour. (The lone example comes as the second set closer to a 07/13/2003 Gorge show that, quite frankly, needed the warm and comforting familiarity of “Hood” after the psychologically destructive “Seven Below” that preceded it.) Perhaps out of a need to shake things up, maybe out of bordem, maybe out of an innate desire to fuck with their trusty old friend, 2003 – and to a large extent, 2004 – featured a stunning variety of lengthy, Type-II takes on “Hood.”

The jam in question is, in my humble opinion, the most interesting, and most diverse of the Type-II “Hood’s.” Granted, one could make the argument that the 07/18 version, which sticks closer to the “Hood” theme, while still breaking new ground, or the 07/31 version which is an overall tighter take on the sprawling jam are better representations of the extended “Hood,” there’s just something to the uncompromising endless push of this version that just resonates with me.

A sublime post – “Thank you Mr. Hood…” section is highlighted by particularly gorgeous piano work from Page, until, at 10:16 Trey finds his way out of the theme through at jarring chord, before backing off and allowing the band to shift downwards. Yet it’s at 12:10 where things really move in a totally opposite direction as Trey forcibly imparts an aggressive rock structure into the jam. Note Page throughout the jam, as his response to this somewhat abrasive decision is to paint a wall of keys behind Trey’s impatient lead, creating the ideal cushion for the jam’s immediate shift. That they find a unified moment of connection is a miracle; the segment from 15:54 – 16:53 is some of the most hooked-up Phish you’ll find in all of 2003.

Perhaps what’s most remarkable about the jam is – music aside – the simple fact that it’s reminiscent of the messages the band sent to their fans with their sprawling jams in June 1995, and their slimmed-down setlists in 1997. Here, in 2003, they’re indicating a willingness to jam any/all of their songs. That their taking such liberties with one of the emotionally coveted songs in their catalogue is all the more bold. I think, in many ways, this was the overall issue many fans had with the band from 2009 – 2011. That lack of aggressive dominance and willfulness over their catalogue had seemingly disappeared.

Ultimately resolving itself in a less-than-satisfying peak off the rock-based jam they’d been toying with through various themes over the past few minutes, the jam spends its last 3ish minutes in a realm of directionless abstract noise before somehow finding the closing peak of the “Hood” jam. (Seriously, listening back, one has to wonder how the fuck did they actually rediscover “Hood”???) A more confounding piece in many ways than even the 07/19 “Piper,” the 07/25 “Hood” shows what happens when a band cares little about the emotional rewards of paying customers, and instead, treats a mid-tour-jam as if they were locked in a room, tossing potentially meaningless ideas at each other. It’s both brilliantly important, and absurdly infuriating all at once.

http://www.phishtracks.com/shows/2003-07-25/harry-hood

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“Crosseyed & Painless” – 07/29/2003 – Burgettstown, PA

If one were to rank the best jams of 2003, you’d be hard-pressed to find a more enthralling, resolutely satisfying, or unanimously praised jam than the “Crosseyed & Painless” from Star Lake. After littering Set I with nine-straight bustouts, that Phish would open the second set of their one-night stop in Western, PA with a song that had only been played three times in the previous six calendar years was enough to push the show into untapped territory. That the jam that emerged contained nearly 22-minutes of the most connected, unified, and determined improvisation of the year was the kind of thing that only happens in the historically brilliant moments of Phish’s career.

From essentially the moment they leave the structure of “C&P,” the jam is distinctly more focused than literally anything else played throughout the tour. And, yet, for however determined and hooked-up the band was, they sacrifice none of the exploratory zest that had thus far defined the entire summer. Led by the tour’s MVP – Jon Fishman – the jam turns on a dime at 6:20, leaving the Latino/North African sway of “Crosseyed” for something more electronic and post-modern. Like a cross-breed between the infectious grooves of the Funk Era, with the distorted and grungy hangover-rock of 2.0. With a plethora of ideas coming from each member, there’s none of the meandering psychedelia from the majority of the tour to be found. This is vintage, locked-in Phish. In the pocket; unprecedented in 2.0

So, why include a jam that so clearly deviates from the unified sound of the tour?

Because, this jam in many ways displays the total worth of the band’s relentless exploration throughout July. Were it not for all the moments of wandering experimentation, who knows if the band would have discovered such a stream for the kind of unified dive down into the rabbit’s hole they took with this “Crosseyed.” And yet, perhaps the imagery of them diving into the rabbit hole is purportedly incorrect. There’s something heavenly about this jam that’s just not present throughout the entire tour to this point – save for the 07/22/2003 “Gumbo.” It’s as if all the darkness that’s surrounded the preceding jams has led to a spiritual awakening within the band, thus guiding them away from the underworld they’d been so insistent upon residing in. This impact of the melodic, the positive spirituality, the salvation rather than damnation, is perhaps never clearer than in the moment when they band loses momentum and direction from 10:48 – 10:58, and yet, as if they’d planned it all along, discover a completely new, totally untapped, essentially more rewarding musical landscape to play around in.

This, the same band who two days earlier bickered an entire show away.

That this jam features easily the most assured playing from Trey throughout the entire tour is not for nothing. There’s a clear break from the tour that came before, and the remaining five shows, and there’s no coincidence that the brilliance of the Camden and IT shows are directly correlated to the whole-band exploration within the 07/29 “Crosseyed.” Seriously, in some ways this jam sounds like the prelude to everything achieved in the Dick’s “Undermind” and “Chalk Dust.” It’s the kind of jam that makes you wonder what could have been had the bottom not fallen our for Trey.

The peak that begins in earnest at 12:03 and lasts until 14:39 is easily the most celebratory piece of music they’d played thus far in the tour, and a direct building block to the massive “Ghost” five nights later. That they still had twelve minutes of quality exploration left untapped after the peak just goes to show how hungry they were for the unknown in 2003.

16:21, another instantaneous change. From the aggro-groove-rock that defined the previous five minutes, to a more subdued, melody driven jam. There’s simply no time in this jam for the band to become lost. Even when they meander, as they do throughout the jam’s final ten minutes, none of it feels unnecessary, nor forced. It’s one of those jams where they’re simply playing the music they’re supposed to be playing when they’re supposed to be playing it. One idea emerges and the band follows suit, exploring it to all its worth, until another member comes up with another. It’s musical democracy in its highest form. That it happened within the vaccum of 2003 is difficult to understand.

Finally at 22:40 we enter the final segment of the jam, as Trey signals with a appropriately placed “Wilsonesque” downstroke that the jam has reached its organic lifespan. The stylistic brother of the 07/30 “Scents & Subtle Sounds,” the denouement is akin to the smoldering coals on a fire. A fade to darkness after so much natural light.

Perhaps part of the reason the 2003 Tour took so much flak is that it took the band until the fifth-to-last show of the tour to produce such a naturally unified jam as the 07/29 “Crosseyed.” And yet, that’s part of the overall brilliance of the 2003 Summer Tour, something that’s increasingly become apparent in the 3.0 era: the band is neither capable of, nor willing to participate in Phish with the same relentless time/energy as they did in the late-80’s/early-90’s. As a result, their leaps forward are more gradual, and a result of more publicized failure than they were perhaps risking early on.

Regardless, they got to the 07/29 “Crosseyed.” That’s the key. The rest of the tour was a run for the ages. Also, it’s about damn time they brought back “Tunderhead” as a landing point for jams.

http://www.phishtracks.com/shows/2003-07-29/crosseyed-and-painless

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“Scents & Subtle Sounds” – 07/30/2003 – Camden, NJ

A microcosm for the entire 2.0 era, perhaps no show – aside from 02/20/2003 – received more vitriol immediately following it, only to be reborn as a veritable classic in later years. Coming on the heels of the Burgettstown show, which featured numerous bust-outs the fanbase had been clamoring for, a brilliant jam in “Crosseyed & Painless” and the first “Harpua” since 11/02/1998 taboot, it made sense the first night in Camden would underwhelm. Yet, for whatever expectations fans held about the final stand before IT, it’s clear from the moment the band dives into a monstrous third-song jam off “Scents & Subtle Sounds,” that they intend to use the show as an opportunity to push their music even further.

The lone keeper of the new songs unveiled over the course of the tour, “Scents” spent the first half of the tour locked in a 2-show rotation, wherein which the band focused on the melodic bliss of its post-lyrical “Hoodesque” jam. On 07/23 however, they opened the show with it, and, feeling inspired, took it on a 20-minute journey before resolving it in “Theme From The Bottom.” Not seen in seven days, when they initiated the new-agey preach for spiritual enlightenment, the depths of its musical expansion was really all the band could focus on.

A lethargic, yet still beautiful – in the way that only 2003 songs could be – composed segment led to the jam’s initial movement. Though, just watching the YouTube clip of this jam, it’s clear Trey is eager to get the band into the unknown. A signal to both Mike and Page brings an ominous tone of darkness to the jam at 8:15. What’s clear about the jam though, is that, once they fully push beyond the “Scents” theme, they’re as locked in as they were the previous night during “Crosseyed.” The jam ebbs and flows with organic (un)precision, each member offering an idea that fits the puzzle as it constructs itself. Far more seedy than the spiritual awakening of the “Crosseyed,” the “Scents” finds Phish toying with the under-worldly, and brooding concepts that had overtaken their music in 2003, yet doing so without the meandering, soupyness that had so far defined it. This is a band fully focused on their goals, diving deep into the dark matter of their music, and crafting brilliance.

Yet for as focused or democratic as the band is in conducting their jam, up until around 15minutes in, its clear this is not the music you play in a live concert. (Not to mention the music you play three songs into a show.) There’s a late-night sludge to the jam, a stoned-haziness that sounds like a direct-link between The Victor Disc from eight months earlier. It’s as if there’s no one watching, or pressuring the band. The weight has been lifted, and it’s abundantly clear that all the time spent simply pushing their music further and further – for the sheer sake of pushing it – has resulted in a musical clarity, and an organic conversation that couldn’t have come about without said experimentation.

A period of downtempo, contemplative rock highlights the middle part of the jam from 18:23 – 19:59. Then, at 20:01 Trey finally settles on  hazily beautiful tone and theme, building the jam towards a sustained peak that only relents at 24:06.

Dedicating the final five minutes to the same murky, and foreboding music that brought “Crosseyed” to its resting point, the jam dissolves organically; a proper cap on the entire journey. They’d reached a point in the tour where their jams breathed with new life until, there was no more life. That the final five minutes are often as horrifying and jarring as they are, only speaks to the musical outskirts they’d trekked to. Displaying both the full worth of their improvisational exploration, and the command they had over their communication, and their music, the Camden “Scents” is one of those jams that just could only have happened in the Summer of 2003.

http://www.phishtracks.com/shows/2003-07-30/scents-and-subtle-sounds

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“Twist” – 07/30/2009 – Camden, NJ

After achieving such musical brilliance in the first set “Scents & Subtle Sounds,” Phish opened the second set with a muddled, tedious, bewildering, and ultimately transgressive jam off a song that’s seen its fair amount of them: “Twist.” Whereas the “Crosseyed” and “Scents” that came before it produced organically-driven music, where untapped landscapes appeared effortlessly, there’s simply nothing subtle about, when, at 7:00 into “Twist,” the band nosedives straight into Hell.

A maddeningly bleak jam ensues, defined more by a unified swamp of noise, than any forward-progressing music. This is a wall of sound being built, rather than a journey being undertaken.

Returning to the core of abstract psychedelia that had defined much of the tour, the “Twist” at times feels like a statement made in opposition to the successes of the “Crosseyed” and “Scents.” It’s as if the band – acutely aware of their tour nearing its end – is actively trying to become uncomfortable once again. The jam becomes a dizzying swirl of noise, and reaches points of chaotic experimentation that has a direct correlation with June 1995.

All of a sudden, at 12:05, an industrialized pattern begins to emerge. The drumming becomes sparse, the piano and guitars take on a more polyrhythmic feel. It’s like nothing that has been played since perhaps the 07/18 version of “Twist.” They’ve broken through again, and in doing so, have found a key in which to push their music even further in the tour’s waning days.

Back to the swirling descent into Hell, the jam becomes the full-band conversation that had been ever-present in the “Crosseyed” and “Scents,” only here, the focus is less on letting the music carry them, as it is they who are actively pushing the music forward. That they’d found such communicable brilliance in the two aforementioned jams resulted directly from the fact that they, as a band, surrendered to wherever the music would take them. It’s so clear though throughout the “Twist,” that it’s them as a unified group who are doing the controlling.

And yet, for however they try to infringe upon the organic nature of improvisational music, they’re powerless to the plane of musical bliss they reach at 18:07. That they find a light at the end of the tunnel of dizzying madness is a remarkable feat. Proof once again of the total value in their experimentation. A concept we’d see put into practice in two more standout jams from the tour, the Camden “Twist” only furthered the musical renaissance of 07/29 – 08/03/2003. That it did so by going so totally against the grain of the two best jams of the tour thus far would help to lead to the unprecedented musical brilliance found at IT.

http://www.phishtracks.com/shows/2003-07-30/twist

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“Waves” – 08/02/2003 – Limestone, ME

Few songs appear ready to be jammed as did “Waves” when it first debuted on NYE 2002. Perhaps the most Dead-like song the band has ever written, “Waves” both fit the downtempo feel of the post-hiatus era, and was recorded as an open-ended jam to close out Round Room. Thus when eight months later, it had failed to produce a single version that traversed beyond its structure, many wondered if the band was simply unsure of what to do with it.

In the midst of the most fluid set of the IT Festival, the band finally delivered the “Waves” everyone had been waiting for.

For a song that musically just sounds like standing on a beach in the NW as clouds gather and grey waves swirl in front of your eyes, and lyrically referes to a loss of control, and a sense of peace being found under the water, the jam that ensued on 08/02 combined both of these sentiments in one unified and mesmerizing experience.

I know I’ve tossed around the term unprecedented a lot here in this essay, but, seriously, is there any precedence in the 2003 Summer Tour for the IT “Waves”??? So much of the sound of the summer was based off of a muddled drive forward into the unknown, led by Fishman’s expansive rhythms and Trey’s grungy tone. Yet, this “Waves” is the sound of a band just there. It’s like they’re just residing in space. It’s so ambient. It’s so patient. It’s so unified. It’s so much a peak moment of the band’s entire career.

It’s as if all the sounds, all the jams, all the hours spent wading in unknown perdition have led to this moment of absolute clarity, focus, and presence. You can’t even really say they’re focused though, because it all sounds so effortless. They’re just there, playing, because they’re there playing.

It’s also a moment that’s so bittersweet for any Phish fan. It’s such a clear peak moment for the band – really, the entire IT Festival was one enormous peak for 2.0 – and yet, it was all so unsustainable.

As the IT “Waves” and the three jams that follow each show, no matter how sober, how unified, or how focused the band may have been in the Summer of 2003, the jams that were produced were a clear result of demons surfacing from within. In the context of their history, these jams make complete sense when one accounts for the personal trials of each member.

A singular moment of clarity within the 2003 Summer Tour, the 08/02 “Waves” sounds nothing like the band in Phoenix on July 7th, and exactly like how Phish has always meant to sound all at once.

http://www.phishtracks.com/shows/2003-08-02/waves-jam

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“The Tower Jam” – 08/02/2003 – Limestone, ME

When Phish followed their 08/15/1998 Lemonwheel show with a candlelit Ambient Jam in the style of Brian Eno, it was both the culmination of the minimalist style they’d been toying with since Halloween 1996, and a self-conscious decision to focus more on Ambient jamming.

When Phish locked themselves in a USA Storage Unit on the night of 07/02/2011 and went on to shock their fans by playing an entire set of uninterrupted space and noise, it was a revolutionary step forward in the 3.0 era.

“The Tower Jam” from IT is somewhere between those two extremes. In many ways it sounds like the culmination of the muddying, hypnotic, everything-in-the-pot-stew that defined the improv of that summer. At other times, its a statement on how much further, how much deeper, how much more the band could take their music. It’s like an amalgamation of everything the band has accomplished up to this point, and how much further they could go. It feels like a rebirth in places.

Aided by the visual effect of the fiery traffic control tower re-awakened after years of inactivity, and the added psychological mind-fuck of the sheer remoteness of Loring Air Force Base, the fact it was the middle of the night, and the history of UFO activity that has dotted Limestone, ME’s past, the jam takes Phish’s music to places it simply can’t go in a standard rock concert environment.

The entire jam is an unravelling work of art which must be listened to in full, and truly, any written breakdown of it would be an injustice. Just know that this is a moment in Phish’s history that deserves your full, unyielding attention. It’s the sound of a band exploring the inner reaches of their mind and soul, and also discovering, after twenty years, just how much more they can do with their music.

That the band would only play 25 more shows between here and 03/06/2009 is an absolute tragedy.

http://www.phishtracks.com/shows/2003-08-02/tower-jam

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“Ghost” – 08/03/2003 – Limestone, ME

The celebratory roar to the “Tower Jam” and “Waves” deep and expansive masterpieces the IT “Ghost” is home to both the most massive peak throughout the entire 2003 Summer Tour, and the largest glowstick war that’s ever occurred at a Phish show. Seriously, just listen from 8:03 – 13:47 and try to resist dancing.

It’s in many ways the lone gunslinger of the tour. It’s got the arrogance and the balls that the “Crosseyed” did, plus dedicates its final 10 minutes to the kind of murky exploration that defined much of the tour. It’s that unification of styles in such a blatant way that works, even as it doesn’t

You could certainly make the argument for the fact that it’d be far more pleasing if the jam were to only offer its more refined, rock-based, first half. But isn’t there something to be said for just how far, and how out there the band was willing to stretch, and peel back the layers on this jam? Me thinks so, at least.

There’s this point in the jam, 15ish minutes in, where Trey starts looping a swirling riff over a prodding rock base from Mike, Fish and Page. In that instant, the swirl of noise and harmonic dissonance sounds like the love-child of Summer 1995, December 1999 and Summer 2003. It’s these three eras of defined exploration all meeting in one singular jam.

The IT “Ghost” just feels like the kind of jam that could only happen at a festival, hundreds of miles from the rest of America. It’s so big, it’s so bloated, it’s so free. There’d be no way for the walls of an arena, nor the roof of a pavilion to contain it. Just when you think, around 20:05, that it’s finally reached its breaking point, it discovers a whole new landscape to explore for the next 11 minutes.

The final comedown of the jam is neither totally engrossing, nor really captivating. It’s just there. (Don’t get me wrong, for fans of unyielding noise-ladened jams like myself, it’s pure brilliance. But most people tend not to be…) It’s kind of like the hangover to the previous night’s “Tower Jam.” It’s a statement – much like the following jam – for all that was accomplished throughout the summer. Rules – aside from the aforementioned sobriety – were tossed by the wayside. The only goal was exploration, followed by further exploration.

So what if a jam peaked over ten minutes prior? If the band wanted to follow its smoldering leftovers to the edge of the world, so be it. In this context, that the band would proceed to open their final set of summer with a near-40 minute vomit of unabashed noise and sound is quite fitting.

http://www.phishtracks.com/shows/2003-08-03/ghosterem_Miami-NYE-2003-Behind-the-stage-copy

“46 Days” – 08/03/2003 – Limestone, ME

Is there a single jam in Phish’s extended cannon that both accomplishes essentially everything the band intends it to, and is so resoundingly despised by the overall fan community as the IT “46 Days”?

Following five minutes and thirty-three seconds of toying with the song’s theme, the band dives head-first into the rabbit’s hole, not to emerge for well over 30 minutes. The capstone to an entire summer of relentless exploration, the IT “46 Days” goes further, longer, and deeper than ANY other jam throughout the tour, save, obviously, the “Tower Jam.” Akin to the 11/29/1997 “Runaway Jim,” or the 06/14/1995 “Tweezer,” the IT “46 Days” is a constantly moving organism, wherein which ideas naturally emerge, yet rarely lead to any coherent plane of musical significance. There’s some maddening shit throughout this jam. To experience it live would be to wonder if the band was just fucking with you for the sheer sake of it.

And yet, it’s the fitting denouement to a tour full of unparalleled exploration, the likes of which we simply haven’t seen with as much consistency since. (I guess we did in 2004, but so many of those jams were just excuses to fill time. The 2003 jams had purpose; a goal.) From 11:45 – 16:54 the band resides in a hypnotic, tribal trance that sounds nothing like anything they’ve played before, or certainly since.

Following the systematic destruction of literally everything that had been played since they left the song’s theme, the band discovers one of the most sublime musical passages they’ve ever played. Initiated by Fishman at 22:31, the jam becomes a hazy late-night groove that simply wouldn’t have been discovered without the fifteen minutes of unified chaos that preceded it. It’s like the last five minutes of the 10/31/1998 “Wolfman’s Brother.” After residing in such a nightmarish dimension, the band discovers a seedy and slow blues strut that grooves like nothing else.

The ever present theme of the tour: keep pushing further and further ahead/down, and something is bound to emerge out of all the darkness. The said theme carries the band through to the 30-minute mark whereby it discovers barroom rock before returning to the “46 Days” theme. A segment of music that could only have been produced by a band reeling from a month of heady exploration, not to mention six sets of peak performances, it once again proves the worth of all this seemingly senseless exploration throughout the tour.

http://www.phishtracks.com/shows/2003-08-03/46-days

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Closing the curtain on the Summer 2003 tour, the IT “46 Days” was the send-off to one of the most successful, combative, controversial, exploratory, and unabashed tours in the band’s history. That 20 years in Phish was still this willing, able, and dedicated to the kind of exploration, and improvisational brilliance that emerged from the “46 Days,” and the overall tour, is something few bands could ever hang their hat on. The fact this all came immediately following a two-year break, and almost immediately before the band “broke up” is a whole different story.

In the end Summer 2003 is what it is: a moment where the band sought to reestablish the creative control of their career, and in doing so, careened their music off into the unknown, in effort to see what the underworld would offer them. To say it was a successful tour would be an understatement, and, in some ways, a misnomer. The tour confounded many, and elated others. In many ways it simply couldn’t be fully appreciated until it was long gone.

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.

The Best Of Phish – 2009 – Part II

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– With Summer 2013 Dates just announced, I felt it appropriate to give 2009 it’s proper due. Here follows is a recap of the first year of 3.0, including picks for Best Jams and Best Shows. Part II today is the Show, click here for Part I. Enjoy! –

The Best Of Phish 2009

Honorable Shows

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Susquehanna Bank Center – Camden, NJ – 06/07/2009

Set I: Chalk Dust Torture, Fee+, Wolfman’s Brother, Guyute, My Sweet One> 46 Days, The Lizards, The Wedge, Strange Design, Tube, First Tube

Set II: Sand, Suzy Greenberg, Limb By Limb, The Horse -> Silent In The Morning, Sugar Shack^, Character Zero> Tweezer

Encore: Joy^, Bouncing Around The Room> Run Like An Antelope> Tweezer Reprise

+ Trey forgot the lyrics halfway through “Fee”

^ “Sugar Shack” and “Joy” made their Phish debuts

Eight shows into their 3.0 comeback, Phish returned to one of their favorite venues, and put on a show still revered today, proving they could transcend the initial limitations set upon themselves. On the last night of the NE-Run of Summer’s First Leg, Phish settled in, played a masterful first set, a contemplative second set – bookended by two of the best jams of the year – and an extended encore, all for some of the most devoted fans they have. Personified by the ambient jam that emerged out of “Fee,” the old-school/new-school combo of “My Sweet One> 46 Days,” and the antics that ended the set with “Tube,” and “First Tube,” the first set was a relaxed affair, devoid of the recital approach that had plagued many of the tour’s other first sets. In Set II, the band opened with a monster jam off of “Sand,” before treating the crowd to a string of old school classics, and blissful numbers, with “Suzy” and “Silent In The Morning,” along with the debut of Mike’s bubbly “Sugar Shack.” The best moment though, might have been the powerful “Tweezer” that ended the set. Coming as a surprise out of the expected “Zero” set closer, the jam built into a monstrous storm led entirely by Trey’s endemic licks. Ending the set on a high note, all’s the band had to do was the standard “Bouncing> Tweeprise” and people would have gone home  happy. Though opting to toss in the debut of “Joy,” along with a raging “Run Like An Antelope,” the encore took on the feel of a third set, reminding everyone just how much the band cherished their home turf. The show of the year to many-a-fan, Camden ’09 is significant in many ways. Perhaps most lasting is the fact that it was the first show since their return in March that could be argued as “show of the year.”

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Red Rocks Amphitheater – Morrison, CO – 08/01/2009

Set I: AC/DC Bag, The Curtain With*, Mound**, Gotta Jibboo, Guyute, Punch You In The Eye, Tube, Alaska> Run Like An Antelope+

Set II: Rock & Roll -> Down With Disease#& -> Free, Esther***, Dirt, Harry Hood##

Encore: Sleeping Monkey, First Tube

* First “The Curtain With” since 15 August 2004

** First “Mound” since 31 December 2002

** First “Esther” since 30 September 2000

+ “Run Like An Antelope” contained the lyrics ‘Been you to have any slush’

# “Down With Disease contained “LA Woman” and “Taste” teases

## “Harry Hood” contained “Dirt” and “Free” teases

& “Down With Disease” was unfinished

A night after playing their best show of 3.0 to that point, Phish returned for the third night of their unprecedented four-night run (by 3.0 standards) at Red Rocks, and put of a nostalgic performance, thus complimenting the innovative playing of the previous show. A nailed and emotive “The Curtain With,” played for the first time since Coventry, was really all anyone needed to know how the band felt about their return, some five months in. Following it with the first “Mound” since 31 December 2002, was icing on the cake, as the band nailed the clearly practice Rift-era rarity. The rest of the first set was a classic mix of summery, first set tunes, highlighted by a pungent jam out of “Tube.” In the second set, the band took “Rock & Roll” and “DWD” on extended journeys, a jam segment that made one of the final cuts for the jams of the year list. Continuing the bust-out theme, “Esther” was played for the first time since Vegas ’00, before closing things out with the introspective “Dirt,” and a notable version of “Harry Hood.” Long revered by fans, the six-song second set became something of an oddity following this show, as the band routinely abandoned multiple jams, in favor of bursts of energy throughout Set II’s. A solid show through and through, 08/01 was the perfect follow-up to 07/31’s torrential onslaught, and reassured fans that their best performances in 3.0 weren’t necessarily one-off affairs. More than anything, this show put an indelible stamp on the ’09 Red Rocks Run that won’t be removed until they decide to revisit the Colorado gem.

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Cumberland County Civic Center – Portland, ME – 11/29/2009

Set I: Possum> Down With Disease, Nellie Kane*, Weigh, When The Circus Comes, Kill Devil Falls, Water In The Sky, Stash, Meat+, Undermind, Mike’s Song -> I Am Hydrogen> Weekapaug Groove

Set II: The Moma Dance> Rock & Roll> Light -> Crimes Of The Mind**> Pebbles & Marbles> 2001> Golgi Apparatus> Cavern> Run Like An Antelope

Encore: Free Bird***, Carini> Waste

* First “Nellie Kane” since 01 July 2000

** First “Crimes Of The Mind” since 28 November 2003

*** First “Free Bird” Since 22 June 2000; First a capella version since 28 December 1998

+ Prior to “Meat” Mike was introduced as “The Artist Formerly Known As Cactus, now The Artist Currently Known As Prince”

Closing out their strongest weekend of the Fall 2009 Tour, Phish threw down a two-set affair, highlighted by a fun-loving first set, and a fully-flowing, jam heavy Set II. Coming out the gates with the one-two-punch of “Possum> DWD,” the band held little back on this night in Maine, gracing the first set with a “Nellie Kane” bustout, and notable versions of “Meat” and “Undermind.” But the second set is where the real magic is at, as the band didn’t take a single break throughout, crafting a particularly memorable jam segment in “Rock & Roll> Light -> Crimes Of The Mind.” The latter – the only time to be played without The Dude of Life on vocals – was not only a massive surprise, but built into a powerful jam before fading into “Pebbles & Marbles.” Closing things out with an energized “2001> Golgi> Antelope” closing trio, the set was a complete thought, devoid of miscalculated ballads, or misplaced fillers. In the encore, the band treated their fans to two rarities in “Free Bird” and “Carini,” and an emotive “Waste,” sending everyone out into a chilly post-Thanksgiving week, and onwards to their MSG return. One of the strongest performances of the Fall Tour, Portland came on the heels of the tour’s most memorable stretch, when the band just destroyed Philly and Albany, proving they still had something in the tank after so many memorable shows.

The Top Ten Shows Of 2009

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Alpine Valley Music Theater – East Troy, WI – 06/21/2009

Set I: Brother+, Wolfman’s Brother, Funky Bitch> The Divided Sky, Joy, Back On The Train, Taste> Poor Heart, The Horse -> Silent In The Morning, The Man Who Stepped Into Yesterday* -> Avenu Malkenu*> The Man Who Stepped Into Yesterday*> Time Turns Elastic

Set II: Crosseyed & Painless# -> Down With Disease##&> Bug> Piper### -> Wading In The Velvet Sea, Boogie On Reggae Woman, Slave To The Traffic Light

Encore: Grind, Frankenstein++

+ During “Brother” each of the band members kids’ came on stage and climbed in a giant bathtub

++ “Frankenstein” feature Trey on a five-neck Guitar, Mike on an Inferno Bass, and Page on a Keytar

* First “The Man Who Stepped Into Yesterday -> Avenu Malkenu> TMWSIY” since 07 July 2003

# “Crosseyed & Painless” contained a “Let It Grow” tease

## “Down With Disease” contained a “Taste” tease

### “Piper” contained a “Can’t You Hear Me Knockin'” tease

& “Down With Disease” was unfinished

On the final night of the First Leg of Phish’s 2009 Summer Tour, the band graced their fans with a memorable show highlighted by the first annual – until 2013, that is – Father’s Day gimmick, a lengthy Set I, and a fully-flowing second set, anchored by two excellent jams. When a crew member brought a bathtub out to center stage about five minutes before show time, a roar generated throughout the crowd, in anticipation of whatever the band had up their sleeves. Opening with the first “Brother” since IT, the band invited each of their kids on stage to climb into the tub, ala the song’s lyrics. Initiating a Father’s Day tradition, the gag sent a joyful message as to just how important sharing their family with the Phish experience was to the band members’ throughout this 3.0 run, while at the same time sent a shout-out to their life-long fans who’ve become father’s of their own in the years since Coventry. The revelry spilled over into a thick “Wolfman’s” a “Funky Bitch,” per request, and a poignant “Divided Sky.” Forty minutes in, it was already the show of the tour. Closing the set out with the notable and old-school combo of “The Man Who Stepped Into Yesterday -> Avenu Malkenu> TMWSIY,” followed by their most recent composition, “Time Turns Elastic” was as symbolic a pairing as any, displaying the compositional roots that the band had been built on. That it was also the most memorable, and powerful version of “TTE” to date, says something as well. In Set II the band simply threw down. Busting out “Crosseyed” for the first time since Deer Creek ’04, they built a peaking jam off the theme that, coupled with the thousands of glowsticks battling about on the lawn, nearly tore the lid off the old shed. Bleeding into “DWD” by way of an ambient jam, the set moved forward with an emotive “Bug,” a percussive “Piper,” and a gorgeous “Slave” to close things out. Encoring with the 3.0 barbershop staple “Grind,” and a raunchy “Frankenstein,” wherein which Trey, Mike, and Page donned gimmicky instruments, the show sent everyone off to Summer 2009’s halftime, bellies full, yet ravenously anticipating Leg II.

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Red Rocks Amphitheater – Morrison, CO – 07/31/2009

Set I: Runaway Jim> Chalk Dust Torture, Bathtub Gin, Time Turns Elastic, Lawn Boy, Water In The Sky, Stealing Time From The Faulty Plan, Split Open & Melt

Set II: Drowned -> Crosseyed & Painless -> Joy, Tweezer> Backwards Down The Number Line> Fluffhead#& -> Piper -> A Day In The Life

Encore: Suzy Greenberg##> Tweezer Reprise

# “Fluffhead” contained a “Dave’s Energy Guide” tease

## “Suzy Greenberg” contained “Drowned,” “Crosseyed & Painless,” and “AC/DC Bag” teases

& “Fluffhead” was unfinished

After spending much of their First Leg awkwardly adjusting to life back on the road, Phish reappeared at Red Rocks – for the first time since 1996, no less – on a mission to reclaim what was theirs. No better is this spirit shown than by the viscerally powerful second set that blew up on the run’s second night. Following a solid first set that included a muddling, yet incendiary “Split Open & Melt,” which battled the torrential downpour, the band reemerged for Set II, and played hands down, their best set of 3.0 – up to that point. Flowing throughout, the set was anchored by a seamless segue from “Drowned -> Crosseyed,” a bubbling and constantly shifting “Tweezer,” a celebratory “Fluffhead,” and a “Piper” that bled right into “A Day In The Life,” by way of Mr. McConnell’s keys. Each jam carried fresh ideas, each song was a welcome surprise, and by the time they reemerged for the encore, they had quieted literally all who were skeptical of their 3.0 abilities – at least for a night. Immediately setting the 3.0 bar a notch higher, 31 July 2009 will forever be remember as the show that inspired the transcendent music created throughout August 2009. Completely themselves again, no show would impact a tour, or the band’s overall sound, quite like it until a year later, on the second night of the equally legendary Greek Run.

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The Gorge Amphitheater – George, WA – 08/07/2009

Set I: Down With Disease, Ocelot, Pebbles & Marbles, Possum, Sleep, Destiny Unbound, Stash, Sneakin’ Sally Thru The Alley -> Cavern

Set II: The Moma Dance> Light -> Taste, Fluffhead, Joy, Bathtub Gin&> Harry Hood

Encore: Slave To The Traffic Light

& “Bathtub Gin” was unfinished

It was the best show of 2009 at the time; and it still is, to this day. Even more, some four years on, it’s still ranks as one of the best overall shows in 3.0 Highlighted by a classic set one, which concluded with one of the jams of the year in “Sneakin’ Sally,” and a top notch set two, that offered two unique jams to this list, it was a monumental show through and through. Kicking things off with a raging, Type-I “DWD,” set I was notable for the 3.0 debut of “Pebbles & Marbles,” and for only the third “Destiny Unbound” since 1991. But it was the “Sneakin’ Sally” jam that concluded the set with a segue into “Cavern” that has hung in the minds of most listeners; to this day it is still one of the most innovative jams of 3.0. Set II is akin to 07/31’s masterpiece in it’s flowing nature, diversity of jams, and re-listenability all these years later. The “Light” and “Gin” jump out as the clear highlights, but the “Fluffhead,” and, the always welcome Gorge version of “Harry Hood,” fill out the set perfectly. Encoring with a patient, Trey-led “Slave” sent everyone out into the Pac-NW night, eagerly anticipating the following night, which would ultimately be a top-to-bottom barn-burner, thus cementing The Gorge as THE run of 2009.

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The Gorge Amphitheater – George, WA – 08/08/2009

Set I: The Mango Song> Chalk Dust Torture, Middle Of The Road^, Tweezer, Driver, Twenty Years Later, Ya Mar, It’s Ice, Wolfman’s Brother> Character Zero> Run Like An Antelope

Set II: Rock & Roll -> Makisupa Policeman+, Alaska, The Wedge, You Enjoy Myself#, Backwards Down The Number Line&> Piper##, Grind

Encore: Good Times Bad Times, Tweezer Reprise

^ “Middle Of The Road” made it’s Phish debut

+ “Makisupa Policeman” featured Mike and Trey switching instruments and contained the keyword: “Did like Bobby Brown. I ate my breakfast, and I laid back down.”

# “You Enjoy Myself” contained a “Hedwig’s Theme” tease

## “Piper” contained “Llama” teases from Fishman

& “Backwards Down The Number Line” was unfinished

After playing their best show of 2009 the night before, Phish wasted no time getting down to business on their second night at the vast and expansive Gorge Amphitheater. Opening with the back-to-back Nectar classics, “The Mango Song> Chalk Dust Torture” set the tone immediately. The First Set was further highlighted midway through by a slowly building “Tweezer,” which picked up many of the Red Rock’s version’s influences, before transferring them into a more rock-based, peaking jam. Closing the set out with the blistering trio of “Wolfman’s Brother> Character Zero> Run Like An Antelope” nearly blew the stage into the Columbia River behind them; you can clearly hear the crowd let out an emphatic, and massive roar of ecstatic approval when “Zero” faded into “Antelope.” A bonus set closer of sorts, it proved to be a thankful nod from the band to their fans for their first three sets of excellent music at The Gorge. In the second set, the band threw down one of their jams of the year in the 23-min, “Rock & Roll.” It built through twenty minutes on improv based almost entirely on the The Velvet Underground theme, before returning to the song proper, and then segueing into a playful “Makisupa.” A punctual “You Enjoy Myself” found itself in the middle of a set for one of the few times in 2009 – quite a rare treat at the time – a sure sign the band was feeling loose. Concluding things with the first hint of experimentation in “Backwards Down The Number Line,” a “Piper” that plowed ahead into the unknown with furious precision before fading away into a “Llama” jam from Fishman, and “Grind,” the set ended in one of the most unique ways of any in 2009. Closing the show and The Run out with “Good Times Bad Times” and “Tweezer Reprise” was really the only way one could, as the two capitalized on the massive energy explosion that’d occurred in the middle of Washington State that weekend. Easily the best weekend of Phish 2009, The Gorge is still talked about with awe by all in attendance, and with envy by all who’ve only heard it on tape.

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The Comcast Theater – Hartford, CT – 08/14/2009

Set I: Punch You In The Eye, AC/DC Bag> NICU, Col. Forbin’s Ascent* -> Fly Famous Mockingbird*, Birds Of A Feather, Lawn Boy, Stash, I Didn’t Know, Middle Of The Road> Character Zero

Set II: Down With Disease%&> Wilson -> Slave To The Traffic Light, Piper## -> Water In The Sky, Ghost -> Psycho Killer** -> Catapult+ -> Icculus***+> You Enjoy Myself%%

Encore: While My Guitar Gently Weeps

* First “Col Forbin’s Ascent” and “Fly Famous Mockingbird” since 30 September 2000

** First “Psycho Killer” since 07 December 1997

*** First “Icculus” since 18 July 1999

% “Down With Disease” contained a jam based on “Reba”

%% “You Enjoy Myself” contained the “Pong” jam from “Catapult”

## “Piper” contained a “Spill The Wine” tease

+ “Catapult” featured a jam inspired by the Atari game, Pong

++ “Icculus” featured narration about technology and kids “reading a fucking book!”

& “Down With Disease” was unfinished

What can you say sometimes? There are those shows where the band’s just feeling it. After making the 30-hr trek from The Gorge to Chicago, where they threw down a lackluster effort, the band played an old-school show in Darien – the last show to be cut from this list, btw – to kick off their four-night run of the NE. The next night, in Hartford, the band waited till well past 8:30 to emerge for a two-set affair, shrouded in darkness, one that would be revered immediately upon conclusion, and long after it was all said and done. Opening with a string of classics, “PYITE, AC/DC Bag> NICU” sent the initial message that the band was feeling it here back on their home turf. But it was the reemergence of “Forbin’s -> Mockingbird,” after almost ten years in hiding, that pushed the show to another level. Without a narration to break the momentum, the band went the old school rout, and let the two Gamehendge rarities speak for themselves. It mattered little what was played the rest of the set, for this bustout was enough to satiate most fans, but it helped for historical purposes – and for those who truly enjoy listening to full shows – that they followed with a scorching “Birds,” a punctual “Stash,” and a raging “Zero” to send everyone into setbreak. In the second set, the band used the first half to craft two indelible jam segments in “DWD> Wilson -> Slave” and “Piper -> Water In The Sky,” the first of which contained a gorgeous “Reba” jam, and the latter which featured the same type of percussive jamming as was seen in the Alpine version, but ended with a fluttering of Page that spilled fluidly into “Water In The Sky.” When they kicked off “Ghost,” one wouldn’t have been too misguided to think we were simply in for another monster jam. But the band had different ideas up their sleeves. Latching onto the gimmickry of Set I’s bustout, they directed “Ghost” into the first “Psycho Killer” in twelve years, before letting it fade into the first “Catapult” of 3.0. Based around a prickly, note-based jam that sounded oddly like the Atari game, Pong, Trey got a bit nostalgic and started strumming a few minored chords. What emerged was the first “Icculus” in ten years, a song based heavily on narration, to which, Trey preached to all the young Phish fans about the pleasures of books, and the evils of iphones and hand-held technology, finally quipping, “When was the last time one of you picked up a fucking book?!?!” Closing out the set with the only appropriate song, the band played an inspired “You Enjoy Myself,” before encoring simply with The Beatles, “While My Guitar Gently Weeps.” One of the best shows of the year. And one of the best shows of 3.0 for that matter. It’d be a long while – until 10/20/2010 to be exact – before the band would play a show steeped in this much humor, gimmickry, and old-fashioned Phish zaniness.

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Empire Polo Club – Indio, CA – 10/31/2009

Set I: Sample In A Jar, The Divided Sky, Lawn Boy, Kill Devil Falls, Bathtub Gin, The Squirming Coil> Runaway Jim> Possum, Run Like An Antelope+

Set II$: Rocks Off*%> Rip This Joint*%, Shake Your Hips*%, Casino Boogie*, Tumbling Dice*%%, Sweet Virginia%%, Torn & Frayed*, Sweet Black Angel*%, Loving Cup%%, Happy*%%, Turd On The Run*%%, Ventilator Blues*%% -> I Just Want To See His Face*%%% -> Let It Loose*%%, All Down The Line*%%, Stop Breaking Down*%%, Shine A Light*%%, Soul Survivor*%%

Set III: Backwards Down The Number Line> Fluffhead, Ghost> When The Circus Comes, You Enjoy Myself

Encore: Suzy Greenberg%%

+ The lyrics in “Run Like An Antelope” were changed to “Been You To Have Any Coil?”

$ The Rolling Stone’s Exile On Main St was the band’s Second Set Musical Costume

* All songs in Set II, with the exception of “Sweet Virginia” and “Loving Cup” made their Phish debut

% Featuring Dave Guy on Trumpet, David Smith on Trombone, and Tony Jarvis on Saxophone

%% Featuring Sharon Jones and Saundra Williams on Backup Vocals; Dave Guy on Trumpet, David Smith on Trombone, and Tony Jarvis on Saxophone

%%% Featuring Sharon Jones and Saundra Williams on Backup Vocals

Their first Halloween show since 1998, and their first festival since the Coventry debacle, Festival 8 peaked on it’s second night with a three-set masterpiece, bookended by classic Phish, and filled out by one of the best cover album’s the band has ever performed. In the first set, the band threw down a string of old-school classics, honoring the magnitude of the event, while matching the near-perfect conditions the California desert provided. Highlighted by a gorgeous “Divided Sky,” a soaring “Bathtub Gin,” a combo right out of the 80’s in “Coil> Jim> Possum,” and a raging “Antelope” to close, it was the kind of set that – “KDF” aside – one could have easily imagined being played in front of about 1000 friends back in Vermont. In Set II they masterfully covered The Rolling Stone’s 1972 classic, Exile On Main Street. Highlights abound, the set, more than anything, sent a clear message about how far the band had come since their low-point in 2004, and how genuinely happy they were to be healthy, playing live music again. At the end of the day, the “Torn & Frayed,” “Ventilator Blues -> I Just Want To See His Face,” “Let It Loose,” “Shine A Light,” and perhaps the greatest “Loving Cup” ever, take the cake as the peak moments of the set. Proving as poignant moment as any in a Phish show, “Shine A Light” felt written for Trey, detailing the struggles of a drug addict overcoming his demons. A song that’s birthed life into 3.0, it’s appearance as an encore always feels like a nod from the heavens for sparing Trey in his darkest days, and giving him a second chance. Set III was akin to the first set, except for it’s emphasis on improv. “Number Line” and “Ghost” both went deep, and “You Enjoy Myself” proved to be the best version of the oft-played song in 2009. Not to mention, one of the top tier versions in all of 3.0. Inviting their back-up band on stage for the “Suzy Greenberg,” they stretched the classic into a 12-min jam that featured funk breakdowns, horn solos, and Sharon Jones’s soulful wails throughout. A celebratory moment for all involved, 10/31/2009 was key to the band’s development throughout 3.0, and a show we can all look back on and simply be thankful was able to occur.

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Wachovia Center – Philadelphia, PA – 11/24/2009

Set I: Chalk Dust Torture, Bathtub Gin, Cities> Camel Walk, The Curtain With, The Wedge, The Moma Dance, Reba, Golgi Apparatus, Stealing Time From The Faulty Plan

Set II: Possum> Down With Disease& -> Twenty Years Later> Harry Hood> The Mango Song> Mike’s Song -> Simple> Slave To The Traffic Light> Weekapaug Groove+

Encore: A Day In The Life

& “Down With Disease” was unfinished

+ Much of the “Weekapaug Groove” jam was played at a slower pace

Easily the best show of the band’s 2009 Fall Tour, the first night of Philly featured a celebratory, holiday-tinged feel, with an old-school setlist and some top notch playing taboot. Akin to 10/31’s First Set, the First Set in Philly reads like something out of the band’s bygone years – sans “Moma” and “Stealing Time.” With a tight, fully loaded jam out of “Gin,” and  blissful and contemplative jams in “The Curtain With” and “Reba,” the set was ripe with highlights, many of the extended variety. Sparked with humor in the Thanksgiving-quoted “Cities,” along with the rare funk of “Camel Walk,” it was as well-rounded as any First Fet during the tour, keeping everyone on their toes in anticipation of set II. Fully flowing throughout, the Second Set was an early masterpiece in the 3.0 era. Featuring a sublime, laid-back jam out of “DWD,” the band got to business early, winding the jam through various passages of musical bliss before landing in “Twenty Years Later.” Bridging the “DWD” and the spectacular “Mike’s Groove” with “Harry Hood> The Mango Song” kept things flowing with ease, and continued the old school feel that had graced the show thus far. In the “Mike’s Groove,” the band combined “Simple” with “Slave” by way of an ambient jam, injecting “Mike’s Groove” with “Slave” for the first time since Alpine ’97. Heading into “Weekapaug” at a torrential pace, the band made humor out of the mistake, referentially shouting throughout, before slowing things down and infusing the jam with some funk grooves. A conceptual set without a moment wasted, it was one of the few totally unified moments throughout the Fall Tour, one that, while surpassed many times over in 3.0, has lived on for the fact that it was just one of those nights in back 2009, where everything felt right again.

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Times Union Center – Albany, NY – 11/27/2009

Set I: AC/DC Bag -> Maze, Driver, My Mind’s Got A Mind Of Its Own, Gumbo, Bouncing Around The Room, It’s Ice, Two Versions Of Me, Timber> Limb By Limb, Cavern -> Light

Set II: My Friend, My Friend* -> Golden Age^> On Your Way Down, Fluffhead> Piper -> Tomorrow’s Song^^, Prince Caspian&> Harry Hood> Suzy Greenberg> The Squirming Coil, I Been Around

Encore: Fire

* First “My Friend, My Friend” Set II Opener since 10 April 1994

^ “Golden Age” (TV On The Radio) made it’s Phish debut

^^ “Tommorow’s Song” made it’s Phish debut

& “Prince Caspian” was unfinished

After throwing down their best show of the tour two nights before Thanksgiving, Phish returned to the road the night after and crafted an all-around excellent show, highlighted by two surprise debuts, and a high-octane set II. Opening with an “AC/DC Bag -> Maze” segment got the show off right, as the two age-old classics fit together with ease, immediately putting the uneventful second night in Philly far in the recesses of every fan’s minds. After dusting a few songs off the shelves for the first time this tour – “Driver,” “My Mind’s Got A Mind of It’s Own,” “Gumbo,” “Timber” – they closed the set with a menacing surprise as “Cavern” faded into the only First Set “Light” they’ve ever played. Pushing the song into the ether, it touched on beat-less ambient themes, dissolving into a noise-based jam that faded as the lights came on for setbreak. Set II brought the first “My Friend” opener since Spring 1994, and the debut of the TV On The Radio hit “Golden Age,” which has gone on to be one of the most revered – and at times frustrating – songs of 3.0. Fading into only the fifth “On Your Way Down” since 1989, the set just kept elevating itself, as the band was clearly feeling it being back in the Northeast corner of the US. After the obligatory “Fluffhead,” they dropped the jam of the night in an explosive “Piper” which turned melodic, before segueing perfectly into the debut of the Undermind-ditty, “Tomorrow’s Song.” Rounding out the set with “Hood> Suzy> Coil,” was a clear message about how much fun the band had on the first night of their quasi-hometown run. Encoring with “Fire” – the third time they’ve played Hendrix on his birthday – was welcomely expected by all fans, as the nod not only honored the guitar-legend, but also bridged the two nights in Albany in ways no other cover could.

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American Airlines Arena – Miami, FL – 12/29/2009

Set I: Golgi Apparatus, Maze, Driver, The Connection, Wolfman’s Brother, Ocelot, Reba, Access Me, The Divided Sky, Cavern

Set II: Kill Devil Falls> Tweezer# -> Prince Caspian> Gotta Jibboo -> Wilson -> Gotta Jibboo -> Heavy Things -> 2001> Slave To The Traffic Light

Encore: Sleeping Monkey> Tweezer Reprise

# “Tweezer” contained a “Dave’s Energy Guide” tease

On paper this show looked like complete and utter shite. A first set comprised of a few classics surrounded by a string of fillers, and a second set that looked like another awkward clunker, defined by a “Jibboo -> Wilson -> Jibboo,” that couldn’t have looked worse on paper. Yet listening to this show for the first time back in 2009, it was clear beyond any questionable doubt that the band was feeling it. Probably the best overall show of the Miami NYE Run, it’s a prime example of the kind of show where what songs the band plays matters little, for they’d crush it all regardless. While those kinds of shows have become commonplace here in 2011 and 2012 – 06/04/2011, 06/11/2011, 08/16/2011, 09/03/2011, 06/08/2012, 06/23/2012, 07/03/2012, 08/28/2012 – back in 2009, they had to play to a killer setlist if they were going to play a killer show. 29 December 2009 broke this mold and then some. Highlighted by a torrid “Maze,” a laid back, funk jam in “Wolfman’s,” and the always welcome pair of classics, “Reba” and “Divided Sky,” the show felt much like the last 12/29 show prior to this one, sans the Miami “Piper,” of course. In set II the band focused on intertwined jamming and segues, taking “Tweezer” to some truly spectacular planes of blissful ambient nothingness, somehow making the “Jibboo -> Wilson -> Jibboo” work, and producing perhaps the best “Heavy Things” we’ve ever heard. The latter’s near-four minute ambient jam that bled right into “2001” was the defining point of the night, proving the band would nail anything they played. An all-around remarkable show, the second night in Miami ignored all the misconceptions about 3.0, shut the setlist nazi’s up – at least for one night – and produced perhaps the single greatest review by a certain Phish writer – the one where he had nothing to say.

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American Airlines Arena – Miami, FL – 12/30/2009

Set I: Soul Shakedown Party*, Runaway Jim, Jesus Just Left Chicago**, Dixie Cannonball^, Stealing Time From The Faulty Plan, Corinna***, What’s The Use?****, Tela*****, Gone^^, Rocky Top******, Chalk Dust Torture, David Bowie

Set II: Sand, The Curtain With> Lifeboy, Back On The Train -> Wading In The Velvet Sea, Hold Your Head Up> Love You%> Hold Your Head Up, Free> Boogie On Reggae Woman -> Run Like An Antelope#%%

Encore: Frankenstein+

* First “Soul Shakedown Party” since 17 April 2004

** First “Jesus Just Left Chicago” since 13 July 2003

*** First “Corinna” since 24 February 2003

**** First “What’s The Use?” since 28 November 2003

***** First “Tela” since 24 November 1998

****** First “Rocky Top” since 19 July 2003

^ “Dixie Cannonball” (Hank Williams) made it’s Phish debut

^^ “Gone” made it’s Phish debut

% “Love You” featured audience member, Rich on stage playing the vacuum cleaner

%% “Run Like An Antelope” contained alternate lyrics

# “Run Like An Antelope” contained multiple “Boogie On Reggae Woman” teases

+ “Frankenstein” featured Page on the Keytar

Ahhhhhh, the bustout show. A thing of legend in Phish circles. Rarely does the band drop an entire show/set comprised of bustouts. In the ten years since 07/29/2003, the show is still revered as one of the best of 2.0, in many ways, thanks to the ipod shuffle feel that accompanied the entire first set. On 12/30/2009, the band brought six unique songs out of seeming retirement – while debuting two others – giving credence to the 12/30 legend, while also gifting their fans with a number of oft-requested tunes. Perhaps none of these was more boisterously received than “Tela.” The sweet and longing Gamehendge ballad, it had been requested with near fanaticism throughout the Summer and Fall Tours, finally brought back to life after eleven years. In the Second Set, the band fused jams and gimmickry, crafting one of the most well-rounded sets of the year, with one of the best jams of the year as it’s centerpiece. Kicking off with the first “Sand” since Camden, they remained a bit more confined before initiating a top-notch “The Curtain With.” Producing the jam of the night in “Back On The Train -> Wading,” the band let humor dominate the latter half of the set. Using “HYHU” to throw another hint out about their NYE gag, they invited an audience member – Rich – on stage to celebrate the last vacuum solo of the decade. Closing out the set with what can only be described as “Boogie On Reggae Antelope” the band displayed on-stage communication fused with humor that just wouldn’t have been possible nine months earlier. A staple performance of gimmickry, improv, humor, and that intangible feeling that can only be found at a Phish show, there’s never been any doubt about it’s place in Phish 3.0.

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A celebratory year that saw Phish return from the darkness of their past. While they fought through numerous ups and downs, by years end, they’d unquestionably succeeded in all the goals laid out for them. As we await the start of the 2013 Summer Tour, it’s no better time to revisit the first year of 3.0, and see just how far the band has come.

Please send me your thoughts about the list.

Here’s to another four years that are just as good as the last four!

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Thanks to Phish.Net (www.phish.net) and The Mockingbird Foundation (www.mbird.org) for organizational assistance and sourcing of setlists!