The Best Of Phish – 2013 – Part II

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Click Here For Part I

The Best Of Phish 2013

Honorable Shows

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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

+ No “Myfe” ending in “My Friend My Friend”

# “The Mango Song” contained “Light” teases

## “Drowned” contained “Divided Sky” teases

### “Character Zero” contained “Jean Pierre” teases

——–

For all intents and purposes, this is the night Summer Tour began. If the overall goal of 2013 was that of both honoring Phish’s past, and projecting them towards their future through the crafting of whole-show, thematic experiences, then this show is the seedling from which the concept was born.

The first set is a mosaic of – and a homage to – the many eras and stylistic dimensions of Phish. Be it the arena-rock peak of the “Kill Devil Falls” opener and mid-set staples,”Sample In A Jar,” “Birds Of A Feather” and “Bathtub Gin,” the communal funk of “The Moma Dance,” the widespread reach and display of influence in covers like”Roses Are Free” (Ween) and “Nellie Kane,” (Hot Rize) the debut of the refined, reggae-spiced storytelling from Mike’s “Yarmouth Road,” or the haunting, and fanciful compositional approach of “My Friend My Friend,” the set worked as a overall Phish pastiche. Concluding with a subdued segueway from “Cities -> David Bowie” gave further hints at the bands improvisational intentions for the year, as each member hooked up around a simple melody in “Cities” and drove it forward into an expansive “Bowie.”

The second set, however, was where both band and fans alike discovered in unison, just what was possible with Phish in 2013. Opening with the debut of The Apples In Stereo cover “Energy” – a song that would go on to become the theme song of the tour – the band dove into a fully-flowing – and completely connected – 90-minute set that worked as a unified, conceptual piece. From the elemental origins of each song – Energy, Light, Fruit, Coal, Steam, Water, Motion – to the thematic musical passages that conjoined each of them, the set was something of a manifesto for Phish 2013.

In “Light,” “46 Days” and “Drowned” the band engaged in integrated and diverse jamming – ranging from melodic ambience, to downtown gritty funk, to demented trance – offering a peak into the range with which they’d approach their improv throughout the year.

Throughout 3.0 it’s become something of a trend for the band to tear out the gates of a tour with a series of strong shows, only to lose steam as the tour progresses. In 2013, Phish took a different approach, focusing on foundational setting in the tour’s initial weeks before peaking out West. Yet, regardless of their intended plan, in few tours have they ever been capable of connecting with as much depth and immediacy as they were here on the first night of SPAC’s three-night-run.

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FirstMerit Bank Pavilion at Northerly Island – Chicago, IL – 07/21/2013

Set I: Dinner And A Movie+, AC/DC Bag> Maze, Mound, Funky Bitch> Bathtub Gin, Wilson> Water In The Sky, Boogie On Reggae Woman> Run Like An Antelope++

Set II: Energy> Ghost# -> The Lizards, Harpua+++> Run Like An Antelope

Encore: Character Zero

+ “Dinner And A Movie” was dedicated to a fan who had yet to catch it in 172 shows

++ “Run Like An Antelope” had to be aborted due to an impending rainstorm

+++ “Harpua” featured the cast of Second City and narration from Mike

# “Ghost” contained a “Seven Below” tease from Mike

——–

As Phish approached the three-quarter mark in their Summer Tour, two things had ultimately defined it thus far: foundational setting and rain. The rain had forced the re-scheduling of their 9 July show in Toronto, caused fans to take cover in Jones Beach, intruded on second sets in Merriweather Post and Alpharetta, and ultimately forced the cancellation of their first show on Chicago’s new lakefront venue midway through. Following an impromptu – and admittedly contained – three-set show on 07/20, one could sense a tipping point in the tour, and the year overall. Thus when Phish took the stage on their third Sunday of the Summer and opened with “Dinner & A Movie” – dedicated to a fan*, no less – there were many who called this the critical show of the summer.

The first set worked in many ways like those played on 07/07, 07/10, and 07/14 in that it was the kind of set that could have been plucked out of any past era of Phish. It was taught, it was nostalgic, yet it was incredibly fresh. Throughout – particularly in “Bag,” “Gin” and “Boogie On” – the band sounded electric. They were ready to put one more celebratory stamp on the first leg of their prolonged 30th Anniversary Tour before moving westward.

And then the rains returned…

When Phish reemerged for the show’s second set following an extended, rain-soaked setbreak, Trey noted “You guys are amazing…” Page followed assertively – lips curled upwards, hand resting on his belly – in his professorial way: “I told you we’d be back…” laughing, and then sardonically quipping, “Thank you for sticking around…” The band then unveiled an uninterrupted 35-minute segment of music that read: “Energy> Ghost -> The Lizards.”

In “Energy” and “Ghost” Phish played with deliberateness, moving as one through a dense array of musical passages with clarity and ease. A huge weight had seemingly been lifted. All the rain behind them, all the foundational setting set, this was the sound of a band, thirty years in, turning yet another corner in their career.

As “Lizards” faded, the band stepped to their mics and dove into the first “Harpua” since 19 June 2011. As with many of the best Phish-related moments throughout 2013, this too came layered with self-referential messages. It too would also become a heavily-discussed, intensely partisan event for many in the Phish community.

In the same vein as “Garden Party,” MOST SHOWS SPELL SOMETHING, Wingsuit, and the coverless NYERun, the Chicago “Harpua” was an example of the band’s attempts to pull back the curtain on their goals/aspirations/feelings throughout their 30th year. Inviting the cast of Second City on stage with them to pose as the type of fans who think they know the  right way in which Phish should approach their career, Phish lovingly reminded their entire fanbase to trust both the process and their own artistic evolution. A move that drew as much ire as it did praise, it was the kind of gag that could only work in the context of a band thirty years in, confident after so many artistic breakthrough, and peak periods, yet still incredibly self-conscious about themselves.

Closing the show with a complete, and torrid take on “Run Like An Antelope,” along with a solo “Character Zero” encore – a signal that asserted a particular show was a peak one throughout the year – the band bowed on their first three weeks, and pivoted westward with a refined determination and unshakeable focus.

*In reality, the “fan” was all part of the “Harpua” gag that would take place in Set II

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Boardwalk Hall – Atlantic City, NJ – 10/31/2013

Set I: Heavy Things, The Moma Dance> Poor Heart> Back On The Train> Silent In The Morning, Kill Devil Falls, Mound, Free> Camel Walk, Stash, Golgi Apparatus> Bathtub Gin

Set II: Wingsuit^+, Fuego^, The Line^, Monica^++, Waiting All Night^, Wombat^+++, Snow^++, Devotion To A Dream^, 555^ -> Winterqueen^, Amidst The Peals Of Laughter^++, You Never Know^

Set III: Ghost> Carini, Birds Of A Feather, Harry Hood> Bug> Run Like An Antelope++++

Encore: Quinn The Eskimo

^ All songs in Set II made their Phish debut

+ The end of “Wingsuit” featured Mike on a power drill

++ “Monica,” “Snow” and “Amidst The Peals Of Laughter” were played acoustic

+++ “Wombat” feature Abe Vigoda and the Abe Vigoda dancers

++++ “Run Like An Antelope” referenced Abe Vigoda and the Abe Vigoda dancers

——–

For much of 2013 Phish toured with a secret. No one knows how long they walked around with it; in all reality, we may never know. What we do know though – at least through hindsight – is that much of the year was orchestrated as a consistent build towards the unveiling of their new album, live on Halloween. All year long, starting with “Garden Party” on NYE 2012, Phish was informing their fanbase that their 30th year was going to be celebrated on their terms. It was going to be as much about honoring the past as it was about projecting themselves into the future. Perhaps nowhere is this heard clearer, than in the second set of their Halloween show, when Phish debuted Wingsuit.

Having handed out playbills prior to the show, there was something of a nervous energy being exchanged between fans and the band throughout Set I. Were they really going to buck tradition, many asked? What were the new songs going to sound like?

The playbill noted that Phish had lifted segments out of their best jams from the past two years as inspiration for the songs. Which jams? How would they translate into proper songs? Throughout Set I you hear a band struggling under the weight of impending pressure. They missed changes, the set featured little flow, and much of it felt like a prerequisite that just had to be completed. One has to empathize with the pressure the band must have felt at this moment.

Dropping into the weightless bliss of “Wingsuit,” Phish consciously moved from one era into another with everyone in their fanbase watching. An incredibly ballsy move by the band, the second set of the show felt like no other Phish show that had preceded it. What’s more is that this act represented a moment of complete control over the delivery of an artist’s product. In the digital age of music, this is almost unheard of. At a time when most artists’ must shrug and accept the fact that their new album is going to leak before its release date, Phish was able to craft an environment wherein which their album took on the role of a live, in-the-moment, completely unknown organism.

Over the course of 90-minutes, the band introduced their fans to the ideas and concepts that had been rolling around their heads – many of which were a direct result of the best improvisational moments over the past 18 months. Almost all of them full-band compositions; the first of their kind since The Story Of The Ghost.

Some of them immediately felt like keepers: the maniacal expansiveness of “Fuego,” “The Line’s” self-conscious indie-rock blaze, “Wombat’s” self-referential mockery and infectious beat, the subdued and organic “Waiting All Night” and “555,” and the infectious pop of “Monica”; these were the songs we’d be anxiously awaiting at MSG and in the Summer of 2014. Others – “Snow” and “Winterqueen” in particular – felt unfinished, or out of place. Regardless, the unified act spoke more to the purest roots of Phish – and to their growth potential in the next phase of their career – than any classic rock cover could.

In Set III the band “blew off some fucking steam” with a 35-minute tour through the diverse musical landscapes accessed within “Ghost> Carini.” Following it with an ideally crafted third set that featured a balanced approach of tried & true rock: “Birds,” “Antelope,” and emotive exploration: “Hood> Bug,” along with the first cover of the night in the “Quinn” encore, the band walked off stage and into a new era. Regardless one’s initial feelings over the band’s choice of a Halloween album, one can’t deny the importance of said record, nor the critical shift it initiated here in the band’s 30th year.

The Top Ten Shows Of 2013

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

Set I: First Tube> The Moma Dance> NICU, Roses Are Free> Chalk Dust Torture, Stash, Scent Of A Mule+, It’s Ice> Tube#> Run Like An Antelope

Set II: Golden Age##> Twist> Backwards Down The Number Line> Light -> Boogie On Reggae Woman> Julius, You Enjoy Myself###

Encore: Loving Cup

+ “Scent Of A Mule” featured Fish on the Marimba Lumina

# “Tube” contained an “It’s Ice” tease

## “Golden Age” contained a “Third Stone From The Sun” tease

### “You Enjoy Myself” contained a “Set Controls For The Heart Of The Sun” tease from Mike

——–

Phearless. When Phish returned for the final set of their weekend stand at Merriweather Post Pavilion, they summoned the spirit of the T-Shirt Trey Anastasio wore, and delivered a pivotal set in the year. Having already crafted an overtly old school and thematic stanza in the first set, 07/14’s Set II represented the kind of musical moment where everything just clicks for the band.

Two hours earlier, “First Tube” and “The Moma Dance” kicked the show off with thick, cavernous beats, inviting everyone to shake their troubles and just fucking dance. Nothing says you’re at a Phish show quite like an immediate invocation to boogie. Midway through, “Stash” provided an insightful dive into the layered and harmonic jamming style that defined much of 2013. If you haven’t heard this “Stash,” it’s an absolute must. A window into the creative process at work throughout the tour’s first three weeks. Concluding the opening frame with a psychedelic take on “Scent Of A Mule” – complete with the debut of Fishman’s melodious Marimba Luminas – the first expansive “It’s Ice” of the year, and a romp through “Tube,” the show reflected the band’s celebratory, dance-driven, and forward-thinking intentions that would bear fruition come Fall’s peak.

In many ways the Merriweather Post run was the defining run of 2013. Through their song-selection and stylistic jamming approach, the band seemed to be insinuating to their fans – and to themselves – just what their intentions for the year were. The run carried a distinctly old school feel – 8-9 song sets, a heavy emphasis on classics, such as “Maze,” “Split Open & Melt,” “Down With Disease,” “Harry Hood,” “Mike’s Groove,” “Chalk Dust Torture,” “Stash,” “Run Like An Antelope,” “You Enjoy Myself” – interspersed with some of their most relevant new songs, like “Twenty Years Later,” “Halfway To The Moon,” “Yarmouth Road,” “Light,” threaded by a jamming approach that valued whole-band communication, rather than individual exploration. If there are two shows one should listen to in effort to understand the goals of 2013, these two are it.

Opening Set II with “Golden Age” the band carried over this communal revivalist approach through a song that has etched itself into the core of their 3.0 message. It was in the 20-minute excursion in “Light -> Boogie On Reggae Woman,” however, where everyone involved was rewarded for the band’s efforts thus far in 2013. Honing in on a demented zone of abstract rhythmic breakdowns, “Light” became a musical playground for absurdist groove-based jamming. Finding pockets and holes to explore around seemingly every bend, the jam took on the feel of the sparse, Fall 1997 jaunts. To hear this jam is to hear the origins of the Woo some three weeks early. In seemingly every moment of minimalist and rhythmic connection the band has reached since – think, 07/31 “Tweezer,” 08/02 “Seven Below,” 08/05 “Harry Hood,” 08/31 Chalk Dust Torture,” 10/27 “Golden Age,” 11/02 “Piper,” 12/29 “Carini” – the discoveries made in this “Light” can be found.

Closing out the show with the anticipated brilliance of their seminal piece, “You Enjoy Myself,” the band concluded one of their cornerstone weekends of the year. A fully-flowing, thematic unit of nostalgically rich, forward-thinking music, Merriweather Post was one of the hallmark stop-gaps for Phish in their 30th year.

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The Gorge Amphitheater – George, WA – 07/27/2013

Set I: Architect, Golgi Apparatus, The Curtain With, Kill Devil Falls> The Moma Dance> Maze, Beauty Of A Broken Heart, Roses Are Free, Say Something^, Ocelot, After Midnight

Set II: Down With Disease& -> Undermind+ -> Light# -> Sneakin’ Sally Thru The Alley -> 2001> Walls Of The Cave> Fluffhead> Run Like An Antelope

Encore: Show Of Life> Good Times Bad Times

^ “Say Something” made its Phish debut

& “Down With Disease” was unfinished

+ “Undermind” featured Fish on the Marimba Lumina

# “Light” contained a “Sneakin’ Sally Thru The Alley” tease from Mike

——–

The second night at The Gorge is akin to a carefully crafted rock album in the live setting. Every song flows in thematic propensity to the song that preceded it and that which follows it. It’s both referential and full of risk. There’s a warmth throughout it that reflects the awe-inspiring setting it was crafted in. In short, it’s one of the most complete concerts the band has delivered in the five years since they reunited. This is one of those shows one doesn’t simply toss on for a spare highlight here or there. Rather, this is a complete artifact. One that must be heard in whole to fully grasp.

The opening trio of “Architect,” “Golgi Apparatus,” and “The Curtain With” initially fuels the show. The three songs share few commonalities. Yet with the sun setting an auburn glow over the Central Washington desert, the pieces somehow fit together on this night. “Kill Devil Falls,” “The Moma Dance,” and “Maze” are equal parts peaking rock and bulbous groove. Concluding with the debut of Mike’s bluesy prowl, “Say Something,” the expansive stroll of “Ocelot” – a song that subtly pushed its own limitations all year – and the apropos nod to the passing of JJ Cale with “After Midnight,” few could have denied that something big was one the horizon for Phish in the second set.

Playing their fourth fully-flowing Set II of the year to that point – alongside 07/05, 07/12 and 07/16 – Phish crafted a nonstop tour of their stylistic past and present. Reading: “Down With Disease -> Undermind -> Light -> Sneakin’ Sally Thru The Alley -> 2001> Walls Of The Cave> Fluffhead> Run Like An Antelope,” the set was an unbroken chain of old and new school jamming. Early on it was the open-ended explorations of “DWD” and “Undermind” that drove the set into the unknown. “Light” then bled into “Sally,” delivering a version rooted in equal parts infectious rock-based peaks, and spacious expansionism, before fading into “2001.” To cap things off, the band used two of their most enthralling compositional pieces – “Walls Of The Cave” and “Fluffhead” – and the ole’ reliable closer “Antelope.” A packed set that flowed with precision, this one had a bit of everything to offer.

In the weekend where it all came together for Phish in 2013, the band sculpted one of their defining shows of the year, and a telling snapshot of where things lay midway through 2013.

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Dick’s Sporting Goods Park – Commerce City, CO – 08/30/2013

Set I: Ghost, NICU, Icculus, Heavy Things, Theme From The Bottom> Esther, The Moma Dance> Ocelot, Stash, Lawn Boy, Limb By Limb, Easy To Slip^

Set II: Punch You In The Eye> Sand#> Say Something> Walls Of The Cave> The Oh Kee Pa Ceremony> Harry Hood& -> Silent In The Morning&&> Twist> Slave To The Traffic Light

Encore: Oh! Sweet Nuthin’*, Meatstick

^ “Easy To Slip” (Little Feat) made its Phish debut

# “Sand” contained a “2001” tease from Fish

& “Harry Hood” was unfinished

&& “Silent In The Morning” was unfinished

* First “Oh! Sweet Nuthin'” since 15 August 2010

——–

The first night of Dick’s means one thing: word play. In 2011, the band crafted an entire show using only songs that began with the letter ‘S.’ On 31 August 2012, the band spelled FUCK YOUR FACE, and subsequently played their most important show of 3.0.

In 2013, Phish tweaked the gag’s formula once more, here crafting a message backwards. In the same vein as “Garden Party” and “Harpua the right way” before it, and Wingsuit and the coverless NYERun that would come after, the MOST SHOWS SPELL SOMETHING (Backwards) show was one of those indelible moments of 2013 that further displayed the layers with which Phish approaches their craft. Insinuating that each show played “spells” something different to everyone who hears it – and that based on the setting/position in the tour/year/songs played/jams/song placement/etc, no two shows “spell” the same thing – was a clear shot at fans bringing their own specific expectations with them to the overall experience of listening to Phish. It also provided those of us in the business of analyzing the hidden meanings within Phish shows and jams that much more fuel to burn…

Opening with the left field trio of “Ghost,” “NICU,” “Icculus,” it was clear from note one that this year’s gag would be far more Phish playfulness than 2012’s improvisational onslaught. Wading through 23 songs meant the show didn’t have the same amount of room to breath either. The word “Spell” was chopped off following the Set I closing debut of “Easy To Slip,” further adding to the intrigue surrounding the actual gag. Whereas in 2012 the triple jab of:

1.) the FUCK YOU jammed-out first set,

2.) the jam out of “Farmhouse” that just had to fade into “2001,” but instead dove into “Alaska” of all songs, and,

3.) the realization that they were actually spelling FUCK YOUR FACE, meant the crowd was not only in on a lot of the gag for most of the show, while also mainly consumed by the jamming the structure decreed,

here in 2013, much of the show was consumed by all simply figuring out what in fact the band was spelling. The decision to unveil their message backwards not only added to said level of intrigue for this particular show, but was also a symbolic gesture to the notion that all shows spell something in general.

It was in Set II where Phish hooked up for their most connected string of songs, as “Sand” through “Slave” left everyone on their toes, and, in re-listening, flows with curious ease. While one could argue that the promising jam discovered late in “Sand” was sacrificed for the gimmick, few could deny that the muddy groove of “Say Something,” the blissful segue from “Hood -> Silent,” or the airy peak of “Slave” didn’t make the show more than worth absorbing.

Encoring with the first “Oh! Sweet Nuthin’” since Alpine 2010, and “Meatstick” which offered a tongue-in-cheek admission that, while most shows might spell something, when it comes down to it, we’re just telling dick jokes here, offered a comical conclusion to a third successful gag-show at Dick’s. A show that offered both increased meaning to the band’s MO in 2013, and is a highly-engaging re-listen, one can only hope the band renews their Dick’s contract in 2014 to carry on the tradition.

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Hampton Coliseum – Hampton, VA – 10/20/2013

Set I: Julius, Funky Bitch, Back On The Train#, Roses Are Free> Sample In A Jar, Ginseng Sullivan, 46 Days, The Divided Sky, Bold As Love

Set II: Paul & Silas> Tweezer+ -> Golden Age++> Piper -> Takin’ Care Of Business^ -> 2001 -> Sand> Slave To The Traffic Light

Encore: A Day In The Life> Tweezer Reprise

# “Back On The Train” contained a “Jean Pierre” tease from Trey

+ “Tweezer” featured Mike on the Power Drill

++ “Golden Age” featured Fish on the Marimba Lumina

^ “Takin’ Care Of Business” (Bachman Turner Overdrive) made its Phish debut

——–

Nearly five years after returning from their own demise, Phish finally returned to the place that saw them take their initial steps towards rebirth, rebuilding, and renewal.

On the final night of their Three-Night Fall Tour-opening weekend, Phish played one of their defining shows of the year, and, simply put, one of the best shows they’ve ever played at the legendary Hampton Coliseum. This was the kind of show they needed to play. A confident, exploratory, full-band affair that was rooted in both self-referential humor, and musical discovery, the last night at Hampton ’13 is one sure to be spoken of with reverence for years to come.

The first set was a determined run through some of the strongest pieces in their rotation today. “Julius,” “Funky Bitch” and “Back On The Train” allowed the band to settle, connect, and launch some early tension & release fireworks. “Roses Are Free” provided the first insight into the band’s exploratory desires. Later “46 Days” and “The Divided Sky” were equal parts raging rock and blissful contemplation. The kind of set that few would write home about, this was akin to the solid and efficient first stanzas of 1994 and 1995.

Set II was – well, at the risk of sounding overtly hyperbolical – a masterpiece.

Opening with the playful rarity “Paul & Silas” – dedicated to two different groups of fans – the band was relaxed, on point, and ready to throw-down. As the murky riff from “Tweezer” emerged out of “Paul & Silas” you can hear a roar build throughout the crowd as everyone simultaneously realizes the show’s about to go deep. Over the next forty minutes, the band would craft their seminal jam of 2013 in “Tweezer -> Golden Age,” revealing a darkness, a depth, and a desire to explore that will surely drive them once they begin playing again in 2014.

Out of “Golden Age” came “Piper” which raged like all “Piper’s” tend to before settling on a shuffling, arena-rock groove that led to the unexpected debut of BTO’s “Takin’ Care Of Business.” Sometimes Phish debuts a cover at just the right time that it not only raises the bar on its current show, but further works as a larger message for the overall state of the band. In the same regard as “2001,” “Crosseyed & Painless,” “Emotional Rescue” and “Psycho Killer” before it, the 10/20 “Takin’ Care Of Business” was the perfect song at the perfect time. The band latched onto a groove and infused the song with energized playing, and the message rang loud & clear as to the intentions of Phish in Fall 2013.

At a point in the show where they could have faded into “Friday” and few would have complained, the band opted for “2001 -> Sand> Slave” to close things out. Crafting a complete stanza of unified, energized, forward-thinking music, there was only one way left to send their fans out into the night: The Beatles and “Tweezer Reprise.”

Some nights everything just comes together for Phish. On 10/20/2013 the band was able to shake whatever was getting in their way in their first two nights of the tour, and play a fully-formed, era-defining show that will surely sound as fresh and exciting in 15 years as it did in the moment. Seriously, what more can you ask for?

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Glens Falls Civic Center – Glens Falls, NY – 10/23/2013

Set I: Back In The USSR*, Stealing Time From The Faulty Plan, Water In The Sky, Undermind#, David Bowie, Golgi Apparatus, Gumbo, Yarmouth Road> Camel Walk, Horn> Limb By Limb> I Didn’t Know, Split Open & Melt

Set II: Rock & Roll> Seven Below> Alaska> Twist+, Wading In The Velvet Sea> Harry Hood> Chalk Dust Torture

Encore: While My Guitar Gently Weeps

* First “Back In The USSR” since 06 December 1994

# “Undermind” contained a “Long Tall Glasses” tease from Mike

+ “Twist” featured Mike on the Power Drill

——–

The Glens Falls Civic Center. Just typing those words conjures up idiosyncratic images of Phish lore. Worn-down AHL Arenas. A cross-dressing Mike Gordon. Minkin sheets. A fully-nude, unremarkably-hung Jon Fishman. Wildly absurdist jams. A Trey Anastasio whose fashion sense begins and ends with the word ‘pajamas,’ et al.

For nineteen years The Glens Falls Civic Center resided as a singular moment in Phish history. A moment when Phish captured everything intangibly special about themselves in one unending performance. A moment when Phish pointed the way towards an even bigger and brighter future.

Five shows into their 2013 Fall Tour, Phish took to the stage in the archaic 5,806-person arena and immediately stepped back in time, opening with only the third “Back In The USSR” they’ve ever played. The first set unfolded like a carefully constructed historical artifact: a mid-set “Bowie” followed by “Golgi,” the lone “Horn” of tour, the ever-elusive “Camel Walk,” the classical gag of “I Didn’t Know,” and a demented “Split Open & Melt” to close things out. Much of it felt as though it could have been plucked out of 1993. Interspersed throughout were “Stealing Time From The Faulty Plan,” “Undermind,” and “Yarmouth Road;” three “newer” songs, which formulaically fit the musical lineage of Phish. The set felt retro and relevant at the same time: emotively constructed, yet fluid and modern.

If Set I was indeed all about setting the tone, and establishing atmosphere, Set II was intended as a celebration where Phish’s past and present conjoined.

Opening with “Rock & Roll” was a statement of intent. “Seven Below” offered a glimpse of the road less traveled between 10/31/1994 and 10/23/2013. “Alaska” displayed unyielding joy through a simplistic blues-rock peak. Thirty minutes into the set and it was clear that regardless the fact the band had yet to play anything too transgressive, there was pure joy emanating from the stage. This was the essence of 3.0 Phish captured in a single performance. A symbolic bridge from 1994 to 2013.

And then “Twist” happened. Building upon the subdued, haunting jam from the Hampton tour opener, Phish directed this “Twist” towards ethereal spaces. Led by Trey’s deliberate rhythmic playing, the jam left the confines of “Twist” and entered a melodic space that spoke volumes to the band’s sense of comfort in Glens Falls. A sentiment that would be verbalized by Trey prior to the encore, this was a place of great meaning for everyone involved. This was the homecoming show of the tour. This show meant something more.

Closing out the set with a ballsy, yet emotive “Harry Hood,” the band reached back into the past once again to bridge who they once were with who they now are.

A singular encore: “While My Guitar Gently Weeps.” A song that often closes out the most reflective and nostalgically rich shows, perhaps nowhere else has it ever been placed this properly.

The Glens Falls Civic Center. Wanna know how Fall 2013 became Fall 2013? Just throw this show on and revel in it.

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DCU Center – Worcester, MA – 10/25/2013

Set I: Funky Bitch, Wolfman’s Brother, Wilson+> The Curtain With, Cities> Rift, Free, My Mind’s Got A Mind Of It’s Own, Vultures, 46 Days

Set II: Waves# -> Carini, Prince Caspian& -> Backwards Down The Number Line> Ghost++ -> Dirt -> Down With Disease&> Sneakin’ Sally Thru The Alley> Cavern> Run Like An Antelope

Encore: Contact> Suzy Greenberg> Rocky Top> Good Times Bad Times

+ During “Wilson” Trey repeated a verse because he was so excited Rog was in attendance

++ “Ghost” contained alternate lyrics

# “Waves” contained a “Fuego” tease

& “Prince Caspian” and “Down With Disease” were unfinished

——–

Two nights after the homecoming show in Glens Falls, Phish returned to yet another venue steeped in immense historical importance, and threw down an equally-nostalgic and celebratory performance.

The Centrum in Worcester, MA. Home to 12/31/1993’s capstone performance, 12/29/1995’s “The Real Gin,” 11/29/1997’s hour-long “Runaway Jim,” 11/27/1998’s maniacal Set II, 02/26/2003’s side project excursion, 12/28/2010’s brilliant “Hood,” and 2012’s Summer opening renaissance, few doubted that a Phish this well-oiled – having just played two of their best shows of the year – would leave anything on the table in Worcester.

Like the Merriweather Post run from July, both night’s in Worcester fit together as a complete snapshot of Phish 2013. Each are complete performances displaying the musical reach, unyielding energy, exploratory drive, infectious humor, and well-earned confidence that defines Phish 30 years in. In the same respects as Merriweather Post, if you only have time for four shows in 2013, these four will give you as clear an understanding as you need of just who Phish was in 2013.

Simply put, the first night in Worcester is an unyielding and relentless assault of pure Phish energy.

Coming out the gates with the quartet of “Funky Bitch,” “Wolfman’s Brother,” “Wilson> The Curtain With” is about all one needs to know about how ecstatic and comfortable the band was midway through their Fall Tour. This show is an unending party.

In many ways it feels like a classic Fall ’95 gig – think 11/11/1995, 11/30/1995, 12/15/1995 – where the band’s goals reside in testing the limits of energy. Tension & release form a repeated pattern throughout. Each song in Set I pops with a freshness, fitting its slot perfectly, and providing a contextual lineage to its proceeding element. A thematic approach that would continue into the second set, much of what makes Worcester’s first night so compelling is the deliberate brilliance in each of its song selections.

Opening Set II with the first expansive dive into “Waves” since 28 June 2012, Trey pushes the song past its melodic origins into a haunting and billowing piece of equal-parts aggressive, direct and expansive atmospheric rock. In “Carini” the band got down. Hooking up around a thick funk strut led by Mr. McConnell’s clav plucks Phish displayed the accessible diversity that’s been attained within “Carini” since its rebirth in the Fall of 2010.

On many nights, the back-to-back placement of “Prince Caspian” and “Backwards Down The Number Line” midway through a second set would signify an off-night. But not here. Night’s like 25 October 2013, it matters little what song(s) the band plays. Whatever they play, they just crush.

“Ghost” combined idiomatic improv with an energized peak before fading into the rare “Dirt” breather. In the same way as Hampton’s second set became a fully-formed entity thanks to “2001 -> Sand> Slave,” here Phish faded into a surprise “Down With Disease” out of “Dirt,” and then closed things out with the relentless trio of “Sally> Cavern> Antelope.”

At this point, one would have expected the band to return for a solo “Character Zero,” or a “Squirming Coil,” or perhaps a fitting “First Tube.” The second set had seemingly been too long for anything more than a one-off encore. But on a night like the first night at Worcester, with Phish high on both their masterful playing, and the vibe of touring through their home turf, a single song simply wouldn’t do. Adding to the relentless approach that had defined the entire show, the band threw-down a four-song encore chock-full of classics. “Contact> Suzy Greenberg> Rocky Top> Good Times Bad Times.” They just wouldn’t fucking stop.

Hands down one of the most fun shows of 2013, 10/25 represents one of those moments where the combination of locale and peak playing results in a performance that just reeks of Phish lore.

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XL Center – Hartford, CT – 10/27/2013

Set I: Rock & Roll+, Ocelot> Tube, Halfway To The Moon, Fee++ -> Maze, Lawn Boy, Nellie Kane> NICU, A Song I Heard The Ocean Sing> Walls Of The Cave

Set II: Chalk Dust Torture> Tweezer#> Birds Of A Feather> Golden Age -> Halley’s Comet> 2001> Fluffhead> Slave To The Traffic Light

Encore: Loving Cup> Tweezer Reprise

+ “Rock & Roll” was dedicated to Lou Reed who passed away that morning

++ Trey sang the verses of “Fee” through a megaphone

# “Tweezer” contained a “Fuego” tease from Page

——–

On the final night of their peak weekend of Fall 2013, Phish crafted yet another indelible performance for what has to be regarded as their most impressive tour to this point in 3.0. A one-off Sunday show in Hartford, CT, it was clear throughout the first set that the nostalgic-vibe that had permeated throughout since Glens Falls was still ever-present here in Hartford.

The morning prior to the show, the rock world lost one of its beacons of exploration, one of the greatest artistic minds of the past forty years: Lou Reed. In remembrance, the band opened with “Rock & Roll” for only the second time – first since 12/29/1998. A song that feels like one of their own at this point, the jam that built out of it – and the thoughts shared by Trey following it – were a fitting tribute to a man whose work helped pave the way for exploratory artists like Phish, and whose album Loaded instituted a great shift for the band in 1998.

The first set was conglomeration of newish songs – “Halfway To The Moon,” “A Song I Heard The Ocean Sing,” “Walls Of The Cave,” – rotational pieces – “Ocelot,” NICU” – and a classic mini-jam from “Fee” into “Maze,” crafting a diverse and engaging unit. For however subdued it was in comparison to the relentless energy from 10/25, or 10/26’s fluid dance-fest, Set I from 10/27 worked like 07/05, 07/13, 07/27, and 08/04’s in that it displayed multiple angles with which Phish’s setlist crafting can be approached. Perhaps on paper it may appear unremarkable, the musicianship and flow that enlivens it comes through with ease and purpose via re-listening.

Anchoring Set II around two unique excursions in “Tweezer” and “Golden Age,” 10/27’s second frame combined the fluid explorations of the previous night, with the unyielding energy of 10/25. “Tweezer” is one of the jams of the year. A meta statement of minimalism, melodic interplay, and whole-band communication, it rides a melodious groove through 17-minutes of jubilant, “Weekapaug”-infused bliss. In “Golden Age,” the band built upon its breakthrough jam from 10/20, expanding on rhythmic interactions from Fish and Trey before discovering ambient nothingness. A signal that a corner has finally been turned for the bemusing cover, one can only hope the band will continue to expand on it with such determination in 2014.

Closing things out with a nostalgic run through “2001> Fluffhead> Slave To The Traffic Light” capped off an incredible weekend in the NE. Noting before the encore that the venue was the location of his first ever concert, Trey reflected the symbolic nature of the band’s peak period of rediscovery and renewal that the Fall Tour has come to represent.

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The Santander Arena – Reading, PA – 10/29/2013

Set I: Cars Trucks Buses, Stealing Time From The Faulty Plan, Ginseng Sullivan, Wolfman’s Brother, Sparkle> Walk Away, The Divided Sky, Split Open & Melt&> Julius

Set II: Down With Disease&# -> Taste##, Twenty Years Later -> Piper> Backwards Down The Number Line, You Enjoy Myself, Grind

Encore: Bouncing Around The Room> Reba, Good Times Bad Times

& “Split Open & Melt” and “Down With Disease” were unfinished

# “Down With Disease” contained a “Pop! Goes The Weasel” tease from Mike

## “Taste” contained a “Dave’s Energy Guide” tease from Trey

——–

The night before the night. Or, in this show’s case: two night’s before the night.

If you’re ever going to try and hit a guaranteed barn-burner, make sure to be at the show that falls directly before a big, planned event for Phish. Throughout their history the band has built a reputation on playing some of their most memorable shows just prior to a heavily-hyped event. Think: Halloween, Festival, NYE, tour finale, etc. 12/30/1993, 10/29/1994, 10/29/1995, 12/29/1995, 08/14/1996, 08/14/1997, 12/30/1997, 08/12/1998, 12/29/1998, 07/25/1999, 07/29/2003, 12/01/2003, 08/14/2009, 12/30/2009, 10/30/2010, 08/28/2012, 12/30/2012 are all imbedded in the minds of Phish fans as much for the fireworks contained within, as for the fact that each caught their fanbase looking ahead at the schedule, rather than focusing on the moment at hand.

On a Tuesday night in Reading, PA, the band played one such show, crafting a second set that will long be remembered as one of the peak moments of 2013.

Following a first set that worked in much the same way as 10/20’s confident run through staples – “Stealing Time,” “Wolfman’s,” “Divided Sky,” “Julius” – rarities – “Cars Trucks Buses,” “Walk Away” – and a dive into the murky unknown of a completely lost “Split,” the band took to the stage for Set II and delivered a masterpiece.

Perhaps no song rings in a second set with the combination of familiarity and intrigue as “Down With Disease.” A song that has opened 65 second sets throughout its history, “DWD” is by far the band’s most consistent Set II-opener. Flowing into its customary zone of funk-infused, textural jamming, the band moved with persistence following Page’s shift at 13:10 to an uplifting, melodic theme. What results is, hands-down, the best solo Trey has played in all of 3.0. A deliberate, yet subconscious display of HOSE, Trey wove an emotive and uplifting  musical passage that resided in a distinctly Americana frame. Hinting at “Mountain Jam” from Eat A Peach, the passage seemed to suggest that the band was planning to play the seminal record from The Allman Brother’s on Halloween. While the gag was ultimately all-for-naught, the music that was crafted is some of the most memorable and emotive of the entire year, and of 3.0’s entirety for that matter.

Two songs later, the band dove into the unknown once more through the unexpected vehicle, “Twenty Years Later.” A song that has been begging for exploration since its debut on 06/05/2009, this was yet another reward for all those who have patiently followed Phish’s rebuilding and reclamation project in 3.0. Focusing on the rhythmic undercurrents of the song, Trey used his Wha with precision here, building a wall-of-sound that expanded the jam upwards and outwards. It was Page, however, who once again shifted the murky minimalism of this jam into openly blissful terrain. Resulting in a segment that built through Trey’s melodic rhythmic patterns, it briefly felt as thought the band were going to segue into The Dead’s “I Know Your Rider.” A peak into the potential for one of 3.0’s best original’s, look to 2014 as the year in which this and “Golden Age” regularly explode.

“Piper” and “Backwards Down The Number Line,” two songs that always seem to appear in the best 3.0 second sets, led to what has to be regarded as the most accomplished version of the band’s seminal musical statement in 2013: “You Enjoy Myself.”

In the encore, the band graced us with the lone “Reba” of the fall. One of only four versions played all year – and only the fourth time it’s ever been played in the encore – this placement and performance further stamped the Reading gig as one of the best of the year.

The night before the night. Don’t get caught looking ahead, for you never know quite what you’re going to miss.

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Boardwalk Hall – Atlantic City, NJ – 11/01/2013

Set I: Cavern> Runaway Jim#, Sand, Halfway To The Moon+, Halley’s Comet> Tube> Possum, When The Circus Comes, Sugar Shack, Jesus Just Left Chicago, David Bowie##

Set II: Twist###> Gotta Jibboo> Makisupa Policeman++> Light -> Chalk Dust Torture, Meatstick++ -> Boogie On Reggae Woman++####> The Wedge,  Slave To The Traffic Light

Encore: Sneakin’ Sally Thru The Alley#####

# “Runaway Jim” contained a “Theme From Shaft” tease

## “David Bowie” contained a “Jesus Just Left Chicago” and a “Symphony No. 5 In C Minor” tease

### “Twist” contained “Get Back,” Under Pressure” and “Long Tall Glasses” teases

#### “Boogie On Reggae Woman” contained a “Theme From The Rockford Files” tease

##### “Sneakin’ Sally Thru The Alley” contained a “Theme From Shaft” and a “Call To The Post” tease

+ Prior to “Halfway To The Moon” Trey noted how he hoped it makes Wingsuit

++ “Makisupa Policeman” contained numerous references to “Bush” and “Kush” which were then featured in “Meatstick” and “Boogie On Reggae Woman”

——–

If the night before the night provides the proper amount of amassed tension and hype to coax a defining show out of the band, then the effects of a heavy weight being lifted often cater to similar results for the night after the night. One only has to hear the Fox ’95 shows, 11/02/1996, 11/02/1998, 11/01/2009, 01/01/2011 and 07/03/2011 to understand how the band responds to their most anticipated shows with a loose, anything-goes vibe in their subsequent performance.

This show sounds like the way you feel following a huge exam, or the morning after your wedding, or after taking an enormous shit. It sounds like all the pressure that had been building internally towards Wingsuit is just gone, and the band can go back to just being a band again.

Let’s acknowledge the fact that debuting an entire set’s worth of new material in front of your fans – on a night when expectations are already incredibly high for you to cover a famous record from another famous band, no less – created some serious tension for the members of Phish. For as much as the band clearly wanted to debut their new record in this setting – and for as brilliant a delivery as it was – one has to imagine that there were internal doubts over whether or not this was the right decision in the days and weeks leading up to Halloween. Rumors have circulated since that the band was practicing a fall-back album, just in case. The pressure of delivering  a cover album is a feat in-and-of itself. To trust that an entire set of new material is going to be both nailed and aptly received has to have created an insane amount of artistic stress. Add to it the fact that the surprise debut of said set of new material was a planned ordeal that the band had been existing with for some time, and, well, wow, all that pressure’s gotta be released somewhere…

When Phish took the stage on 01 November 2013 and opened with “Cavern,” a “Shaft”-laced “Runaway Jim,” and “Sand” it was undeniably clear that the band was not only thrilled with the unveiling of, and reception towards, Wingsuit, but was ready to focus all that previously bottled-up energy into one of the best shows of the year, and of all of 3.0 for that matter.

In my opinion there are three shows in the mix for 2013’s top show: 10/20/2013, 11/01/2013, and 12/29/2013. For as many high-level shows as were played throughout the year, the gap between those three and the rest of the year is huge. These three shows were just that good.

Prior to “Halfway To The Moon” – a song that existed on the peripheries of their rotation throughout 2010-2012, but after a strong 2013 is one of their most complete new songs – Trey noted how grateful the band was for the open-mindedness of their fanbase. A moment of humility from artist to fan; a telling sign of just how much Wingsuit had meant to them.

Rounding out set one was an extended “Tube,” a punctual “Sugar Shack,” and a riotous “Jesus Just Left Chicago,” and “David Bowie” set closer. It was a mature stanza filled with fresh interplay, intrigue and tangible energy. The exact kind of set that often serves as a prelude to a classic Set II.

Following the haunting second set opener on 10/18, “Twist” became the centerpiece jam in Glens Falls, as Trey directed the murky and bluesy groove of the song to a heavenly space. Opening up 11/01’s second set with it, everyone could sense we were in for a big jam. Uncovering the riff from “Get Back” Trey led the band into a segment of celebratory rhythmic jamming that complimented the masterful Hartford “Tweezer” from the previous weekend. A blissful peak was reached and the crowd rewarded the band lovingly. Settling on the melody from “Under Pressure,” the band jokingly toyed with the song’s theme before dementing it, and pushing the jam even further into the unknown. A symbolic moment of improvisational magic, the song evoked a larger meaning in the same way “Takin’ Care Of Business” did on 10/20, here, referring to the pressure lifted following Wingsuit.

From there the set was a combination of intuitive jamming and humorous gimmickry, resulting in a fully-flowing set that just reeked of peak-level Phish. “Makisupa Policeman” was a riotous celebration of all-things weed, as keywords “Bush” and “Kush” were distorted and played upon in a scrabbled inside joke between Trey and Fish. “Light” explored sparse pockets of funk and rhythmic minimalism before somehow discovering a rock edge and sliding right into “Chalk Dust.” “Meatstick” and “Boogie On” captured the joy emanating from the stage, and “Slave” closed out the set with a hazy, and beautiful peak, that was equal parts contemplative and riveting.

Dropping into “Sneakin’ Sally” for the encore, the band melted the faces of whoever in the building was left with their individual facial appendages. Revisiting the “Shaft” jam from the second-song “Jim,” the funk jam that spread across 11-minutes was one more reminder of what level Phish was operating on.

The night after the night indeed.

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Madison Square Garden – New York, NY – 12/29/2013

Set I: The Moma Dance> Rift, Roggae, Sparkle, The Line, Stash, 555, It’s Ice, Gumbo#, Walls Of The Cave

Set II: Down With Disease## -> Carini> Waves+> Twist> Golgi Apparatus, David Bowie+

Encore: Possum

# “Gumbo” contained a “Long Tall Glasses” tease from Trey

## “Down With Disease” contained a “Rhapsody In Blue” tease from Page

+ “Waves” and “David Bowie” feature Mike on the Power Drill

——–

Throughout 2009-2012 Phish evolved in fits and spurts. There’d be shows, or mini-runs where it sounded as though they were totally back. Then they’d offer up a string of subpar shows, full of hesitation, lacking communication, and sounding directionless.

With the Dick’s run of 2012 Phish crossed a demarcation line, evolving so far beyond the expectations anyone could have realistically had for them in early 2009. Since then, their evolutionary process has been less about rebuilding what they once were, and more about discovering who they are going to be. The notion that they’re a nostalgic act has become asinine. At the onset of 2014, Phish, as a creative unit, is just as fresh, and just as innovative as they were at the onset of 1994.

A show like 12/29/2013 is a perfect example of the place that Phish finds itself here in their 31st year. You could put this show up against any benchmark show from any other era of Phish, and it would stand up on its own. This is as complete, as deep, as raw, as innovative, as re-listenable as any single show the band has ever played.

On paper it’s a thing of beauty. Diverse in its offerings from the various periods of Phish. Flowing with thematic precision and aesthetic functionality. Full of surprising intrigue and moments of unexpected brilliance. Capped off by a 35-minute segment of music that just might be the best improvisational excursion of their entire 3.0 era. Just look at this setlist and tell me it doesn’t make your mouth water.

To hear it is something all to its own. “Moma Dance” pops and signals an emphasis on whole-band communication, and thick funk. “Roggae” creeps into your soul and breaks through the haze with a poignant solo. “The Line” and “555” make their first post-Wingsuit appearance, feeling right at home already. “Stash” moves aggressively from demonic leads to melodic hues, all in ten efficient minutes. “It’s Ice” and “Gumbo” display a band willing to take risks at any turn; so locked-in they nail them all.

The second set opens with “Down With Disease” and “Carini.” Two songs that served as the peak of 2012’s NYE Run, once again they provide the improvisational centerpiece of the run, and, perhaps the jam segment of this entire era. Combing the underbelly of its own musical being, “DWD” reconstructs itself some 17-minutes in, building into an ecstatic reprise of its eminent peak. Dropping into “Carini” the band rode a minimalist groove outwards, deconstructed it, demented it, and then redistributed it as an infectious communal beat. As complete an improvisational journey as any in 3.0, these two songs point the way forward for Phish as they enter 2014.

Riding out “Waves” and “Twist,” it was three of their oldest songs: “Golgi,” “Bowie,” and “Possum” that would appropriately close out the strongest show Phish has played in all of 3.0. Not a wasted moment throughout. Full of innovative, assertive, and communicative playing, 12/29/2013 is not only a statement of how far Phish has come since 2009, it’s a statement of how much further they can go if they continue with this whole experiment.

How far Phish will go within the confines of 3.0 is undetermined. But if they can summon the drive, and the ability to match the brilliance of a show like 29 December 2013 again, we’re all the better for it.

——–

Thanks everyone for reading! Can’t wait to see where Phish takes us in 2014!

Photo Cred: 1 – 10/20 Hampton, VA – Dave Vann; 2 – 07/05 Saratoga Springs, NY – Dave Vann; 3 – 07/21 Chicago, IL – Dave Vann; 4 – 10/31 Atlantic City, NJ – Brantley Gutierrez; 5 – 07/14 Columbia, MD – Rene Huemer; 6 – 07/27 George, WA – Dave Vann; 7 – 08/30 Commerce City, CO – Dave Vann; 8 – 10/20 Hampton, VA – Dave Vann; 9 – 10/23 Glens Falls, NY – Dave Vann; 10 – 07/12 Wantagh, NY – Dave Vann; 11 – 08/02 San Francisco, CA – Dave Vann; 12 – 10/29 Reading, PA – Dave Vann; 13 – 11/01 Atlantic City, NJ – Dave Vann; 14 – 12/29 New York City, NY – Rene Huemer

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

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Phish 2013 – Through The Jams / Part I: Bangor – Toronto

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With just four shows remaining in 2013, weeks removed from a peak-level Fall Tour, and just three months since the conclusion of a Summer Tour that is increasingly becoming an underrated gem, it’s high time we take stock of where we are musically with Phish in their 30th year.

Since the onset of 3.0, I’ve compiled year-end ‘Best Of’[1] lists for each successive year. Check them out here: 2009 Part I and Part II20102011, and 2012. In each of those essays I narrowed my selections to the bare essentials: Ten Jams, Ten Shows, and Three Honorable Mentions for each section. Detailing the evolutionary steps forward in each of the past five years of Phish’s history, these lists have focused on the overall diversity of Phish’s improv, rather than any singular style. Song length is never an issue taken seriously. Popular opinion or communal preference is never taken into account. Many of my own personal favorite jams have even been omitted from each of these lists. Essentially, these lists are to be viewed as historical guides, or, musical stepping stones, which tell the story of how Phish got from Hampton ’09 to Atlantic City ’13.

2013 however, presents a new challenge altogether, particularly on the jamming front.

Following their creative renaissance at Dick’s 2012, Phish entered 2013 on a mission to once again break through their own artistic mold by infusing the musical and communicative skills of their past with a more democratic model that would shape their future. After reestablishing their communication and connectivity throughout 2009 – 2012, their 30th year was poised to be one of both self-referential celebration, and the symbolic onset of a new era. Furthermore, after informing their fanbase on 12/31/2012 that “You can’t please everyone, so you got to please yourself,” it was clear that 2013 would be a whole-band peak on Phish’s terms – and at their own pace – not based on the desires of any sector of their fanbase. As a result, Phish took their time, setting the foundation within the early part of their summer tour, which lead to skepticism, impatience, and uncertainty from many corners of their fanbase. While it was clear by the time Fall Tour rolled around that Phish had known exactly what they were doing all along, the debates over what “The Right Way” was for Phish still raged ever onwards.

In hindsight it’s clear there are three distinct periods of 2013:

1.) Bangor – Toronto, when Phish laid the foundation for the musical peaks to come, and the eventual unveiling of Wingsuit, through a series of shows focused heavily on their own musical history. Celebrating their thirty-year legacy, the band centered much of their attention on the most revered songs in their catalogue, while constructing setlists that felt plucked from their past. Controlling many of their shows with a noticeably tight rotation, and keeping a short leash on each of their jams, this early period of 2013 displayed the unyielding potential of Phish at this stage in their career, while emphasizing a focused insistence on building tension and inter-band-communication.

2.) The Gorge – Dicks, when Phish – fully removed from the torrential weather of the East Coast and completely confident in their abilities and direction – moved beyond foundational setting, and began to consistently play high quality shows with ease. After informing their fanbase that only Phish knew “The Right Way” for Phish during the Chicago Harpua, they now unveiled their longest piece of improv since 2003, and connected for three of the most diverse jams of the entire year in the Tahoe Tweezer, Hollywood Hood and Dick’s Chalk Dust. Further, at Dick’s, the band continued to zag against the expectations (and desires) of many of their fanbase by declaring MOST SHOWS SPELL SOMETHING (Backwards). Subtly pointing out the many variables that determine the content and goals of any singular Phish show, the band clarified for those who had been reading between the lines, just what their intentions throughout 2013 had been. Finally, they continued to set the stage for the peak month of October, and the ultimate unveiling of their new album Wingsuit on Halloween night, through a series of self-conscious shows and jams that only further displayed their advanced level of play in their 30th year.

3.) Hampton – Atlantic City, when everything Phish has been working towards since 03/06/2009 came together in one hyperbole-filled two week tour. Full of top-level shows, standout jams, unyielding energy, effortless musical connectivity, and a Halloween show that will undoubtedly alter the entire direction of the band over the coming years, this was the tour we had all (band included) been waiting for over the past five – even fifteen – years.

As a result, there is so much creativity packed into each show in 2013, that it becomes incredibly challenging to trim the fat down to a list of 13 standout jams[2]. With this in mind, and keenly aware of the fact that the New Year’s Run is sure to produce at least 2 – 3 MORE top-level jams (it always does…) I’m using this space in time as a way to hash over the entirety of what I believe to be the very best of Phish in 2013. With a heavy focus on the diversity and sheer quantity of excellent improvisational interplay within Phish in 2013, think of this list as both one giant rough draft and a potential playlist for anyone seeking to absorb the best of Phish in 2013 in one sitting[3].

This list will appear in three parts so as to focus on the three aforementioned periods in 2013:

I. Bangor – Toronto

II. The Gorge – Dicks

III. Hampton – Atlantic City.

Please feel free to send me your comments on which essential jams I may have overlooked, which I’m giving (far) too much credit to, and, if you agree or disagree in any way with how I’ve interpreted this really diverse, and really incredible, year in Phish’s history. Without further adieu, the list[4]:

The Best Jams Of 2013 – Part I

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07/05

Light -> The Mango Song

Following the focused and game-changing Dick’s Light of 2012, it’s only appropriate than any ‘Best Of’ 2013 list begins with the most reliable jam vehicle of 3.0. A song that, lyrically, speaks so directly to Trey’s rehabilitation and awakening following his 2006 arrest, and musically caters itself to the kind of open-ended exploration that had become something of a rarity throughout much of 2009-2011[5], everyone knew the first Light of 2013 was going be a seminal moment. Expanding outwards on an ambient plane much like the 12/02/09 and 08/07/10 versions, before evolving into a rhythmic jaunt, the jam turns on a dime at 11:11 with a sinister, groove-ladened riff from Trey. Foreshadowing the clarity and deliberateness he’d continue to iron out in his playing over the course of the summer – ultimately peaking in Fall – the band fuses this segment into an blissful melodic jam that finally resolves itself in The Mango Song. The SPAC Light is, while certainly not the rawest, nor the most accomplished jam of 2013, if nothing else, the moment when we all collectively realized the revolutionary steps forward of late-2012 were not all for naught.

07/06

Tube

For everyone lamenting the death of the extended Tube, please direct your ears to this version[6]. For whatever may be missing from an 8 – 12-minute Tube jam of 97-04 lore, the band more than makes up for the lack of quantity with focused, groove-heavy, linear, funk-based-jamming these days. Perhaps the best modern example of what’s always possible with Tube, this version pops immediately from a somewhat awkward first set, crafting an absolutely infectious dance number. What’s more is this is one of the first moments of 2013 where it’s clear to anyone listening that song length has ultimately become moot. As anyone at SPAC – or even those web-casting – could attest, this jam felt like 10+ minutes, regardless its 6:48 length. Check out the crowd’s reaction when it’s clear Trey’s pushing the song past the unofficial coda to be reminded once again of the beauty of the intercommunication between band and audience in this whole Live Phish thing.

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Split Open & Melt

Wow. What a statement. What a glorified mess[7]. A conscious experimental push into the unknown as anything I’ve heard from Phish 3.0, this jam covers so much terrain in its 18-minutes, it’s really quite exhausting. Abstract, gorgeous, uneven, risqué, unpolished, raw, emotive, completely human; an absolute pure example of a band seeking out the elusive hook-up. It’s also perhaps the loosest, and unfocused Phish has allowed itself to be throughout the past five years. For every jam that has either foreshadowed or reflected the various thematic terrains of 2013, there’s really no other jam produced this year that sounds anything like this Split Open & Melt. This might be the most important pre-Tahoe Tweezer jam played in the entire summer. One just has to hear the vocal inflection and laugh from Page at the end when he says, “We’ll be right back…” following their sloppy re-entry to Melt to understand how unexpectedly deep the band went, and how gloriously lost they became.

Carini -> Architect

The first of four versions for Señor Lumpy Head on this overall list, this one pops immediately with an incredibly focused, highly expansive, delicate, interwoven and intricate piece of music that has continually resided in the upper echelons of Phish’s 2013 output since the moment it concluded. Reminiscent of the 08/31/12 Undermind and Chalk Dust, this is one of those democratic/full-band conversations we’ve now come to expect in 2013. In many ways though, this jam is all about Trey, as he plays with a determined and deliberate precision that would go on to define many of Phish’s best moments in 2013. An example of foundational setting leading to deliberate playing from Trey, this jam sounds like a direct prelude to Fall Tour more than most of the jams played throughout the summer. Oh, and this jam also segues flawlessly into a debut. So much so, that, for a moment, Architect felt like it was simply just another part of the Carini jam.

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07/10

Crosseyed & Painless> Harry Hood

Two crucial things happen from 9:20 – 15:01 in this Crosseyed, which sets the foundation for literally every moment of fully-connected Phish in 2013[8].

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

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

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

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07/12

Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge

Like a snapshot right out of Summer ‘98, this fully-flowing chunk of the second set – in one of the more polarizing shows of summer[9] – is both the least-challenging and least groundbreaking piece of exploratory music from the entire tour[10]. And yet, it’s unquestionably some of the most infectiously pleasurable, which is exactly why it finds itself on this list. Rock & Roll moves into a modulated jam based on its origins and theme, ultimately reminding one of the great 08/08/2009 jam from The Gorge. Tweezer is the crown jewel of this sequence as Trey, who just sounds so playful throughout, jumps on a bouncy groove, drives it skywards and then patiently segues it right into Cities. Forget about listening critically here. Just fucking throw this on and boogie.

07/13

Harry Hood

A banner year for Hood. A. Banner. Fucking. Year. Right smack in the middle of one of the most overtly old-school shows of 2013[11] comes this overtly old-school Hood that does literally everything anyone could ever want from Harry Hood. Trey’s in command throughout in the purest, peakiest Hood in a year full of standout versions. Just soak this one in and be grateful the band has spent so much time rededicating themselves to this classic.

Mike’s Song> Simple> Weekapaug Groove

Early on this summer it appeared as though the band was coaxing a big jam out of Mike’s Song. While they ultimately never did, this version from the first night at Merriweather Post is the closest they came, and the best version of the entire year thus far. For me, however, this Groove is all about the Simple. Only one of two versions played all year, this Simple loosely locks onto the theme from Down With Disease, building a subtle, warm, full-bodied, wholly-united jam out of the band that’s among my favorite musical moments of the entire year. Proof of the musical progressions made by Trey’s insistence on focusing on his rhythmic playing, this jam just goes to show how little Phish actually has to play within a jam to craft brilliance.

07/14

Stash

They took their time prior to starting up perhaps their most innocuous first set composition[12]. They knew where they wanted to go. This version was to be different. They wanted to see how far they could push Stash while still remaining within Stash. It was – or at least, it sounds as though it was – an experiment in controlled democratic fusion. It showed Phish what they could do within even the most structured of their songs. It ultimately helped to loosen them up as they pushed their most time-honored classics far beyond the limits they’d set for them back in 2009. Trey’s wha funk spills into major-keyed bliss on a dime. This is effortless Phish. This is 2013 in a jam.

Light -> Boogie On Reggae Woman

Following that masterful first set Stash: the payoff. In perhaps the best show of the tour to that point, Phish let loose on their modern classic, fusing start/stop jams with rapid key changes, creating a disoriented dance-fest that shook Merriweather Post to its core. A prelude to the “woo’s” comes as the band peaks the jam in hysterically controlled chaos; this jam is the sound of a band fully realizing their interconnectivity, and yet still unwilling to let it all hang out at once. This is like one of those great Summer ’97 jams, when the band knew they were onto something, but weren’t quite ready to simply walk out on stage and totally strut their stuff like they’d do throughout the Fall. Few times has Boogie On sounded this anticipated, nor this perfect all at once.

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07/16

Rock & Roll -> Heartbreaker -> Makisupa Policeman> Chalk Dust Torture> Wilson> Tweezer -> Silent In The Morning

Within the confines of 2013, there were seven fully-flowing sets of music[13]. Of them, the segment from the first night of a two-night stand in Alpharetta, GA is neither the most accomplished[14], the most diverse[15], nor even the most jam-happy[16]. What it is however is a quasi-throw-back to the early days of 3.0 when humor and song selection were of the utmost importance in a Phish show, and jams rarely veered too far off into the unknown. Fusing this approach (as heard in the endless Heartbreaker teases, and the first of two Makisupa Policeman of 2013) with two jams that thematically sound plucked right out of Dick’s 2012[17], Phish crafted an indelible segment of music on a Tuesday in the Atlanta ‘burbs. For another example of how little time Phish needs to reach plains of musical bliss, look no further than the sublime Chalk Dust, a jam that feels like it covers 15-20 min of music in just under 10.

07/17

Piper -> Fast Enough For You

In a year in which the band spent so much time reviving their classics[18], while also pushing many of their newer songs into the unknown[19], less time was devoted to many of their turn-of-the-century vehicles than at any point in the past 15 years. Nowhere is this clearer than with Piper. A song that drove many of the best jams of 2003-2012, Piper appears to have adopted the role once held by Twist, as the mid-set recharge. Rather than explore the vociferous terrain Piper so seamlessly caters to, Phish instead employed it as a bridge between jams, and between the two halves of a second set, allowing its driving groove to maintain energy, rather than explore the unknown. Of these versions, perhaps none is as diverse as this one from Georgia. Touching on the baroque, haunted, underworldliness of many of its 2.0 peak versions, this Piper goes deep in a flash. Teasing the refrain from Energy, Trey immediately begins to impose darkness through the use of his tremelo effect, thus harkening back to the sprawling 07/19/2003 version. Emerging to a more blissful and melodic zone of music before fading softly into the ever-rare Fast Enough For You, perhaps it was all a subtle wink from Trey towards all those clamoring for a return of the slow-build intro?

07/21

Energy -> Ghost -> The Lizards

“Thank you for sticking around….” With those five words, the band systematically lifted the imposing weight of three weeks full of torrential weather throughout their east coast run, and thus pivoted from the foundational setting of the first half of their summer tour, before moving earnestly into one of the strongest peaks of their entire career[20]. Energy, the song of summer, builds upon its 07/17 version, with Trey invoking funk rhythms that bleed into a gorgeous melodic space – ala the 11/22/1997 Halley’s Comet. Ghost is employed once again as something of a bridge, but it’s worth hearing all the same, as it quickly finds its way into a lilting jam – by way of a distinct Seven Below tease – that fades idyllically into The Lizards. A brilliant segment of music, which makes up the meat of one of the strongest sets of summer – and perhaps the most critical moment of the entire year[21] – these uninterrupted 35 minutes have held up long since the band moved westwards from the sodden and abandoned airport on the shores of Lake Michigan.

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07/22

Down With Disease -> 2001

After kicking off the summer with three fairly contained versions[22] of one of their most cherished Set II Openers, Phish finally broke through with a jam that built off of their pivotal second set on 07/21, and pointed the way westward. Featuring melodic and rhythmic riffs from Trey throughout, the jam ultimately settled on a remarkably pleasant platitude, which felt entirely composed, and is the kind of jam one could listen to on repeat without ever growing tired. In short, this is simply one of the most enjoyable, and pleasing jams of the entire summer. A section of wholly deliberate, rising melodic playing followed, ultimately giving way to a full-on tease of Sea Of Love from The National. Further proof of how much Trey has gained from his time spent listening to – and playing with – those in the indie rock world. Following this all up with a truly patient build towards 2001 rounded off one of the most subtly diverse jams of the year, one that clearly helped to initiate the band’s massive peak over the next four months.

David Bowie

Perhaps no Phish classic has struggled to regain its unknown potential since the onset of 3.0 as one David Bowie[23]. With only a few glimmers of hope stuck in there, things changed with drastic earnestness on 12/28/12 when the band began exploring within the frame of Bowie like they hadn’t since 2003. Powerful versions on 07/05 and 07/20 paved the way for a revivalist rendition to end the second set in Toronto. A jam I highlighted in August as one of the underrated gems of the whole tour, this version leans more towards the demented explorations from 12/28/12, while further emphasizing Trey’s rhythmic explorations. Fusing the playful old-school nature of Phish with their modern and more subtle communicativeness, this Bowie is a reference point for anyone searching for the moments when Phish was fully capable of abandoning the foundational setting of the first half of summer tour, and got down to the business of properly (and consistently) breaking through their own artistic mold.

*A huge THANK YOU to Mike Hamad of @phishmaps and @MikeHamad for allowing me to use his jam maps for a few of the jams of this list. His work is phenomenal, and it really helps those listening understand better what’s happening in Phish’s music. Please give him a follow on Twitter if you don’t already. And check out his site: Setlist Schematics for even more jam maps.


[1] ‘Best’ is obviously a tricky term when it comes to a subjective essay such as this. Seeing as so many different people love Phish for so many different reasons, it’s impossible to capture an entire community’s preferences, and moments of unified elation, within a singular list. Believe me, I’m aware.

And yet, these lists are more than simply a reflection of my own subjectivities and favorite jams/shows. These lists are a result of an extensive amount of time spent listening, reading, writing and thinking – all the while parsing through the historical layers of Phish – in search of moments that stand out, and seem to both unify and exemplify the sound of an entire year. Be certain, many of my “favorite” jams and shows from the past five years have been omitted from each of my lists. Be certain that some of my favorite jams from this past year were omitted in the initial whittling process.

[2] NB, this list originally began with more than 130 individual songs, and something like 75 single jam entities. It’s now at 76/39 respectively. Progress.

[3] Anyone in need of any of these jams, or of the full playlist, feel free to hit me up @sufferingjuke and I’ll happily send em your way.

[4] This list will be delivered chronologically as all my ‘Best Of’ Lists are. Some may be fond of ranking, but I find that to be both an insolent and irrelevant endeavor when discussing and documenting Phish. This is art, not sports for Christ sake’s.

[5] A topic for another essay and another time, when you actually go back and chart the actual occurrences of improv from 03/06/09 – 12/31/11, it’s clear the band jammed with far more regularity than many wanted (or were willing (in many ways, still are willing)) to give Phish credit for. Like I said, another essay, another time.

[6] For that matter, don’t skip on the 06/15/12, 07/06/12 (w/Psycho Killer jam!!!), 07/26/13, or 11/01/13 versions.

[7] In much the same spirit of the 12/30/09 Back On The Train, 06/25/10 Chalk Dust, 10/20/10 SOAM, 08/15/11 Undermind, and 08/31/12 Runaway Jim, this SOAM feels like a leftover of the unguarded, throw-the-paint-at-the-wall-&-see-what-happens, unfiltered, macabre-style jamming that so defined the band’s 2003-2004 period, otherwise known as 2.0.

[8] There are loads of examples of groundwork being laid throughout the first three weeks of tour, a period wherein which many in the fan base were melting on Twitter, PT, Phish.net & in Mr. Miner’s comments section about how Phish wasn’t living up to the lofty heights established in 2012, or weren’t busting-out enough songs, or jamming with enough frequency, etc. Among them: Bangor’s Golden Age – specifically Trey’s insistent use of his wha-wha pedal – 2001, Antelope, and Hood; SPAC’s Cities -> Bowie, 46 Days -> Steam and Slave; the defiantly old school setlist and playing on 07/07, 07/13 and 07/14; and the funk escapade of It’s Ice that gave the band an insane amount of confidence to let their hair down and just groove.

[9] In all seriousness I loved this entire show. Set I is one of the most unique of the entire summer, featuring excellent versions of CTB and 46 Days, a loping stride through Ocelot, and an old-school pairing of Reba and David Bowie to close things out. Then again, I didn’t have to brave the cold, steely rain that reportedly blew sideways through the open-air venue that night. From my cozy apartment though, things sounded quite lovely, tbh.

[10] Yeah, I just know there’s some dude on PT right now spewing his coffee over this statement. It’s not exploratory at all. Get over it. This 60-min segment of uninterrupted music has far more in common with the late-1.0 era than anything else really played at all throughout 2013. It’s all groove. Groove for the sake of groove. It’s essentially all extended Type I jams, (with the great exception of the melodic jam that emerges from Tweezer prior to its segue into Cities) it’s essentially one big excuse for the band to simply hook-up. None of this, btw, is said to insinuate that it’s not a huge evolutionary step forward for the band within the confines of 2013, nor worth your time, or your ears.

[11] It’s right in line with 07/07, 07/10, 07/14, 10/23, and 10/25 as shows the band played throughout 2013 that felt plucked right out of 1992-1995.

[12] You could make the same argument for Bowie and Reba, but there’s something about Stash that – particularly in 3.0 – just screams “live soundcheck.”

[13] 07/05, 07/12, 07/16, 07/27, 07/30, 10/20, 10/25

[14] 10/20

[15] 07/05

[16] 07/12, 07/30

[17] The Set Opening Rock & Roll and the mid set Chalk Dust Torture are also two of the best examples of what Mr. Miner calls “Musical Density” that we have in 3.0

[18] Harry Hood, Tweezer, David Bowie, Stash

[19] Energy, Light, Golden Age, Steam, Twenty Years Later

[20] You can make a strong case that from 07/21 – 11/02 the band played 15 instant classic shows – an incredible 60% of the shows during that period – something they haven’t accomplished with such ease – nor such consistency – since probably 1997.

[21] There’s no denying how profoundly well the band was playing throughout much of the first three weeks of tour, but it was clear they were in need of something of a moment of truth to push them beyond the spurts (and the horrendous weather that dogged them) that had somewhat defined their east coast run. From the final set of their weekend in Chicago onwards, 2013 has been nothing short of a masterpiece. Without the interconnectivity and phearlessness displayed here, who knows what would have become of the band’s 30th year…

[22] This isn’t to say in any way that the other versions were bad, per se. Both the 07/07 and 07/13 versions contained some phenomenal interplay from Trey and Page in particular. Just that, well this is Down With Disease. It’s kind of one of those ‘when in doubt songs’ for Phish. The kind they can always rely on to jump-start a set/show, or immediately build upon the energy of a hooked-up Set I.

[23] Seriously, take out the 06/19/10, 10/20/10, 06/03/11, 07/03/11, and 12/28/12 versions and what you’re left with are essentially a massive amount of skeletal imitations of what Bowie once was. Of all the Phish classics that have suffered – necessarily and unnecessarily – at the hands of Phish’s full-on rebuilding project of the last five years, none have been as tragic as that of Bowie.

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!!!

Summer Awards: A Road Map To Navigating Phish’s 2013 Tour

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Regardless what happens throughout the rest of 2013, Phish’s recently completed Summer Tour is certain to go down as their best overall tour since Summer 1998. Full of thematic, boundary pushing shows, odes to their historical roots, along with clear paths pointing towards their future, 2013 is the most complete Phish tour in over a decade, and a sure sign of the summit reached in Phish’s 3.0 experiment.

With so many highlights contained throughout the tour this is the first in recent memory that simply cannot be divided into best/worst, or worth your listen/not worth your listen categories. There’s nothing cut-and-dry about 3.0 Phish tours anymore.

EVERYTHING played this summer is worth your time and your attention.

As a result, James and I figured we’d compile something of a road map for fans in search of some guidance of where to begin their Summer 2013 (re)listen. As we’re both well aware of, after all, with so much good music just produced, one can become easily overwhelmed by the prospect of re-listening. While this is an “awards” compilation, yes, it’s also meant to be read as an overall guide to the most noteworthy moments of the tour.

Moreover, we wanted to use this platform as an opportunity to extend our thanks to the band and to the overall Phish community for what has to be regarded as the most positive Phish tour in ages. By all accounts, those of you at the shows had nothing but glowing reviews on a nightly basis. I know for myself, hunkered down in a closet apartment in Osan, South Korea, this tour could not have sounded any better.

I’m absolutely honored that James asked me to be a part of this project, and I can’t wait to work with him in the future!

Hope everyone enjoys the piece! Please feel free to share your thoughts, comments, criticisms, and rants in either the comment section or @sufferingjuke and @jameskam17.

*Note: For each section our favorite show/set/jam/song is in bold

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Opener Of The Year

Llama: Holmdel, NJ – 07/10/2013

First Tube: Columbia, MD – 07/13/2013

Prince Caspian: Chicago, IL – 07/20/2013

Dinner and a Movie: Chicago, IL – 07/21/2013

Architect: George, WA – 07/27/2013

Honorable Mention: Free, San Francisco, CA – 08/02/2013

In 2012 Phish entered their summer tour with the stated goal of playing 200 unique songs. Impacting their setlists with unexpected diversity on a consistent level like no time previously in their history, the 200-song-challenge affected all aspects of their shows, most notably the opener slot. From 06/07’s Buried Alive, 06/15’s My Sweet One, 07/03’s Skin It Back, 09/01’s Antelope, and 12/31’s Garden Party, the opener became an entity all to its own throughout 2012. Here in 2013 however, the focus moved away from the number of songs the band would play (their rotation was perhaps their tightest since 1997) to, now the quality of play, and the overall craftsmanship of setlists. As a result, the openers were less a separate moment removed from the overall show, and rather an immediate insight into the night’s flow, and the band’s mood.

Each of the above songs we felt best introduced their shows – from the frenetic rage of Llama and First Tube, to the gimmicky charm of Caspian and Dinner & A Movie, to SF’s Free that summed up the entire communities sentiments following the Tahoe Tweezer, while at the same time setting an overall thematic tone for the BGCA run that fits perfectly on re-listen.

And yet, while each of the above songs certainly sent a jolt of energy and adrenaline into their respective shows, no song better captured the setting, mood, nor indescribable bigness of Phish, than Architect did on 07/27/2013.  Ushering in the show under a hushed tone, the song – with lyrics like: “it turned out better/so much better/than we ever did expect,” and “there might be more to this than we all know” – allowed everyone a pause to remember just how special and unique this whole Phish thing is.

Regardless of jam lengths, regardless of song selections, at the end of the day, the fact that Phish has created this living, breathing, evolving, fully healthy, totally redeemed entity, which has a positive impact on literally anyone who touches it, is enough in and of itself, right? Raise a glass to the architect…

Top New Song

Yarmouth Road

Energy

Say Something

Architect

Frost

In the Phish offseason, the most commonly heard request from fans for 2013 was not Gamehendge, but new material. Everyone, including me have been craving for some new Phish jams. Trey said a new album was in the works and when news broke the community went crazy. We heard the band was working collectively on the album. I mention this because this year, we did get some new tunes, but none were written collectively from the band.

After a tour opener in Bangor with no new songs, the band changed gears the next show with a Phish debut in the first set and the second set. We got Yarmouth Road, a real funky reggae song from Mike and Energy, an instant classic Phish cover from The Apples in Stereo. Yarmouth brought some great vibes to the first set and settled in comfortably for the tour. Energy kicked off the second set in thrilling fashion and just improved each and every time, getting more and more exploratory, tighter and unique with each play. Say Something and Frost were each played once, the former another Mike song that I absolutely love from the Gorge and Frost, a Trey tune played in Alpharetta.

While each song was unique and special in its own way, Energy was the clear highlight of all the new songs. It kick started one of the best sets of the tour at SPAC and was just a consistent thrill to hear. Only played four times, Energy started with a ton of potential that SPAC night, shifted to a nice meaty exploratory groove in Alpharetta after Water in the Sky, opened up another classic set in Chicago with Ghost->Lizards, Harpua > Antelope and opened the final set at Bill Graham, a peak and symbol of the true development of Energy. Energy is here to stay and is a perfect Phish song with nice lyrics, good harmonies and rocking chords. There’s room for everything and anything with this song and anything is possible. It’s just the beginning for this tune, and the other classics from the summer.

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Top First Set Jam

Tube: Saratoga, NY – 07/06/2013

Split Open and Melt: Saratoga, NY – 07/06/2013

Stash: Columbia, MD – 07/14/2013

It’s Ice: Columbia, MD – 07/14/2013

Reba: San Francisco, CA – 08/02/2013

Honorable Mention: Cities->David Bowie: Saratoga, NY 07/05/2013

The fact that there’s even a category for first set jams in this collection of thoughts says more about the state of Phish in 2013 than perhaps anything else. Proof that the band felt a comfort with their songs, and a willingness to expand upon them from the onset of the tour, these six jams display the peak period we currently find ourselves in here in Phish’s 30th year.

Centered around two first set’s in particular – 07/06 and 07/14 – throughout the summer, even when the band wasn’t expanding upon their first set selections with exploratory zeal, they were still attacking them with a newfound creativity and energy than we’d seen in over a decade. Just check out the 07/07 Maze, 07/12 Cars Trucks Buses, 07/14 Scent Of A Mule, 07/26 AC/DC Bag, Timber, Funky Bitch, and Tube, 07/27 Ocelot, and the 08/02 Vultures, Sand, and Roggae, for some noteworthy moments.

In the above jams – each of which displayed a willingness to expand with ease within the rather strict confines of the 2013 first set – the band alternated between funk clinics in Tube and It’s Ice, ambient soundscapes in SOAM, Stash and Cities -> Bowie, and the idealized conception of Reba on the first night of the San Francisco run. In the end, the ethereal – and grossly surprising – jam that emerged from Split Open & Melt to close out the first set of 07/06 reigns supreme here in 2013. A moment where the band simply stopped trying to push their oft-tormented classic, and instead, yielded to the larger forces at play, the result was nothing short of sublime.

A representative jam for the year, the 07/06 Split Open & Melt displays the unyielding opportunities available to the band as they continue to explore untapped musical territory in Set I.

Top Sequence

Columbia, MD: 07/14/2013 Light->Boogie On

Saratoga, NY: 07/05/2013 46 Days->Steam

Alpharetta, GA: 07/16/2013 Rock & Roll->Heartbreaker->Makisupa->Chalk Dust Torture

Jones Beach, NY: 07/12/2013 Tweezer->Cities->The Wedge

George, WA: 07/27/2013 Down with Disease->Undermind

Honorable Mention: Chicago, IL: 07/20/2013 Theme from the Bottom->Weekapaug Groove

Unlike any year in recent memory, 2013 was symbolic for many things, one the return of epic and slick segues on a nightly basis! In Saratoga all of set two segued flawlessly between songs, specifically 46 Days-> Steam and Light->The Mango Song and the segues never stopped. Think about Cities->David Bowie from that show in addition to so many more from the run. Merriweather had a fantastic segue from the rocking Light to the funk fest in Boogie On and continued down south with the now famous Heartbreaker set. One of my personal favorite segues all summer happened from Theme from the Bottom to Weekapaug in a classic set two of three sets on Saturday in Chicago. On Saturday night at the Gorge set two was dripping with seamless segues, specifically the gorgeous Down with Disease->Undermind that so many people rave about constantly. But there was one segue that was a personal favorite for it’s tenacity and ultimate rock and roll peak — the Jones Beach Tweezer->Cities->The Wedge.

One of the most brutal shows to endure for any fan, Jones Beach was met with heavy winds and insane rain. The second set started with 20 minute Rock & Roll->2001, another shining highlight of the tour before the band headed right into Tweezer. Around 11:15 into Tweezer Trey starts repeating these light chords, shifting the direction of the jam. Page picks up on this and plays right along with him. Trey changes to a three chord progression that is the stuff of holy gods on top of Page’s now classic melody. Fishman totally locks in on the most intense Wedge groove as Trey continues to rocks these classic chords that EVERYONE should have branded into their brains. Trey keeps it going as he moves the band right into Cities. The jam continues in Cities is the stuff of bass, bliss and bad ass plinko-jazz infused funk. Trey plays these descending chords before fast play of something that sounds like a mind left body jam while Fishman builds faster. Trey then starts playing the Wedge main riff as the band seamlessly segues right into the beat Fish started a song earlier.

This stuff is perfect Phish. This stuff is what we come night after night after night to see. Thank you Phish.

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Resurrection Jam

David Bowie (Note: 07/05, 07/12, 07/20, 07/26)

Scent of a Mule (Note: 07/14, 07/19, 08/05)

Split Open and Melt (Note: 07/06, 07/26)

Harry Hood (Note: 07/03, 07/10, 07/13, 07/26, 08/05)

Tahoe Tweezer

Honorable Mention: Mike’s Song (Note: 07/03, 07/13)

One of the enduring themes of 2013 has been the veritable resurrection of many of Phish’s most time-honored classics. Songs like David Bowie, Harry Hood, Run Like An Antelope, Slave To The Traffic Light, and even Mike’s Song – songs which had grown stale, even predictable in recent years – were suddenly presented with a new-found energy. Think of the melodic and chromatic territory the 07/05 David Bowie and the 07/03 Run Like An Antelope reached in the earliest nights of tour. Listen to the commitment to exploration in the 07/06 Split Open & Melt. Feel the fervent fire being birthed in the 07/03 and 07/13 Mike’s Song. Check out how Scent Of A Mule re-emerged as a beacon of creativity in each of its performances.

Each of the above songs – which for so long, had been played seemingly just because they had to be, simply because they were the band’s classics – here in 2013 have been resurrected as show-stopping, and tour-enforcing highlights.

Perhaps this approach is heard best in two songs: the Tahoe Tweezer, and in each Harry Hood played throughout the tour. Played as the lone encore on Bangor’s opening night, Harry Hood was re-approached with creativity, delicate exploration, and refined passion, peaking in two separate performances on 07/13 – when it sounded plucked right out of the mid-90’s – and on the tour finale in Hollywood, when it engaged on a 22min voyage that still has the community shaken.

The former, a 37min free-form jam – the longest jam since the 08/03/2003 46 Days, and the 8th longest jam of the band’s career – represented a peak in the band’s new-found approach to jamming. Focusing on harmonic freedom, which has defined their best jamming of 3.0 – ultimately peaking at Dick’s last year, and then all throughout this summer – the band wove numerous musical passages, culminating in a full-on band & audience impromptu segment of emotional jamming, surrounding a series of start/stop’s and woo’s.

A clear sign of the peak experience the band has had throughout 2013 thus far, these resurrected performances display a band once again at the top of their game.

Top Encore

Bangor 07/03: Harry Hood

The Gorge 07/26: Harry Hood, Fire

Lake Tahoe 07/30: Weekapaug Groove, Character Zero

San Francisco 08/02: Walls of the Cave

San Francisco 08/02: Sanity, Bold as Love

Honorable Mention: Alpharetta 07/17: Quinn the Eskimo

This year the encore was a little different than in past years. While there wasn’t much of a variety, each encore provided a little something to each show. Bangor’s Harry Hood was a perfect encore for the first show of the tour. A classic Phish song, not to mention that it was played perfectly (and was a foreshadower for it’s dominant summer), Bangor’s Hood was the right way to end night 1 and move us from the jitters of a tour opener into the actual tour.

Lake Tahoe’s Weekapaug and Zero were both great for a few reasons. First, Weekapaug continuing the groove from end of the show to encore is BEYOND BAD ASS. Second, Zero was pretty much the symbol for a stellar show all summer. This encore continued high energy and led us into night two of Tahoe with a lot of momentum and energy. San Francisco’s encore on night one and night three were both great. Night one had Walls of the Cave, a nice 2.0 surprise after the Seven Below highlight in set two. A one song encore allowed for a nice meaty jam and some explosive energy. The Sanity and Bold as Love allowed for two tour debuts in one encore, with Sanity being one of the highlights of the whole run. Boom! Pow! Talk about an encore! An amazing Sanity after one of the finer sets of the entire tour then some Hendrix! Man do I love this band.

The best encore happened on night one at the Gorge. After a stunning Character Zero with the band howling at the moon, the boys came out for another round of Harry Hood, another fantastic version, and Hendrix! This encore was the most fitting especially after the masterpiece set two that the boys played right beforehand. Harry Hood, whether set two or encore, was a monster in 2013, something we’ll touch upon later on.

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Surprise Gem

It’s Ice

Scent of a Mule

Steam

Split Open and Melt

Walls of the Cave

Honorable Mention: The Mango Song

Along with the resurrected jams that dotted the band’s 2013 Summer Tour are the surprise gems that kept everyone’s ears perked, and made essentially every single show a must hear. From the aforementioned Scent Of A Mule and Split Open & Melt, to the fully-realized Steam jam, the choicely placed – and expansively attacked – Mango Song, and the 2.0 survivalist Walls Of The Cave, each of the above songs helped to shape the summer through their consistent dedication to creativity.

And yet, for as engaging, and even as surprising as each of the above songs performances throughout summer were, nothing could compare to the shock that reverberated throughout the fanbase when Phish dropped into a thick funk-jam right in the middle of Merriweather Post’s It’s Ice. A defining moment in the second week of tour, It’s Ice was one of many songs that helped to shape the early tour peak that stretched from Holmdel, NJ to Columbia, MD.

A group of song’s that felt uncertain of their direction, if not wholly lost altogether, this summer each was featured in a way that far exceeded anything the band had tried to do with them for at least the past ten years.

Top First Set

Saratoga, NY: 07/07/2013

Columbia, MD: 07/14/2013

George, WA: 07/26/2013

George, WA: 07/27/2013

San Francisco, CA: 08/02/2013

Honorable Mention: Saratoga, NY: 07/06/2013

Last year in the quest for 200 songs, first sets were a chance for Phish to play old favorites, one-timers and classic bust outs. Think of Riverbend, Noblesville, and Jones Beach. But in 2013, first sets were different. With a much tighter rotation there was more room to focus on tighter sounding jams and sets crafted with impeccable flow. Sunday night at SPAC just felt like there was a greater force building this beautifully crafted set. Starting with AC/DC Bag, heading into a monster Back on the Train, the lightning Divided Sky then classics in Free, It’s Ice, Mound, Maze and Limb By Limb, ending with a rocking set closing Walls of the Cave. This set just felt right. It flowed perfectly and each song was fantastic. There is nothing better than good music and good flow. And the next Sunday the consistency continued. Never miss a Sunday show.

The second Sunday show of tour went down at the Merriweather Post Pavilion. Opening with an amazing First Tube, right into the funk of the Moma Dance before a fun trio of NICU, Roses are Free and Chalk Dust Torture, Merriweather had high moments from the start and never once had a downer. True highlights in a dark and dangerous Stash proceeded an exploratory Scent of a Mule before my personal favorite, a Phish Destroys America funk fest in It’s Ice! Talk about a first set. Then a nod to the ‘97 funk with Tube before a closing Antelope. Another amazing first set!

Both nights at the Gorge had stunners in the first set, with Friday starting off in classic fashion with AC/DC Bag, the tour debut of Timber and a fantastic Wolfman’s Brother before Funky Bitch, Happy Birthday, the “Russell Wilson” Wilson, Possum and Tube. Secret Smile made a huge return before another tour debut, the elusive McGrupp! Another tour debut Curtis Lowe came for some blues before another set closing Melt! The next night started off in another amazing fashion – Architect, Golgi, Curtain With. The set was upbeat and fun with the Phish debut of Say Something, one of my favorite songs of the summer, and an After Midnight set closer in remembrance of J.J. Cale.

Everyone knows what happened after The Gorge. Tahoe. The Tweezer. 40 minutes of glory. The question on everyone’s mind in line waiting to get in at Bill Graham was how could Phish “top” it? What’s next? There was only one thing Phish could do. They changed the conversation. They played the most fantastic first set of all tour. The Tahoe Tweezer will live forever, and this set proves it. Starting with Free, an ode to the “feeling we all forgot” that exists in the magic of 30+ min jams, before never having a single down moment. The tour debuts of Meat and Oh Kee Pa Ceremony came next before a perfect AC/DC Bag to really get the show on the road. Talk about a four song intro! Next came the tour debut of Vultures which truly resurrected the energy of Tahoe’s Tweezer with the first of MANY batches of woos!! throughout the run.

The tour debut of Roggae was next and it was absolutely magnificent. The fun continued with a funk fest in Sand and a nicely placed When the Circus Comes to Town, a great song symbolizing tour. Another tour debut with Babylon Baby came before Reba!!! A song that has huge jam potential came after a gorgeous Reba, Page’s Halfway to the Moon before a classic Phish set closer – Golgi.

This first set of the San Francisco run was constructed with magic. The set was perfect to move on from the greatness and holiness that is the Tahoe Tweezer. This set was truly so damn good, with perfect debuts, perfect flow and amazing play in each and every song. It’s no exaggeration, and that’s why this set gets the award for top first set of tour.

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Derek Jeter Award

Back on the Train: Saratoga, NY – 07/07/2013

Timber: George, WA – 07/26/2013

Golgi Apparatus: George, WA – 07/27/2013

Meat: San Francisco, CA – 08/02/2013

Divided Sky: San Francisco, CA – 08/04/2013

Honorable Mention: Wolfman’s Brother: Holmdel, NJ – 07/10/2013

Ahhh, the second song of the show. One of those slots that’s often overlooked in its distinct ability to affect the overall flow, energy, and direction of the show, here in 2013, it constantly seemed as though the band fully understood the power and importance of the Jeter slot.

On 07/07, the band followed up a sharp AC/DC Bag with a dense and intricate take on Back On The Train. Three weeks later they again followed and AC/DC Bag opener at the start of their weekend at The Gorge, though this time with a torrid Timber. In Holmdel, following a cancelled show in Toronto the night before, Phish kicked off one of the best shows of the entire tour with a blistering Llama followed by a loose, funky, yet still raging Wolfman’s Brother. During the tour’s final weekend, the band treated their fans to two classics on 08/02 and 08/04, using the second song of each show – Meat & Divided Sky – to key fans into the overall energy the band was messing with by tour’s end.

And yet, it was on the second night of The Gorge, when, after opening the show with their most contemplative, emotive, and sublime opener of the summer, that the band worked to sculpt one of their best shows of the tour, by infusing their age-old classic Golgi Apparatus into the show’s second slot. A song that has always seemingly fit best as a set closer, the placement reminded many of the NICU>Golgi>Crossroads trifecta that opened the hallowed 12/29/1997 show. Perfectly placed, expertly played, that they followed it up with the lone Curtain With of the summer just showed what kind of magic the band was wielding here in the summer of 2013.

Best Poster

BGCA

Hollywood

Alpharetta

The Gorge

Lake Tahoe

Honorable Mention: Jones Beach

Posters were a hot commodity as always this summer, and the posters were absolutely spectacular at each run. It’s hard to say which one is the best, because in all honesty, each and every one of them is special and unique to the venue while looking incredibly bad ass. I narrowed down my 6 favorites: San Francisco, Alpharetta, The Gorge, Jones Beach, Lake Tahoe and Hollywood. Jones Beach is the poster with an astronaut in the middle, surrounded by eyes blossoming from the slime below. Alpharetta’s dual set is perfect for representing the south. A beautiful landscape of friends swimming in a lake, playing on a rope swing. The silhouette of the children and grass with the bright colors of the sky reflect hot summer days in the south.

Heading out west, Phish had beautiful poster after beautiful poster. The Gorge, like Alpharetta, is a duel set with a wolf and goat looking at the lochness monster, swimming in the sea, another perfect poster for the venue. The posters kept getting better and better, with Tahoe’s an image of Tahoe Tessie rising on a full moon from the Lake and San Francisco’s three posters represent the psychedelia that is San Francisco. Night one is a pelican, night two is a butterfly with guitars and a keyboard and the third is a fox with drums. The colors are magnificent, blue and red and each are uniquely special.

However, Hollywood’s poster is clearly the best. Not only is it huge (20×30), but it’s a split perspective of the same image, one from the sky, one from below the waters. On the left there is a boy and a girl sitting high above the water in a patch of flowers, watching sailboats below and fireworks in the distance. On the right side is the image from below the water, with sharks swimming towards a light, deep below the sailboats, next to scuba divers. It’s really a fantastic poster and I’m thankful to have got a copy. Point is, all the posters are beautiful! Wonderful job from all the artists! Thank you!

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Most Unexpected Part Of Tour

The Rain

Harpua

The Tight Rotation of Songs

The end of mkdevo

3 Set Show at Chicago

Honorable Mention: Hollywood Harry Hood a.k.a. HollyHOOD

Summer 2013 was a unique tour for Phish for a plethora of reasons. There were a lot of unexpected surprises, some good, some bad, but all having an effect on the tour in one way or another. The biggest may be what happened to @mkdevo and all of his videos. For all of 3.0, if there was a song you wanted to check out and watch, everyone knew look no further than mkdevo. If you missed a show, no problem, you could watch it practically through his videos. The videos were arguably Phish’s greatest marketing tool as they were free and they exposed Phish to a generation of fans who never knew of the band before 2009. It’s definitely been a different tour with little to none visual footage as there has been in years past.

Another big surprise was the Harry Hood from Hollywood, otherwise known as HollyHood. The last show of a 4 night stand between San Fran->Los Angeles, Hollywood was characterized by no new songs and lots of great, but typical, Phish excellence. All of the sudden, out of nowhere in the second set though comes this beauty. This magnificent mother of god Harry Hood that is instantly an all-timer. The song that started it all off in Bangor and never let down throughout the tour peaked in full capacity that Monday night, and that was a huge unexpected gift.

It’s been said a bunch already, but 2012 and 2013 were very different. The chase for 200 songs changed the dynamic of the tour in 2012 and therefore 2013 not only had a much tighter rotation, but it truly felt like a tighter rotation. It made for interesting sets. There was plenty of variety among each jam and development and improvement with each play. The juxtaposition between the two summer tours was evident and unexpected.

But by far, the most unexpected part of the tour was the rain. Without the rain you don’t get the Chicago run – Friday’s cancellation, Saturday’s three set speciality, and Sunday’s Harpua. The rain was EASILY the biggest factor throughout the east coast, all the way through Chicago, with everyone jokingly calling it Phish Pours America and Phish Summer Pour 2013. Every night there seemed to be a storm or threats of storms, starting with SPAC having delays and thunderstorms. Jones Beach’s show was caught in the middle of the worst storm of the summer on Long Island, with the wind whipping people in the face and the rain pounding on all of us from above.

The rain didn’t stop though, it just continued, down to Merriweather and Atlanta, before finally “peaking” in Chicago. When the show on Friday was cut short, the band was truly devastated, and rewarded us with three sets on Saturday. But when Sunday came and the first set was cut during Antelope, you could really tell how frustrated and annoyed the band was, especially Trey and Page. The rain was just a constant deterrent, but both the band and the fans NEVER let it get in the way. I’ll always remember this tour for the rain as will many, as the rain truly gave life to each and every show in a different, unique way.

Show Of The Tour

Holmdel, NJ – 07/10/2013

Columbia, MD – 07/14/2013

Chicago, IL – 07/21/2013

George, WA – 07/26/2013

George, WA – 07/27/2013

San Francisco, CA – 08/02/2013

San Francisco, CA – 08/04/2013

Honorable Mention: Saratoga, NY – 07/07/2013

The thing about this 2013 Summer Tour is that there really wasn’t a single bad show played. Seriously, you could throw any of these shows on and find numerous moments of full-band-connectivity. Even on their safest nights – 07/03 and 07/05 – even on the cancelled mess of 07/19, even when they came out with a song-based/energy affair on the second night of BGCA, each of these shows are still worth your time and your ears. Each display a Phish at the top of their game, attacking their shows no matter the style.

And yet, for however strong as the tour is as a complete entity, their peak shows are simply based on an even higher level of musical connectivity, advanced experimentation, and evolutionary progression. From 07/10 and 07/14’s dedication to the band’s classics, representing an early peak for the tour, while displaying Phish’s desire to jam as a unified force, to 07/21’s show that – like the above jam segment – absolutely HAD to happen, to the string of shows at the Gorge on 07/26 and 07/27 that display the most consistent peak for the band in 2013, to the first and third night of SF that combined rarities and segues on 08/02, and a second set for the ages on 08/04, there’s just simply SO MUCH music we have to listen to from Phish moving forward. And, one cannot forget to mention the initial high-point of the tour – a show rightly praised when it happened, yet overshadowed now as the tour has unfolded – 07/07.

We’ve truly been blessed throughout the entirety of this 2013 Summer Tour. The thought of the band continuing to build upon this at Dick’s and in the Fall is simply mind-boggling.

Thankful is simply not enough.

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Top Run

Saratoga Performing Arts Center, Saratoga Springs, New York: 3 Nights

Merriweather Post Pavilion, Columbia, Maryland: 2 Nights

The Gorge, George, Washington: 2 Nights

Lake Tahoe, Stateline, Nevada: 2 Nights

Bill Graham Civic Auditorium, San Francisco, California: 3 Nights

Top run? How can one even decide…Between the magnificence and glory at Phish’s real life Gamehendge, Saratoga Springs, through the tri state area in New Jersey and Jones Beach, and the weekend run at Merriweather, almost every run was unique and special, loaded with stunning moments and overflowing with highlights.

Lake Tahoe had great shows and the most special moment, Tweezer, and Bill Graham was the RIGHT way to end the tour, in the place where the birth of the counter culture happened. But one run stands above the rest — The Gorge. Like Phish’s last trip to the legendary venue, this weekend stand boasted complete shows filled with sick segues, exploratory jams and fantastic first and second sets. Night one at the Gorge had a AC/DC Bag, Timber, Wolfman’s Opener with a closing trio of McGrupp, Curtis Lowe and Melt. The first set was stunning as was the second set, which had an 18 minute Crosseyed and Painless, followed by Twist, Steam, Waves and a jam that has WAY TOO MUCH POTENTIAL, Twenty Years Later. Mango, Bug and Bowie!!! rounded the end, before a symbolic Rocky Top, signifying the awesome set, and then the moon howling Character Zero.

The next night opened with a gorgeous Architect, the first Golgi of tour and then the first Curtain With of tour! After that came more great songs with Moma, Maze and the new debut, Say Something, a song I love. After Midnight ended the set with a tribute for J.J. Cale and kept the energy at an all-time high. The second set was even better! The famous Down with Disease->Undermind to start things off before another amazing highlight, Light->Sneaking Sally. A spacey and funky 2001 was nicely placed before a perfect ending trio – Walls of the Cave, Fluffhead and Run Like an Antelope. Talk about a two night stand.

There are a few rules of Phish. Never miss a Sunday show. If you have the ability to go to a show, you go. Never miss Dick’s, and of course, Never miss The Gorge.

Top Set

Saratoga Springs: 07/05/13- Set II Energy > Light->The Mango Song > 46 Days->Steam, Drowned > Slave

Jones Beach: 07/12/2013- Set II Rock & Rock -> 2001 > Tweezer->Cities->The Wedge, Wading in the Velvet Sea, Character Zero

Chicago: 07/21/2013- Set II Energy->Ghost->The Lizards, Harpua > Run Like an Antelope

The Gorge: 07/26/2013- Set II Crosseyed & Painless > Twist > Steam > Waves->Twenty Years Later > The Mango Song > Bug > David Bowie, Rocky Top > Character Zero

The Gorge: 07/27/2013- Set II Down with Disease->Undermind > Light->Sneakin Sally Thru the Alley->2001 > Walls of the Cave > Fluffhead > Run Like an Antelope

San Francisco: 08/04/2013- Set II Energy > Runaway Jim > Carini > The Wedge, Light->David Bowie, Silent in the Morning, Meatstick > Quinn the Eskimo, You Enjoy Myself

For much of 2009 – 2012, no matter what musical leaps forward were made, Phish continually struggled with conceiving fully-flowing sets. While yes, there are exceptions – 08/07/2009 II, 06/27/2010 II, 10/16/2010 II, 05/28/2011 II, 07/03/2011 I, 08/15/2011 II, 08/19/2012 II, and 12/30/2012 II immediately come to mind – the start-to-finish thematic flow of a set – particularly a Set II – was one of the missing links that marked any conversation about where exactly Phish was in their climb back up their veritable mountain.

As with much of their music, all this changed in 2013.

On the second show of tour to be exact.

Crafting a fluid, flowing, and thematically unyielding set on the first night of their three-night SPAC run, the band ushered in a tour full of relentless sets that stack up with some of the most complete sets of their entire career. These sets are SO good that the thought of ranking them/choosing a singular one that’s better than the others seems preposterous. Almost like an insult.

07/05 showed us immediately what was possible here in 2013. 07/10 displayed the lengths the band was prepared to go to craft improvisational brilliance, while also letting their hair down and proving that party/rock sets don’t necessarily mean a loss in flow. 07/12 felt plucked right out of 1998. 07/21 HAD to happen right then and there; phearless’d. 07/26 both built upon 07/10’s theme, but used down-tempo rarities, along with a deranged moon-chant in the often-predictable Zero to allow the band an entrance into an alternate dimension. 07/27 is definition of ‘perfection’ in my mind: jams, flow, energy, rock, classics. 08/04 capped off a tour full of highlights with expansive jams, a nod to the bands ever-present gimmickry, and an ode to the theme of Phish 2013: ENERGY.

While we’ve selected 07/27 as the singular set that best defines the peak we’ve all just experienced here in Phish 2013, the reality is any number of those sets could fill that slot. There’s a reason SO many were SO floored after 07/05 after all…

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Jam Of The Tour

Carini -> Architect: Saratoga, NY – 07/06/2013

Crosseyed & Painless> Harry Hood: Holmdel, NY – 07/10/2013

Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge: Wantagh, NY – 07/12/2013

Light -> Boogie On Reggae Woman: Columbia, MD – 07/14/2013

Energy -> Ghost -> The Lizards: Chicago, IL – 07/21/2013

Down With Disease: Toronto, ON – 07/22/2013

Down With Disease -> Undermind> Light -> Sneakin’ Sally Thru The Alley -> 2001: George, WA – 07/27/2013

Tweezer: Stateline, NV – 07/31/2013

Rock & Roll -> Steam: San Francisco, CA – 08/03/2013

Energy> Runaway Jim: San Francisco, CA – 08/04/2013

Harry Hood: Los Angeles, CA – 08/05/2013

There’s simply no other option in this category than the 07/31/2013 Tweezer from Tahoe. A 37-minute masterpiece that saw Phish craft an unending jam, displaying both a willingness to expand upon the subtlest of musical cues, and a desire to push their music out as far as possible, that the song resulted in one of the most stunning peaks of the band’s career is almost icing on the cake. And yet, the peak itself resulted in an impromptu band/audience moment of connection only possible in the purest forms of live music, representing a unified sense of elation between band and audience alike. Just listen to the way Trey absolutely tears into his riff following the first – and most spontaneous – set of woo’s from the crowd. There simply hasn’t been a jam in all of 3.0 that can compare with the exploratory zeal, communicative transcendence, nor unified band/audience moment quite like the Tahoe Tweezer.

As for the rest on this list? Each would unquestionably be a top jam in any other year in 3.0.

07/06’s Carini that changed on a dime numerous times, as the band tore through gorgeous melodic passages before landing in the debut of Architect.

The first Crosseyed of the year which saw Trey reach an early peak through his experimentations with this rhythmic and melodic jamming.

The Jones Beach Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge segment that felt plucked right out of 1998, and more than made up for the torrential weather in Set I.

At Merriweather Post the band dropped a sharp and rhythmic Light, which tore through various segments of start/stop jamming, fused with heavy and distorted rock, before segueing perfectly into Boogie On Reggae Woman.

Reaching a mid-tour peak with the Energy -> Ghost -> The Lizards segment in Chicago, a jam that absolutely HAD to happen, it touched on literally every jamming style the band has ever experimented with throughout their entire career in one 26min jam before moving into one of their most time honored classics.

A night later Trey led the band down a beautifully sublime path in Down With Disease, displaying the wide-open possibilities for the band as they moved westward.

On the second night of The Gorge, the band spent the first 50 minutes of their second set locked in a constantly evolving jam segment that passed through sections of funk, ambient, and bliss before peaking with a torrid Sneakin’ Sally.

Two shows after the Tahoe Tweezer, the band took Rock & Roll again on another spin, this time focusing more on the groove rather than its melody, moving it seamlessly into perhaps the best Steam of the year, in a year already full of top versions.

On one of the best shows of the summer – 08/04 – Phish opened their second set with a 27 minute segment based around their newest jam vehicle, and one of their oldest.

Finally, they took Harry Hood out far beyond the reaches of your typical Hood, crafting an often seedy, if not painstakingly gorgeous version that rivals any of the 2003 experimentations on it, and proved just how high the band was by tour’s end.

Each of these jams displayed a band simply locked in. No two ways about it. Phish was on throughout all of their summer tour. Evolutionary steps forward, momentous goals achieved, surprises galore; further proof of where things currently stand in the world of Phish.

Song MVP

Harry Hood

Energy

David Bowie

Crosseyed and Painless

Tweezer

Honorable Mention: Rock & Roll

Look up any show from the past tour where any of the above songs were played, and you’re guaranteed to hear an innovative and energized performance that served as both a show and tour highlight.

Each year of 3.0 has provided us with transcendent takes on Rock & Roll: 08/08/2009, 10/22/2010, 08/05/2011, 08/15/2012, and now, 07/12/2013 and 08/03/2012. Each wholly unique versions that displayed both the open-ended quality to the song, and the bombastic grooves that are just bursting at its seams, the song proved its lasting value  in 2013 once again as one of the band’s trustiest jam vehicles.

David Bowie returned from years of seeming irrelevance to reclaim its place among the most enthralling live compositions in Phish’s catalogue. Punctuated by engaging, melodic versions on 07/05, 07/12, 07/20, and 07/26, the song proved that for however predictable and tepid it had been throughout the first three years of 3.0, there was no way the band could contain this gem forever.

Crosseyed & Painless, played only twice, was significantly stretched out on each occasion, further displaying the boundaries pushed in last summer’s transcendent 08/19 version. Offering up one of the jams of summer at PNC, it touched upon the 02/16/2003 Piper theme on its way to fully displaying the rhythmic melodic playing from Trey that was pushing the band to new heights. While it didn’t totally hook-up in the same way sixteen days later at the The Gorge, that version did represent a significant step forward in terms of Trey’s willingness and desire to push their jams deep into the unknown, something which would lead to a landmark jam some five nights later…

The lone cover debut of summer, Energy fit Phish’s rotation with stunning ease, expanding over four transcendent versions to become the new go-to jam for the band. With lyrics that speak directly to Phish’s overall message, a melody that just screams White Album-era Beatles, and an open-ended quality that caters directly to expansion, and it’s no wonder the song has stuck. Just listen to how much the song grew from its 07/05 debut, to its 07/17 performance that allowed it its first opportunity to wander, to its two peak performances thus far on 07/21 and 08/04. Anyone who doesn’t think this is opening one of the second sets at Dick’s is crazy.

Even if the four Tweezers that preceded the 07/31 version had been complete duds, the song was still bound to make this list for the sheer impact its 37 minute incarnation had on the entirety of the music made this summer.

Yet, aside from the 07/06 version, each the 07/12, 07/16, and 07/22 versions are unique, thematic, and are featured in choice segues midway through their respective sets. Still, nothing compares to the masterful jam that kicked off the final set in Tahoe. A musical peak for Phish in any era, it cemented 2013 as yet another Tweezer-strong year, and kept up the trend within 3.0, of a sublime take on their much-loved jam vehicle, joining the likes of 12/29/2009, 12/30/2010, 09/03/2011, and 12/28/2012 before it.

And yet, for everything that’s been played in 2013 – much of which that has simply blown away a large percentage of the music the band has made throughout their already illustrious career – it all comes back to one Harry Hood. The lone encore on the tour opener in Bangor, literally every single version played – 07/10, 07/13, 07/20, 07/26, 08/02, and the monumental 08/05 – is a veritable tour highlight. In much the same way that David Bowie completely revitalized itself here in 2013, so did Mr. Hood, and then some. Peaking in the first half of the tour with old-school takes on 07/03 and 07/13 in particular, out west the song opened itself up to a certain degree on 07/26, before completely rewriting the rulebook on Hood some three songs before the tour’s conclusion. One of the jams of summer, the Hollywood Harry Hood displayed the untapped potential of the song as a jam vehicle, exposing yet another layer in Phish’s continuously unveiling musical amalgamation.

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Once again, many thanks to James for asking me to be a part of this piece! So glad to be able to share our thoughts on Phish in such a way! We can’t wait to see what Phish has planned for us at Dick’s!

Assorted Thoughts & Questions On The Second Week Of Phish’s 2013 Summer Tour

1045244_10151456729241290_627350807_nThe second week of Phish’s 2013 Summer Tour is in the books, and it’s pretty clear to anyone listening that we’ve got a veritable classic on our hands here.

Torrential weather be damned. Postponed shows no bother. No matter what tries to impede Phish’s path right now, it appears the band simply can’t be halted.

In their 30th year, the band has clearly turned a corner and are showing no signs of slowing down. What was realized in the intimate Greek Theater way back in August 2010, capitalized upon that Fall, busted wide open with the SuperBall IX “Storage Jam” and subsequent experimentally-driven August run, toyed around with throughout a non-stop June 2012 tour, and finally realized in Commerce City, CO, has become the show-in-show-out reality of Phish here in 2013.

The band is just on. No two ways about it.

It’s a damned good time to be a Phish fan right now, both for everyone at the shows, and all of us listening with fervent ears back home. The band is littering shows with segues, jams, tight-knit playing, old school setlists, energy, and increasing humor that can only bode even greater things as the tour moves along.

All this music has gotten me thinking. Below are an assortment of random thoughts and questions I have from the last week of tour.

Hope everyone’s been enjoying this tour as much as I have!

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Is “Mike’s Song” About To Blow Up?

The long-forgotten classic, you’d have to go back to Summer 2000 for the last time the band truly approached “Mike’s Song” with the kind of aggression they are right now. While it’s always been a fan and band favorite, few could deny the overall power that’s been missing from “Mike’s” through the last two eras of the band’s history.

Out of nowhere, on the first night of tour, Phish treated us to a “Mike’s” that carried an extra bit of something – particularly from Trey – and for a minute felt as though it were going to explode into an unrelenting jam. Then, on Saturday night at Merriweather Post, the band again approached the song with a kind of desperation and aggression, once again expanding the limits we thought had been established as law going forward. That it bled into a gorgeously thematic and rhythmic take on “Simple” (more on this later) and a “Weekapaug” that felt slightly elevated, only helped to secure this as, hands down, the best “Mike’s Groove” since 2000.

So the question bears asking: Is Phish ready to blow “Mike’s Song” up again? Are they ready to approach the song with the same kind of fire, energy, and exploratory zealotry that made it one of the MUST-SEE songs throughout the entirety of Phish’s first 17 years?

Historically, one only has to look at the band’s patterns when they’re trying to will a specific song into the unknown. Two recent examples: the 08/16/2009 “Backwards Down The Number Line” and the 08/31/2012 “Chalk Dust Torture” each display that when the band is consciously trying to expand a specific song into a monumental jam, they typically build the song up through a series of versions that gradually push it further into the unknown. For “Number Line,” the 07/31/2009, 08/08/2009 and 08/11/2009 versions paved the way for the 20-minute monster that opened SPAC’s tour closing affair in 2009. For Chalk Dust, the 08/25/2012 and 08/28/2012 jams clearly helped to free the band up for the ethereal Dick’s version.

Beyond these two historical examples, it’s clear the band is focusing more time and attention on their classics throughout this tour. (More on this later) With the recent performances we’ve heard from “Bowie,” “Antelope,” “Hood,” “Reba,” “Stash,” “SOAM,” and “Slave” one wouldn’t be too surprised if one of these upcoming shows featured a “Mike’s” that fused the past and present of Phish in one monumental jam.

Can you even imagine how the crowd would react to a jam off “Mike’s” at this point?

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About The Celebratory Rhythmic Jamming…

If one clear-cut musical pattern is emerging from Phish’s Summer 2013 Tour it’s that the band is spending a large percentage of improvisational time focused on overtly melodic jams that have – in their best moments – resulted in segments of celebratory rhythmic hook-up’s that achieve transcendence on a number of levels. Heard most notably in the 07/10 “Crosseyed & Painless” and 07/13 “Harry Hood” – though elements of it are certainly abound in the 07/06 “SOAM” and “Carini,” the 07/12 “Rock & Roll” and 07/13 “Simple” – it appears the band is reflecting their ecstasy over this Summer Tour directly in their music.

Much like how jams in 2003 and 2004 descended into a dark and twisted underworld without reprieve, many jams in 2013 are the diametric opposite, rising to the heavens in rejoice over the current state of the band.

What’s perhaps most unique about this trend – at least to these ears – is that it’s taken Phish under eight shows to reign in on, and commit to this style. While there have certainly been a plethora of incredible jams that have littered 3.0, each of the past four years have been more notable for the fact that the band has restlessly jumped from style-to-style throughout tours, very rarely committing to one singular style to build through. Granted, August 2011 featured a number of “Storage”-based jams, and Dick’s 2012 highlighted the band’s ability and desire to weave a number of different ideas and themes under one singular piece of improve, those are more exceptions than the rules in the past four years.

Here in 2013, with the band at the top of their game, and an entire tour in front of them to explore the unknown, the band is fully communicating the peak experience their having as a band through their improv. Like how 1995’s abstract excursions spoke directly to the band’s fascination with how far their music could go, 1997 displayed a band in completely seamless communication, 1999-2000 showed how effortless and in many ways, uninspiring Phish had become for its members, and 2003 was the sound of a band dying in front of our very eyes, 2013 jams are full of celebration and revival.

It’s been a long time coming for Phish to return to the place of consistent playing – both within their songs, and outside of them – and to hear them attack their improv with the kind of celebratory zest they are this summer can only make fans feel great about the state of Phish as we continue moving forward.

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The 2013 Setlist Model

A simple perusing of PT or Twitter will display an even-handed amount of opinions on the structural approach the band is pushing forward with their setlist’s in 2013. A complete diversion from the recital sets that dotted much of 2009 – 2011, and a stark change from the rarities and bustouts that colored 2012, 2013 setlists have – thus far – been noticeably trimmed down and sharpened up. Emphasizing a stricter rotation throughout the tour thus far, repeats have been abound, while at the same time, few sets (first sets in particular) haven’t been subjected to the knee-jerk flow and unending feel that marked so many throughout 3.0.

So the question bears asking: is this new setlist model a positive for Phish, a negative, or just a part of the continual evolution of the band?

I see the effects of this evolution in two ways. First of all, to me, the recital approach – while certainly great when it worked; see: 11/29/2009, 12/04/2009, 06/13/2010, 07/03/2010, 08/14/2010, 10/26/2010, 10/30/2010, 06/11/2011, 08/16/2011, 06/15/2012, 06/28/2012, 07/03/2012, 07/06/2012 – had become somewhat stale and outdated by the time 2011 rolled around, when it was clear many of the growing pains of 2009 and early 2010 were behind them. In that sense, I both welcome the consistently trimmed down setlists – they’re tighter and flow better overall – and welcome the sequential emphasis of a stricter rotation.

The second effect of the band’s current approach to crafting setlists is an overt emphasis of their classic songs and jam vehicles. Whereas in 2009 through, even parts of 2012, the band was making a conscious effort to showcase their entire catalogue, here in 2013, there’ve been a number of shows that have specifically featured songs written before 1995. A result of this has been a newfound electricity and energy within their classics. One needs to look no further than the 07/03 and 07/13 “Mike’s,” 07/03 “Antelope,” 07/03, 07/10, and 07/13 “Hood,” 07/05 “Bowie,” 07/05 “Slave,” 07/06 “SOAM,” 07/07 and 07/14 “You Enjoy Myself,” 07/12 “Reba,” 07/12 “Tweezer,” 07/13 “Simple,” 07/13 “Weekapaug Groove,” 07/14 “Stash,” and the 07/14 “It’s Ice,” to see the effect this approach is having on some of Phish’s historically great compositions.

I argued yesterday on PT that while this last weekend’s Merriweather Post highlights were “Destiny Unbound,” “Maze,” “Hood,” “Mike’s Groove,” “Stash,” “Mule,” “Ice,” “Light -> Boogie On,” and “You Enjoy Myself” would have represented a horrendous pair of shows from 2003 – 2012, here, in 2013, suddenly these shows reside in the upper echelon of the tour thus far. This is a sign of a band fully focused on reinventing, and reigniting their classics like they haven’t consistently in years. And this is without mentioning the excellent “Gins,” “Wolfmans,” and “Themes” we’ve heard, nor the one-off performances of song’s like “BOTT,” “Ya Mar,” or “CTB” that have popped with fresh energy and playing.

It’s an amazing reversal on the trend that had dominated much of the last ten years of the band’s existence. For too long their time-honored classics felt forgotten, appearing in shows only because they had to. That the band is rediscovering how to approach so many of these songs, particularly within the structure of more refined setlists, can only bode great things moving forward.

While yes, there’s no doubt something missing from Phish shows due to the lack of surprise that was so associated with the random bustouts and rarities that littered much of 2010 – 2012, but in all reality, I’d personally rather hear Phish crush their classics like they have been over the past two weeks than compile sets that lack flow and energy just to get a one-off glimpse of a long-forgotten song. I definitely argued before the tour that we’d hear more bustouts this year, and so far I’ve been wrong on that prediction. So long as the band keeps playing the way they are, count me as one totally cool with the current approach to setlists, and consequential lack of bustouts in 2013.

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The Impact Of Trey’s Rhythmic Playing

From the first Type-II jam of tour (07/03’s “Golden Age”) one this was immediately different about Phish’s jamming approach in 2013: Trey’s emphasis of his wah-wah pedal like no time since the late-90’s. A stylistic move that’s allowed Mike and Page more space to continue their individual dominance in 3.0, this move has led to some of the most unique and colorful moments of the 2013 tour thus far.

From the 07/06 “Tube,” and 07/12 “Tweezer -> Cities,” to the 07/14 “Stash,” “It’s Ice,” and “Light -> Boogie On,” the wah has been at the center of some of the most unexpected funk clinics that have dotted 2013.

Moreover though is the full impact of Trey’s rhythmic approach. Even when he’s eschewed the wah, he’s still approached jams with a rhythm-centric mindset that’s led to the aforementioned melodic and celebratory jams that have stood out as the best of the year.

Like how 1997 – 2000 benefitted greatly by Trey’s deliberately minimalistic approach, so too is 2013. Playing within the pockets created by Mike and Fish, allowing Page to shine like he has since Hampton ’09, while giving Mike the proper space to lead jams, Trey’s coloring the jams with chords and rhythmic patterns that are leading to full-band-connectivity and linear musical communication with consistency and ease. For examples, look no further than the 07/10 “Crosseyed & Painless,” 07/12 “Rock & Roll -> 2001>Tweezer -> Cities -> The Wedge,” 07/13 “Harry Hood” and “Simple,” or the 07/14 “Light -> Boogie On,” and “You Enjoy Myself.”

Fusing their past with their current state, Phish is benefitting greatly from 30 years worth of musical experience as they diverge deeper into the unwinding conversation they’ve been sharing together on stage.

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Is This The Best Summer Tour Since 1.0?

Jumping the gun a bit here? Perhaps.

Remember how good 2012 was, kid? Yes, yes I do.

Didn’t you just write a 3000-wd piece praising 2003? Yes, that’s me.

Look, I hate the redundancy of certain Phish writers who review and comment on shows/jams/tours as if THIS is THE BEST ___________ since ____________, only to emerge a week or two later saying the exact same thing.

But we’ve reached a point with this tour, now two weeks in, where the question certainly bears asking.

Is this the best summer tour since 1.0?

My arguments in favor are as follows, in four points:

1. The band is jamming with a consistency and brilliancy the likes of which we simply haven’t seen since 1998.

Yes, I fully realize the absurdity of this statement when one considers how heavy the band jammed from 1999 – 2004, but hear me out.

While so many jams went deep throughout that period, there are unfortunately a litany of jams that simply jammed for the sake of filling space and jamming, rather than pushing forward with consistent purpose. Moments of brilliance and transcendence were often times separated by lengthy wanderings of a band that oftentimes appeared lost, or worst, careless. And yet, for however deep and methodically demonic those jams were – and this is coming from a proud-1999 -2003 fluffer – those jams didn’t really speak to the historical and emotional legacy that is Phish. So moody and ominous so many of them were, they represented a dying band’s last gasp at relevance and sustainability. That they went so deep spoke more to the individual member’s emotional struggles than any true evolutionary step forward. As I said throughout my essay on Summer 2003, (and this point is certainly transferrable to 1999 and 2000, and especially 2004) it’s clear in hindsight that that jamming approach was simply unsustainable. No one can be that lost and hope to persist in any sort of productive and healthy manner. For however monumental, or artistically innovative many of the jams were, they belong to their own era of Phish that’s in many ways separate from the band’s overall historical legacy.

Here in 2013 we’re hearing a band who has climbed the mountain once again, and is jamming with not only conscientious purpose, but also celebratory revival.

2. Phish’s greatest songs are being showcased like they haven’t since the mid-1990’s.

I’ve made this point ad nauseam throughout this piece, so I won’t go too deep into it here. But, the point remains, in 3.0, up until this tour, “Bowie,” “You Enjoy Myself,” “Hood,” “Slave,” “Mike’s,” “Antelope,” “SOAM,” and “Stash,” all felt like dinosaurs in Phish’s catalogue.

Sure, they made their required every two-to-three show appearance.

Sure, they got their resounding cheers from the crowd.

But rarely did they feel like an opportunity for the band.

Instead, they always felt played because, well, they had to be played. Even in 2012 – by-and-away the best year the band has played in full since at least 2000 – these songs always felt like a shell of their former selves, no matter the fact that the band was beginning to focus additional attention on them. Now however, the band is approaching their time-honored classics like this were 1993 or 1995, and they have to explore them for all they’re worth.

3. This is the strongest opening to a tour the band has played since Summer 1998.

Go back through each of the summer tour’s of the band’s history. At this point, I count six shows that are unquestionably keepers – 07/05, 07/07, 07/10, 07/12, 07/13, and 07/14.

SIX, out of EIGHT shows total. This is unprecedented in recent Phish history!

At the end of each year I compile a list of the ten best shows of the year, along with three honorable mentions. I shudder to think how I’m going to widdle this list down to 13 by year’s end.

While Phish has treated the opening legs of 3.0 tours to some of the best overall shows of the year, none of the 3.0 summer tour’s can compare to 2013’s opening two weeks. The only tour that could carry a candle in my mind is 2011, and that tour petered out following an incredible opening week from Bethel – Cincinnati.

Going back to 2.0 – 2004 is disqualified based on the fact that the exceptionally strong June Run was no more than a week’s worth of music – the 2003 Tour sputtered for much of it’s first two weeks before finding consistently solid ground on it’s back end.

In 1.0, both 1999 and 2000 featured some exceptional shows starting a week into their tours, but in both cares, their immediate opening shows are dotted with too many head-scratching moments – 07/07/1999, 06/25/2000, for example – to hold a candle to how consistently great Phish is playing these days. Even in their weakest shows this tour – 07/03 and 07/06 – the band is still infusing each with moments of brilliance that make them worth listening to regardless.

So, is this the best opening to a tour since 1.0? That question’s ultimately up to you and your own standards of “best”. For me, there’s simply no question, 2013 has put itself in a pretty heady category thus far.

4. Each member is thriving individually which is translating to some stunning linear musical communication.

For much of 3.0, the continual argument against Phish (lazy or not) has been of the struggles of one Trey Anastasio. For much of 2009, both he and Fishman simply didn’t have the chops to keep up with Page and Mike, to craft transcendent improvisational music on a consistent basis. While Trey was able to dissuade much of the criticism when in August 2010 he unveiled the Ocedoc guitar that helped to deepen his overall sound, thus making him less reliant on the whammy pedal, and more conducive to full-band jamming, it wasn’t really until 2012 that all his practice since 2008 really started to pay off.

On the other hand, Fishman spent much of the band’s first two years back simply getting reacquainted with playing drums. Admitting to give up drums entirely for a time during the band’s break-up from 2004 – 2009, his technical inabilities left many jams rudderless throughout 2009 and 2010. Like Trey though, Fish has been on a consistent rise since 2011, now capable of playing in a variety of styles, and impacting jams with the kind of tactical precision and spontaneity that made him such a key figure in Phish’s mid-90’s renaissance.

Freed from the burdens of the band’s two weakest links, they’re now playing as one on a far more regular basis. As a result, jams like the 07/06 “Carini,” 07/10 “Crosseyd,” 07/12 “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge,” 07/13 “Simple,” 07/14 “Stash,” “It’s Ice,” “Light -> Boogie On,” and “You Enjoy Myself” are popping up throughout shows with far more consistency and ease than at any other time since certainly 2003, and more realistically since sometime in 1.0.

Is this the best tour since 1.0? Right now, it sure as Hell feels that way!

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So, Where Is This All Going?

I talked with Zachary Cohen of the phenomenal Please Me Have No Regrets blog at length yesterday about the state of Phish 2013. We’re at two interesting places with this tour, seeing as he’s been to most of the shows, and I’m simply absorbing them from 8000 miles away in South Korea. To him, these shows have been a spiritual celebration from the moment 07/05 began, whereas for me, from my perspective, little about the tour made total sense until around PNC. To me, the band was simply laying the groundwork for a the tour from Bangor through 07/06. Yet, in hindsight, while I still believe the first few shows were more or less feeling out how the band would approach this tour, it’s become clear to me that we were essentially immersed in brilliance from the moment “Cities” faded into “Bowie” on 07/05.

The bulk of our conversation however, dealt with where this is going with Phish. How’s Phish going to build on the musical achievements of the last two weeks? Where are these two weeks going to reside in our minds come October, December, next February…?

We’re both absolutely thrilled with the music Phish is currently making, but both of us agree that it’s clear there’s more that the band could be doing. For as incredible as all of these shows have been – and in all sincerity, there isn’t a show played this summer I wouldn’t have wanted to be at – it’s clear the band is somewhat still reigning it in on a nightly basis. From an unwillingness to totally let go with their jams like they were at Dick’s, to the lack of surprise quality often associated with bustouts and rarities, there are a few aspects of Phish’s storied career that could elevate this tour that much more.

Is this all necessary? Probably not. These are phenomenal shows after all.

If Phish cancelled the rest of their tour, we’d still have a massive amount of musical gold to sift through for the rest of the year.

And yet, if you’d ask me my honest opinion I’d say that this tour reminds me in many ways of how the August 2010 run felt like an immense corner turned, yet appeared as an obvious starting point by the time the mastery of Fall 2010 rolled around. This isn’t to compare the quality of music with those two eras, just the structure of them.

My point is, I’ve got a feeling this is all building towards something even bigger, and that by year’s end, these shows – which have been SO great so far – may appear more as building blocks towards some unforeseen goal. Kinda like how NO ONE could have predicted 08/31/2012 was just around the corner on 08/29/2012, regardless how innovative most of Summer 2012 was. Based on all the points I’ve made throughout this essay, the obvious excitement permeating the community based surrounding the band’s 30th anniversary, and impending Fall Tour and Holiday Run, one can’t help but think this whole year is only going to get better.

Be it a fusion of the band’s level of jamming at Dick’s with their emphasis on their storied classics, or gimmicky rarities timely placed throughout standout shows that just elevate them to another level, or a run of shows that musically rivals the true peaks of the band’s career, essentially everything is on the table now in 2013.

On a high like they haven’t been since the mid-90’s, at the top of their game, there’s simply nothing it appears Phish can’t do here in 2013.

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Favorite Shows/Jams Thus Far

I’ll be updating this as we move throughout the tour/year. Take these with a grain of salt, for their just one man’s thoughts on music that’s continuously interpreted by totally different people in totally different ways all at the same time. But here are my favorite shows/jams of the 2013 Summer Tour thus far:

Favorite Shows

1. PNC – First Set is that classic Phish energy set, containing a blistering “Gin,” a rarity in the opener, “Llama,” a full-on funk-fest in another nailed “Wolfman’s,” and great takes on “Ya Mar,” “Stealin’ Time,” “Theme,” and “Suzy. Set II flows with fiery precision, and contains a revolutionary jam in “Crosseyed.”

2. MPP2 – On paper, from 2003 – 2012 this show would look like crap. But groundbreaking performances in “Stash,” “SOAMule,” “Ice,” “Light,” and “You Enjoy Myself,” along with solid flow and all-around killer playing just elevates it to previously unknown heights.

3. MMP1 – Very similar to MPP2 structurally, this show benefits from a fresh setlist, notable playing in “Destiny Unbound,” “Halfway To The Moon,” “Maze” and “SOAM” in Set I, another glorious “Hood” in a year already full of them, and without question, the BEST “Mike’s Groove” since 1.0

4. SPAC 3 – The first show where the band appeared to be fully comfortable and in command from note one of the night. Just an all-around classic Phish show featuring only one cover, and no songs written after 2002. From the moment they descend into a quiet and rhythmic jam off second-song “BOTT” one thing was clear: it’s on.

5. SPAC 1 – Following a first set that failed to get off the ground until a stunning “MFMF> Cities -> Bowie” segment closed it out, the band emerged from setbreak and played without pause. Crafting the most fluid set we’ve heard this entire tour thus far, the jams in “Light,” and particularly “46 Days -> Steam> Drowned -> Slave” will remain on many people’s Best Of lists for the entire year.

6. Jones Beach – A similar first set structurally to 07/05, this one lost a bit of steamin the face of the worst storm the band’s played in since 07/22/1997 before being rescued by a sublime “Reba”/”Bowie” combo to close it out. After the break, the band emerged with a 19-minute “Rock & Roll” that faded into a “2001>Tweezer -> Cities -> The Wedge” seguefest that’s as smooth to the ears as it appears on paper.

7. SPAC 2 – The most inconsistent show of the tour thus far – at least to these ears – perhaps the only aspects I’ll revisit in the future are “Tube,” “SOAM,” and the “Carini -> Architect” jam. A notable show for the fact that it was SO well played regardless of it’s issues with flow, it simply doesn’t carry the mystique the above shows do.

8. Bangor – A solid tour opener that foreshadowed much of the brilliance we’re currently witnessing. However, this one, like SPAC 2 just doesn’t have that IT factor that any of the first six shows on the list do.

Favorite Jams (Listed Chronologically)

– 07/05/2013: “46 Days -> Steam> Drowned -> Slave” – A fully flowing and organically thematic jam segment that anchored the back-half of 07/05’s brilliant Set II, this run of songs is sure to remain as one of my favorite’s of the year by the time we wrap things up at MSG. From the minimalist funk workout of “46 Days,” to the impassioned, and fully realized peak in “Steam,” from “Drowned’s” rhythmic duel between Page and Trey, to the masterful performance of “Slave” that’s unquestionably the best we’ve heard in this entire era, this sequence is a fucking capital ‘K,’ KEEPER.

– 07/06/2013: “Split Open & Melt” – For a song that has endured so much controversy and dysfunctional experimentation in this era, everything was realized in this first set closer from the middle night at SPAC. Leaving the structure of the jam entirely, the band wove this “Melt” into a gorgeous plain of improvisation, connecting for five minutes on some of the most blissful music they’ve ever made. At one point it sounded as though they’d never find their way back home. While the end of the jam ultimately became a forced re-entry to the “Melt” theme, little could taint the brilliance of this jam.

– 07/06/2013: “Carini -> Architect” – My vote for jam of the year thus far, the band simply annihilated “Carini” before perfectly segueing it into Trey’s first Traveler debut with Phish (Save “Let Me Lie”). Diametrically opposite to the descent into Hell version from 12/30/2012, this “Carini” was lilting, it was ethereal, it was sublime, it was complete bliss. There’s a point midway in the jam where it sounds like the band is composing a new song out of thin air. It’s the stuff of legend. I can’t wait to hear how the band approaches “Carini” the next time out.

– 07/10/2013: “Crosseyed & Painless> Harry Hood” – Following an ambient soundscape that was reminiscent of the 08/19 version, “Crosseyed” built into a celebratory rhythmic jam that touched on the 02/16/2003 “Piper” while crafting one of the most transcendent passages of music Phish has offered in 2013. A thematic jam that has since been adopted in various other jams since then, it’s clear the band discovered something at PNC that had been lurking beneath the surface throughout the tour’s initial week. That they chose another brilliant version of “Hood” to serve as the song’s landing pad of sorts, spoke wonders of how highly the band immediately regarded this jam.

– 07/12/2013: “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge” – After stumbling a bit through a song-based first set that seemed to take the life out of their cold and wet fans, the band delivered a blistering 50-minute segment of uninterrupted music to open Set II at Jones Beach. The “Rock & Roll” shares musical qualities with the brilliant 08/08/2009 version before segueing into “2001.” The “Tweezer -> Cities -> The Wedge” is as fluid and masterful a segue as it looks on paper. They fucking earned those -> this night, and sure as Hell earned the “Sleeping Monkey> Tweezer Reprise” that closed things out.

– 07/13/2013: “Harry Hood” – Dropped in the middle of Merriweather Post’s Saturday night Set II, this “Hood” capitalized on the brilliant versions from Bangor and PNC, and then some. Fusing the thematic peak of the PNC “Crosseyed & Painless” into the “Hood” peak created a transcendent version that will be hard to top going forward. It’s clear the band just loves playing “Harry Hood” again, a sentiment that should be praised and rejoiced by all of their fans.

– 07/13/2013: “Mike’s Song> Simple> Weekapaug Groove” – A “Mike’s Groove” tour highlight?!?! What!?!? I’ve been following this band since 2001, and saw my first shows in 2003. “Mike’s Song” was one of those original’s that got me hooked on Phish. But never, I mean NEVER, have I ranked any version of “Mike’s Groove” since that time as a Best Of jam in all my years listening. Until now. A torrential “Mike’s” that nearly pushed itself into the unknown was followed by a gorgeous “Simple” that fused the melodic and rhythmic playing Trey’s been espousing throughout Summer 2013 with the “Down With Disease” theme to brilliant results. Capped off by a funky and sparse “Weekapaug” and you have the first “Mike’s Groove” in ages to push a show into the ether.

– 07/14/2013: “Light -> Boogie On Reggae Woman” – Is there anything Phish can’t do with “Light?” Even in the PNC version that left a bit to be desired, the band still managed to infuse it with themes of “Maria” from West Side Story before segueing it fluidly into a perfectly place “Good Times, Bad Times.” Here, deep in Merriweather Post’s Sunday Set II, the band conducted a thrilling funk/rhythmic experiment on the modern jam vehicle, leading it into a start/stop jam that brought back memories of 1997 for everyone involved. Building into dissonance, they ultimately led the jam into a playful “Boogie On” that felt neither forced, nor out of placed. Make that three fluid segues from “Light” in 2013, along with three completely unique jams that have emerged from it. It’s clear 2013 is shaping up to be yet another banner year for “Light.”

– 07/14/2013 – “You Enjoy Myself” – Perhaps the most telling jam on this list, the band’s seminal song has been everything from overplayed, to stale, to underplayed, to rarity, to now, fresh and completely open again here in 3.0 That “You Enjoy Myself” is being attacked in the way it have thus far this tour, is reason alone to believe we’re in for something unprecedented with Phish this year. Building off a top-notch version at SPAC a week before, the Merriweather Post “You Enjoy Myself” featured a seismic funk workout from the band, infusing dissonance and elements of the “Light” jam before peaking and leading to a ferocious vocal jam. Will this be the peak of the band’s experimentation with “YEM” in 2013? I gotta believe this, like with “Mike’s,” “Stash,” “Hood,” and “Bowie,” is only the beginning. How crazy would it be if this excellent version were simply knocked off this list by the next “You Enjoy Myself” played? I wouldn’t doubt anything of the sort here in 2013.

——–

That’s all I’ve got for this last week of tour. Please feel free to share any comments or thoughts on the essay. Can’t wait to see what the band has in store for us in Alpharetta and Chicago!

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

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

Set I: AC/DC Bag> Back On The Train> The Divided Sky, Free> It’s Ice> Mound, Maze, Limb By Limb> Walls Of The Cave

Set II: Down With Disease&> Ghost# -> Piper## -> Wading In The Velvet Sea> Run Like An Antelope$> Meatstick$$> You Enjoy Myself

Encore: Loving Cup

& “Down With Disease” was unfinished

# “Ghost” contained “Jumpin’ Jack Flash” teases

## “Piper” contained a “Dave’s Energy Guide” tease from Trey

$ Lyrics changed to “Run Like A Meatsick Outta Control!”

$$ “Meatstick” contained Japanese Lyrics

——–

It’s almost stupid to to even try to write a review after a show like that.

Phish was just on.

For the entire night, the band crafted a fluid, thematic and overtly old-school show that goes down as the most complete offering we’ve heard from them thus far this summer.

If the whole goal of Phish – and, live music in general; specifically live improvisational music – is that of communal connection and energy, then shows like 07/07/2013 are the epitome of why we travel/listen to/and analyze Phish like we do.

Packed to the brim with a phenomenal setlist, masterful playing and execution of their songs, and enough surprises and intrigue to keep the show interesting and playful, there’s nothing you can really say bad about a show like this.

I mean, I guess if you really wanted to be critical you could say that the “Down With Disease> Ghost -> Piper” section left a bit on the table. (It did) But in the end, does that really matter? It was clear that the “DWD” had reached something of a dead zone by the time they segued into “Ghost,” and for whatever could have happened in the “Ghost” when Trey discovered the major key following a mesmerizing plinko-jam, little was lost by the segue into “Piper.” Moreover, the more contained approach to these three jam vehicles just fit the old-school feel of the show more than any lengthy jam could have.

This was pure Phish at their best. This was the kind of show the band has been working towards and perfecting ever since they returned in March 2009.

——–

Kicking things off with the opening combo of “AC/DC Bag” and “Back On The Train” was as sure a sign as any what kind of show we were in for. Whereas the first three nights of tour, the band has somewhat eased into their shows, 07/07 was straight energy from the onset.

“Bag” displayed how locked-in Trey was, as he sounded incredibly clean, and just on-point throughout the solo. In the next song, the band entered the “BOTT” jam much quieter than normal, allowing themselves the time and patience to explore the subtle rhythms that drive the song forward, before building it to a resounding peak. It’s only further proof that the Type-II “BOTT” on 12/30/2009 ushered in an era of consistently great versions that the band is only continuing to push forward. Following with a perfectly placed “The Divided Sky,” along with a trio of “Free> It’s Ice> Mound” their song selections only helped to keep the energy at a max level.

(One of my initial struggles with writing these pieces has been overcoming this notion that one can’t get a show unless they’re there. While I fully understand the power and immediacy of being present at a Phish show, I’ve always argued that if the band just wanted us to experience their music live, in a venue, they wouldn’t offer so many opportunities for connection to those who aren’t there. From embracing the taper culture, to the vast library of SBD-quality archival music they’ve released, to LivePhish.com which makes their shows immediately available to all their fans once a show concludes, to the audio and video streams they now regularly offer; it’s clear the band knows their music has lasting power beyond just the singular medium of a one-time live event. To argue that one can’t get a show because they weren’t there is both shortsighted, and missing the overall point of Phish’s music. How else can you explain the fact that I’ve felt a pure spiritual connection to the 09/14/1999 “AC/DC Bag,” or the entirety of 12/30/1993 – shows I never saw – or that the first time I heard 11/17/1994 – also the first time I heard Phish – I felt like I’d just experienced a moment with a higher power, or, that just this morning, when the band began their rising solo in “Divided Sky,” I felt that feeling I get every time I’ve heard “Divided Sky,” live, or in the privacy of my room/car? Further, if music is as powerful a force we all claim it to be, doesn’t it make sense then that it’s transferrable across space and time, and that its power is both accessible and understood by those not immediately present at its creation? I digress… All’s I know is I felt like I was there this morning even though I technically wasn’t there.)

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Continuing a masterful first set, Phish closed things out with an agressive take on “Maze” that featured both excellent interplay between Trey and Page, and a weird little reggae breakdown in the middle that just added to the overall feel of the night. That it didn’t lead to any full-on reggae jam, but instead, just colored the jam, felt proper in a show that featured such playful playing, and SO much energy.

“Limb By Limb” continued the flawless setlist, providing the first breather of the set, while also being a beautiful and emotive version in its own right. Hinting at taking the song on another jam (ala, 08/28/2012) the song ultimately remained contained, but not before making its mark. “Walls Of The Cave” brought us home in Set I, taking the honor as the youngest song played in a set filled with classics. Reminiscent of 11/24/2009, 01/01/2011, 08/19/2012, 08/28/2012, and 12/30/2012, this was the kind of Set I that receives unanimous adulation and love. The kind of set where it matters little what song is played, for the band’s just nailing everything regardless.

——–

Is there any song in the Phish canon that would have been more fitting to open that second set than “Down With Disease?” It’s one of the classic Set II openers for a reason, and 07/07 just had “DWD” marked as the second set opener by midway through the first set. A version that tore out of the song on a mission before fading to a beautiful space of nothingness, the jam ultimately touched on a prodding rock jam while channeling some serious Floyd and Zeppelin. (Yes, it did) Opening itself up to a spacious segment of music, Trey played with a soulful drive, willing the jam forward. It wasn’t to be however. On a night like this, where energy reigned supreme, when in the first moment the band found themselves lost in the jam, they immediately abandoned it for “Ghost.”

Like I said above, no harm no foul with this move in “DWD,” or later in “Ghost” after that jam found itself deep in plinko-land before being ripcorded just as it reached a rousing melodic jam. When the band is playing with the kind of fire, emotion, and humor as they were on 07/07, jams tend to matter less. Perhaps the defining moment of the “Ghost” jam – aside from the plinko madness that made one wonder how in the hell this band has managed to find so many musical avenues to explore inside a song that’s essentially just an Am-G groove – came when Trey egged Page to mess around with his voicebox in between the second and third versus. Clearly unprepared, the off-handedness, and back-and-forth between the two only added to the anything-goes, playful spirit of the show.

“Piper” featured some of Trey’s best playing all night, (which really is saying something) and was notable for being the third straight “Ghost -> Piper” segment (09/02/2012, 12/31/2012). The jam built to the evening’s biggest peak, and for close to nine minutes the band just peaked and peaked and peaked in celebratory fashion, before fading beautifully to a baby grand solo from Page, wherein which you felt the first breather of the night approaching in “Wading In The Velvet Sea.” Like every other song of the show, “Wading” just felt perfect at the time, and was delivered with thoughtful precision, and patient soloing from Trey.

At this point – as in many a 3.0 shows – we found outselves at something of a crossroads seeing as song selection – which had made this show so memorable thus far – is clearly still of the utmost importance in 3.0.

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Thus, when they burst into a rare mid-set “Run Like An Antelope” it was all the more clear that the band was just as high on this show as everyone at SPAC, and all those watching from home. A high-octane version that never quite reached – nor really attempted to – the intricate and chromatic jamming of the 07/03 “Antelope,” this one instead was here solely to pack a massive punch and deliver yet another dose of humor.

One of the most brilliant aspects of Phish’s humor is how spectacularly lame it is, and yet how it rarely fails to arouse 20,000 people. Simply replacing the word “Antelope” with the word “Meatstick” only added another layer to a show already full of them, while guaranteeing a late-set “Meatstick.” A song that embodies the root of Phish’s humor – complete with dancing and Japanese lyrics – it fit the vibe of the show like everything else before it, and kept the energy high for the fade into the now-expected “You Enjoy Myself.”

I mean, could anything else have capped this set/show??? Like the Set II “Down With Disease” Opener, “You Enjoy Myself” closed out the set in perfect fashion, and that’s not even considering the sparse, rhythmic and plinko-style jam that emerged within the song’s jam segment. A fresh and original version of “You Enjoy Myself” to close out easily the best show Phish has offered us in 2013 ended the night on a distinct high. And when they emerged for the encore, the “Loving Cup” that followed felt both preordained, and ideal.

Oh, what a beautiful buzz indeed…

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An absolutely brilliant display of energy, flow, crisp playing, and whole-band communication, 07/07/2013 immediately raises the bar on this young Phish tour. That the band is already able to toss out an old school show chock-full of highlights only displays what kind of tour we’re currently experiencing.

What’s more is that this show suddenly puts the three shows that preceded it in perspective. As I’ve argued over the last few days, the first three shows in many ways felt like groundwork and foundation being laid for a massive tour. While obviously there were numerous highlights throughout, none of the first three shows clicked for me as complete shows.

Perhaps this is due to my absence from them.

Perhaps it’s due to my personal taste.

Perhaps I’m onto something and the band was treating them more as a way to ease into the tour, rather than come out immediately on a high.

Whatever way you look at it, it’s clear that each of the first three shows of the tour led in someway to the brilliance that occurred last night in Saratoga Springs, NY. From the old school setlist that dotted 07/03, to the fluid and thematic Set II from 07/05, to the expansionist playing in “Split Open & Melt,” and “Carini” in 07/06, each of these shows added another layer to the foundation that ultimately resulted in a near-perfect outing from Phish on 07/07.

Where we go from here is anyone’s guess. All’s I know is last night the band played a show that displayed them at their best, at yet another peak in what’s seemed like a litany of them over the past calendar year. Since 08/06/2010 we’ve watched Phish consistently get better as their tours progress, adding more and more to a constantly evolving live show. The idea that they could continue to compile better shows than one’s like last night, or better sets than 07/05’s second, or better jams than 07/06’s “Carini” is a bit perplexing. Yet we’ve watched them do just that over the past three years. Can they continue this hot streak?

As Page once said to a delirious crowd of 70,000 in Northern Maine: “Stick Around…”

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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!

The Best Of Phish – 2012

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“To the victor goes the spoils.” – Sen. William Macy (1832)

When Phish announced their return on 1 October 2008 – four-plus years away from the world of sold-out arena’s, fully connected jams, and everything that comes with the Phish scene – there was both a collective sigh of relief and, resounding celebratory roar from anyone who’d connected with the band, and had hoped the demise of Coventry would not be the last time Phish would grace the stage. Four years of worn out Phish tapes, unfulfilling solo efforts, and quotes from Trey about his willingness to give up a testicle to play “You Enjoy Myself” all-day/every-day had made the fan base hungry, and desperate, for a do-over of the 2004 conclusion of Phish. What few realized, however, was just how long and arduous a process it would be for Phish to retain the sense of who they were when they finally returned to the road in the Spring of 2009. Five years removed from touring – not to mention at least ten years since their last serious practice session – Phish was noticeably rusty upon their return, and used much of 2009 and early 2010 as a back-to-basics campaign to relearn what it meant to be Phish. Determined to rebuild from scratch, the early part of 3.0 featured an inconsistent band who was accused by many of returning simply as a last grasp for a paycheck.

Gone were the unending jams of 1997-2004, gone was the zany spirit that had defined them in their early years, gone was the unpredictability that made every show a must-see, must-listen event. In it’s place was a band that appeared unsure of itself, intimidated by their fan’s expectations, and unable to consistently muster up the energy and magic that had come to be expected with a Phish show. First sets became extended recitals where the band sought to relearn their entire catalogue. Second sets – which had long been an opportunity for the band to dive head first into the unknown – were suddenly predictable. Featuring a handful of rotating “jam vehicles” to kick them off, yet provided little in the way of substantial experimentation, they almost always concluded with a string of high-energy classic standards, that, while certainly were fun to hear live, retained little replay value for anyone interested in listening to their shows. All the more frustrating was the sense that anytime Phish would play a show that was unanimously regarded with praise, they would essentially take two steps backwards by following it up with a dud. The entirety of 2009 and the June 2010 run is littered with shows that many loved, and still love – 06/07/2009, 06/19/2009, 08/01/2009, 08/14/2009,  11/24/2009, 11/29/2009, 06/18/2010, 06/27/2010 – only to be followed by shows that were among the weakest offerings of this or any era of Phish. Worst of all, Trey Anastasio, Phish’s leader – far and away the most talented member of the band during their best years – had seemingly forgotten how to play guitar. It appeared throughout the first 18 months of 3.0 that the Trey, who had so often taken charge in jams – who’s playing had inspired Carlos Stantana to coin the term “Hosing” to describe his style of jamming – had disappeared in a cloud of drug abuse and rehab. Replaced by a fumbling, awkward, mistake-prone guitarist who couldn’t get his tone right, cut jams short, ignored his bandmates, and valued contained energy over exploration, the band felt tame simply because their leader was leading with an emphasis on timidness. When they closed out the first leg of their June 2010 run with a high-energy, yet forced string of shows in Alpharetta, GA, there were more questions surrounding the direction of the band, than at any time in their career, save April 2004.

And yet, throughout all of the ups and downs, throughout all of the just bad shows, throughout all of the “Sand> Horse” moments that seemed to hang over Phish 3.0 in the first year and a half since their return, there were still many fans who held on to the belief that the entire process was a calculated one of rebuilding, one that would reward in droves once the band regained their footing. There had been too many signs of greatness – the “Fluffhead> Divided Sky” to beckon in 3.0, 06/07/2009, the gimmicks and jams that engulfed 06/21/2009, the entire Red Rocks run, the music created at the Gorge, Hartford, Festival 8, “Seven Below -> Ghost,” 12/30/2009, “Tweezer Reprise Reprise,” 06/27/2010, “Fuck Your Face” – for 3.0 to simply be a cash-grab. Phish had always been a band that relied heavily on a tight-looseness (loose-tightness). And this in-the-moment creativity was best delivered through practice, repetition and communication, something that the band hadn’t had in at least five years. Clearly they were aware that their music wasn’t on the level that many had come to expect from them. Clearly they were working towards a bigger goal. Clearly they hadn’t reunited, toured and spent so much time relearning their entire catalogue for nostalgic purposes. Clearly, Phish wasn’t a Greatest Hits band that would return to the stage only to be a stale shell of their former self.

The first sign that those who stood by the band’s 3.0 direction were right came on 08/06/2010. In the intimate Greek Theater Phish took a typically standard First Set “Cities,” latched onto a groove from Mike, and locked into a jam that could have been plucked right out of Summer 1998. The second set featured a blissful take on “Simple,” directing the ambient section of the song into a bubbling melody, resulting in some of the most organic music created in this era. “Light” from 08/07/2010 followed the trend, and from there, the band crafted easily the best tour of 3.0 at that time. Surpassed immediately by the Fall Tour that saw the band traverse throughout the Northeast in some of the most intimate and archaic venues they’d played since the mid-90’s, Phish rediscovered their zany spirit, and infused nearly every show with humor, energy, and intricate jams. Due in large part to the Ocedoc guitar that Trey received from their former sound technician/guitar craftsman, Paul Languedoc, prior to the August 2010 tour, Trey’s tone became much less abrasive overnight, and his playing immediately evolved into a more rhythm-oriented style, emphasizing the lead only when necessary. Concluding the year with a triumphant five-show run through Worcester, MA and New York City’s Madison Square Garden, Phish had clearly turned a corner in 2010, allowing all to look ahead to 2011 with gleeful excitement, rather than cautious optimism.

The overall sense surrounding 2011 is that while Phish made some of the greatest leaps forward in reasserting their brilliance, they still lacked the consistency that had defined them during the peak of their career. While there were moments that were far and away better than anything they’d been capable of during the first two years of 3.0, they were still just as prone to abandon exploration in favor of energy, and at times, could certainly be accused of mailing in performances, such as their incredibly lackluster 2011 NYE Run. Featuring a number of ups and downs, the year started off with a brilliant run in Bethel Woods, NY, and jam for the ages from “Down With Disease -> Fluffhead -> David Bowie,” outside Detroit. Yet, the June tour took the route of the 2009 and ’10 runs, sputtering as it moved along, and featuring a string of forgettable shows that left many questioning where the source of their initial energy had come from. The Super Ball IX Festival over Fourth of July Weekend on the other hand, featured the most important moment in 3.0 – “The Storage Jam” – followed by the best show of 3.0 in 07/03/2011, and helped to reinvigorate the band with a sense of wonder, and an intrigue in the unknown. As Trey said, “it kind of reignited us to open our minds a little bit.”

When they returned in August at the wide-open Gorge amphitheater in Washington, they kick-started a tour that would feature some of the darkest, most exploratory, and surreal jams since 2004, most notably the 08/05/2011 “Rock & Roll -> Meatstick -> Boogie On Reggae Woman,” 08/09 “Light” and 08/15 “Waves -> Undermind.” Closing out the tour with a celebratory, innovative and overall victorious three-day run at the intimate Dick’s Sporting Goods Park just outside of Denver was a send off to a summer that, while it had it’s moments of uncertainty and mistakes, had seen Phish take more risks and reap more rewards than any point during 3.0. All the more bizarre then, their New Year’s Eve Run at Madison Square Garden turned out to be a complete dud aside from the tepidly exploratory and genuinely fun opening show on the 28th. Without a Fall Tour to bridge Summer and the holiday’s, Phish sounded directionless, and for the first time in all of 3.0, truly appeared to be going through the motions. 2011, which had begun with such optimism, with so much joy over the state of the band, ended with a resounding sense of skepticism, backed up by the fact that 2012 was going to be a “lite touring year for the band.”

As the two summer tours were unveiled in the late winter, the offerings left much to be desired for they featured a string of shows in oft-played Northeastern venues, followed by a two-week scattering of one-off shows in August in-between a three-night stand in San Francisco, and the second-annual Labor Day Tour Finale at Dick’s. What’s more was the confirmation in April that the band would not release any more tour dates in 2012, meaning even fewer shows would be played in 2012 than 2011, only further worrying a fan base that the best of 3.0 had come and gone in a flash. Oh, but we were oh so wrong…

In one of the best scene’s in Phish’s 2000 documentary, Bittersweet Motel, Trey responds to a question about their Fall 1997 tour, saying, “Nobody’s paying any attention, and we’re having the best tour we’ve had in years.” This quote could aptly describe the Summer 2012 tour in the same way it did the legendary Fall 1997 outing. While sure, people were excited for the 2012 return of Phish, the sense of anticipation, the unbridled celebration, the endless discussions on what would happen this tour were all but absent from the Phish community in the weeks leading up to 7 June. For the first time Phish would begin a tour in 3.0 without much fanfare, hype or expectations. And in legendary fashion, they responded with easily the best tour they’ve had in years. Putting to rest the myth that their June runs were there to get the kinks out, the band spent a week rehearsing prior to their opening run in Worcester, MA. Resulting in an experimental-heavy tone to the start of tour, a string of rare songs, and standards in unique placements, the tour kicked off with an anything-goes spirit that wouldn’t let up once throughout first leg.

Turning conventional wisdom on it’s head, the tour featured a band excited about it’s music, excited about playing with each other, energized, and using every show as an opportunity to dig deeper than they had in all of 3.0. The growing pains were officially gone, this was finally the Phish we’d been waiting for for four years. To those who had hung around and believed even when the band threw a 06/20/2009, 08/15/2009, 11/25/2009, 06/17/2010, 10/15/2010, 10/24/2010, 06/10/2011, 08/10/2011, 12/30/2011 in our faces, 2012 was a revelation, a year of spoils to both band and fans alike. With a stated goal of playing 200 unique songs throughout June, the run was infused with rarities and a sense that any song could – and would – be played at any show. Add to it, the comfort the band felt with each other again, multiple jams would pop up in various shows, reigniting the band’s sense of exploration, and thus proving “The Storage Jam” was a turning point, rather than a on-off experiment. Combining these two aspects of Phish resulted in a tour for the ages, one that spilled over into August and featured a number of standout shows with a more polished approach to the wildness of June. Culminating with the Dick’s shows, the band once again capped off the tour with a celebratory run that emphasized exploration, delivered the best jams of the year, the best shows of the year, and gave 07/03/2011 a real run for it’s money.

In the same sense as the rest of 2012, Phish returned to MSG for their NYE Run far more prepared than they had a year earlier, resulting in a much better overall run. While it is clear that they do in fact benefit from a Fall tour, the band still managed to infuse their MSG shows with a determined and driven energy, stoked the exploratory fire lit at Dick’s, and gave all in attendance – and all listening at home through the much-refined couch tour – a reason to truly be happy about the state of Phish in 2012. As we look forward to the 30th year of the band’s career, there’s no reason anyone should question the direction, drive or focus of Phish. If it wasn’t clear before, it’s more than obvious now that the trials and errors of 2009 – 2011 have all but been overcome, and that Phish is in a healthier state than they’ve been since 1995.

As with the last two years, I’ve assembled a list of ten shows and jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. These are not simply shows/jams 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are assembled chronologically just like the last two years, thus reserving the title “Best Ever” as a subjective accolade. Hope everyone had a wonderful holiday season! Happy New Year! Can’t wait to see what 2013 brings to the world of Phish!

The Best Of Phish 2012

Honorable Jams

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“Boogie On Reggae Woman” – Worcester, MA – 06/07/2012

The first night of the 2012 Summer tour brought an array of surprises – from the bookending “Buried Alive” performances, to the quantity of jams in Set II including “Carini,” “Ghost” and “Harry Hood” – perhaps the greatest being the jam that emerged from “Boogie On Reggae Woman.” A song that’s been let out to run only a handful of times, it’s typically been called upon in 3.0 to showcase Mike’s bass talents, and inject a show with a dose of fun and energy. Yet on 7 June, after emerging from a rather demented and atypical “Ghost,” Trey jumped all over the “Boogie On” jam, building a raucous theme, and highlighting his reacquaintance with the “Hose.” All energy, all rock, all Trey, the Worcester “Boogie On” is neither the most exploratory, nor most original number of the night. What it is though, is that moment when everyone in the Phish scene realized the band had really brought out their big guns in 2012, a foreshadowing of the surprises and the overall greatness the band had in store for us fans during the summer of 2012.

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“Limb By Limb” – St. Louis, MO – 08/28/2012

For a song that had grown increasingly stale, and predictably tepid, the “Limb By Limb” from 28 August represented a revolutionary moment for Phish. Appearing deep in one of the best second sets of the year, it seemed initially that it would be used as a breather after the “Chalk Dust Torture -> Frankie Says -> Undermind -> Sand -> Walk Away” jamfest that had opened the set. Yet, once the band broke from the song’s structure, they left the theme completely, as Trey led them down a completely unique and untapped path, totally devoid of “Limb By Limb’s” original concept. At first, dark and rhythmically plodding, the jam built upon a celebratory melody, leading to a full band peak, which ultimately hinted at the jams that would emerge from “Light” and “Sand” at Dick’s the following weekend. Featuring fully realized licks from Trey, structurally supportive bass from Mike, a resounding organ fill from Page and proactive drum riffs from Fish, it was the kind of energized tension and release jam that had been the band’s bread and butter for so many years. Returning here, in type-II fashion to compliment one of their best lyrical songs – at a critical point during the show, and tour – it only further stoked the furnace that was burning within the band in 2012.

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“Runaway Jim > Farmhouse” – Commerce City, CO – 08/31/2012

The first of five jams and two shows from the legendary 2012 Dick’s Run to appear on this list. When Phish left the structure of “Runaway Jim” to open the second set of 08/31/2012 – only the second time they’d done so since 2000 – everyone in the venue, and watching from the comfort of their couches knew it was on. The first set of the show had featured two fully realized jams in “Carini” and “Undermind,” a first set “You Enjoy Myself,” and a setlist that read: F.U.C.K.Y.O.U. Thus when they opted to see how far from home Jim would rome, rather than keep him chained up as he’d been for all of 3.0, it was a clear sign that the Dick’s run wouldn’t follow suit with the various criticisms and assumptions that had plagued much of the last four years of Phish. A jam that moved from it’s theme into a much darker realm, the Dick’s “Jim” might be most notable for it’s recovery from potential miscommunicated disaster from 12:00 – 12:24, resulting in an improvised funk-throwdown, the sorts of you just don’t get this side of 1998. Sveltely flowing into a melodic segment of psychedelia, the band displayed a desire to push jams beyond their typical resting places, a theme which would come to represent the entire run. Landing in “Farmhouse,” it appeared as though the gimmicks from set one were over. Yet, the band had other ideas. Needing to fit R.F.A.C.E. in the second set meant they had to keep the jams rolling, and once the theme of “Farmhouse” ended, they embarked upon a segment of Ambient washes and spacious noise that brought everyone back to the phenomenal “IT Waves” from 2003. An unlikely pairing of jamming partners in 2012, “Jim > Farmhouse” represented the realization at Dick’s that the Phish we thought we’d figured out, had once again duped us. A sense us fans were more than happy to accept.

The Top Ten Jams Of 2012

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“Birds Of A Feather -> Back On The Train -> Heavy Things” – Atlantic City, NJ – 06/15/2012

Born out of Phish’s 1997 linear musical communication renaissance was a song that felt snagged from the discography of The Talking Heads. For it’s first seven years in existence, “Birds Of A Feather” worked a lot like “Chalk Dust Torture” in that it could alternate with ease between an exploratory jam vehicle and a short, punchy, determined rocker. Then 3.0 came around and the song’s edge seemed to be gone for good, as every version followed the same pattern of thematic soloing, high-energy payoff, end. At first it seemed the 15 June version was destined for the same short, unnoticed death, something which would have hailed an immediate end to a promising show. Yet, Trey held the final note of the song’s chorus out just long enough for his band members to latch on and ride the song out into the unknown. What followed was a blissful, weaving jam which displayed full band communication, startlingly gorgeous leads from Trey, and an intricate and patterned melody that sounded as though it had been composed. Building through melody, rather than noise or energy, the jam took on a sound much akin to the “Birds” jams of 1999 and 2000, retaining the song’s theme, and exploring within it. When Trey moved into a minor key the jam took on a harder feel, resulting in a rhythm-based jam that led seamlessly into “Back On The Train.” Remaining totally within the structure of the country-twinged song took nothing away from the segment, for when it bled into “Heavy Things” the triumvirate of the late-90’s songs had flowed so perfectly together, that the concept felt pre-planned. Ushering in the era of musical suites that seemed to defined 2012’s jamming structure, the “BOAF -> GBOTT -> H Things” was one of the early highlights of summer which reminded everyone that the successes of Worcester were not all for naught, regardless of the mediocre Bonnaroo show.

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“Twist” – Cincinnati, OH – 06/22/2012

Emerging out of the murky fade of “Kill Devil Falls,” “Twist” was a welcome addition mid-way through Set II of a show that had produced an absolute classic First Set – full of gimmicks and killer playing – and a Second Set that through “DWD> Guelah, Kill Devil Falls” was in danger of fading into predictability. A song that had been used almost solely as an vehicle for seedy improv in 1.0 and 2.0, “Twist” had become more of a slow-shuffling blues number in recent years, exciting fans more with it’s possibilities, rather than it’s delivery. Keenly aware of this, Page switched from his strutting piano fills to his organ at 6:13, followed immediately by Gordo hovering over an ominous tick-tock bass riff, solidified by Trey’s minored trills which dove the song into the nether world for the first time since Coventry. What followed was perhaps the darkest, seediest and evilest jam Phish had produced since the 08/15/2004 “Split Open & Melt -> Ghost.” If the knock on Phish has been that they can’t get dark in this era of drug-free, happy-Phish, then the Cincinnati “Twist” threw this theory into an abandoned pit and let it rot to the glee of everyone watching and listening. Highlighted by noise-induced guitar washes and a sinister duel between Mike and Trey from 8:54 – 10:20, the jam never rose above the underworld it embodied over fourteen minutes. A moment when Phish proved their ability to summon the demons of the past, the Cinci “Twist” would reemerge at least in theme in a number of other dark jams throughout the year, all of which owe a debt of gratitude to it for breaking the barrier.

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“Mike’s Song -> Simple> Light> Weekapaug Groove -> Seven Below” – Burgettstown, PA – 06/23/2012

Throughout their career there has been a suite of music that has hung around with their constantly evolving styles, and has reflected the current state of the band like few other songs could. “Mike’s Groove” as it’s affectionately referred to by their fan’s is a shape-shifting union of songs which can appear as simply as “Mike’s -> Hydrogren> Groove,” or “Mike’s -> Simple -> Hydrogen> Groove,” or, can morph into a completely separate entity, book-ended by “Mike’s” and “Groove,” but containing ideas within that can only be found within the confines of an era. Notable examples can be found on 12/30/1993, 06/22/1994, 12/01/1995, 12/07/1995, 12/31/1995, 12/02/1997, 08/15/1998, 08/06/2010 and 10/26/2010. The lone show of 2012 in Burgettstown, PA joined this elusive group with a “Groove” in Set II that seemed to sum up everything about the modern era of Phish that makes it special. Following a punctual “Mike’s,” “Simple” faded into the Ambient wonderland it’s become in 3.0 as Mike, Page, and Trey all built a wall of blissful noise, and Fishman continued to prove his worth with off-beat rhythms that kept the music constantly on it’s toes. The undisputed jam-champion of 3.0, “Light” once again was featured as the centerpiece in this suite and show, as Trey and Page guided it from a noise-ladened swamp into a calypso-themed dance-off, and finally a demented, rhythm-based soiree. One of the more connected versions in a year full of them, the “Light” itself is truly one of the top tier pieces of music produced by the band this year. “Weekapaug” picked up right where “Light” left off, diving head-first into staccatoed beats, Moog-induced rhymes, ambient washes, and a deconstructed fade to the 2.0 rare-classic, “Seven Below.” While not the extended journey it is constantly capable of being. “Seven Below” served as a proper conclusion to the suite, with it’s “Weekapaug” inspired jam, hints at the underworld, and contemplative pace that allowed everyone a chance to breath after the music that had just transpired. A fully realized fifty-minute suite of music the “Mike’s -> Simple> Light> Groove -> Seven Below” was one of the best overall moments of an incredible June run, and an incredible year of Phish.

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“Crosseyed & Painless -> Light -> Sneakin’ Sally Thru The Alley -> Crosseyed & Painless” – San Francisco, CA – 08/19/2012

On the third night of their massively hyped, yet so far underwhelming, run at the intimate Bill Graham Civic Auditorium, Phish not only put on one of the best shows of the year, but clicked for a 45-minute suite of music that rivaled the Burgettestown “Mike’s Groove.” Featuring the first truly extended and experimental “Crosseyed & Painless” since 05/27/2011, the set moved with determined precision, weaving through historical Phish themes, and crafting a fully-realized union of songs that would have highlighted any show in any era. Dedicating the final 7:45 of “Crossyed” to ambience, the band engaged in a jam that flowed with ease from one theme to another, pushing itself seamlessly from its origins. Featuring some of the best Mike, Page and Trey interplay, it was a blissful foreshadowing of the music that would come to dominate Dick’s and the best parts of MSG. “Light” took on a more aggressive role, initially teasing “Crosseyed” before moving into a fully-loaded, rhythm-based groove session. Packed tight with a rock breakdown from Trey and Page, Trey once again took the lead and engulfed the jam with fully-formed lyrical phrasings on the Ocedoc, harkening back to the aforementioned Burgettstown “Light.” Hinting at the “Tweezer Reprise” that was still on the table, Trey directed the torrid jam into “Sneakin’ Sally” crafting the second memorable version of the legendary cover of the Summer. From funk-rock origins the song descended into a groove that resided in the Set’s opener and before one realized it, suddenly they were back in “Crosseyed & Painless,” thus completing a massive sandwich of high-energy and exploratory music that achieved literally all the goals set out for by the band when they returned in 2009. A flawless segment of music, the “Crosseyed -> Light -> Sally -> Crosseyed” highlighted one of the shows of summer, and reignited summer tour as it moved into the Southeast.

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“Undermind” – Commerce City, CO – 08/31/2012

Deep in the best First Set of 3.0 came a top tier jam and immediately solidified the Dick’s run as the best of the last four years; even before it ever really got going. Completing the First Set F.U.C.K.Y.O.U. gag, which would spill over and engulf the entire show, “Undermind” took a wholly unique route the second it left it’s theme. Led entirely by Trey, the jam reflects the massive improvements he made as a guitarist throughout 2012, and is the culmination of the efforts he made all summer, starting with the Worcester “Boogie On.” Flowing through various themes before reaching an ethereal peak that closed out the set, it’s a perfect piece of improv, something Phish simply wasn’t capable of on this level prior to 2012. Whereas in the previous three years, any Trey-led jam would follow the route of predictable rhythm-based breakdowns, followed by ambient washes, the Dick’s “Undermind” has fully-formed ideas based around unique riffs that all sounded composed upon first listen. When it was happening, I was unaware of the gag occurring, simply thinking I was witnessing a totally different band than the one I’d listened to play a contained and predictable show in Oklahoma City two nights earlier. All’s I remember thinking is that this would be the perfect jam to end the set on, that we didn’t need a “Golgi,” “Character Zero,” or “Stealin’ Time” set closer proper. The fact that gag-or-no-gag, the band instinctively knew what they’d accomplished with this jam and decided to close out their phenomenal opening set at Dick’s with it, only goes to show just how important it was to them then. It’s replay value and ability to still surprise, proves it’s importance to all of their fans now.

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“Chalk Dust Torture” – Commerce City, CO – 08/31/2012

The eternal Phish-rebellious-rocker, “Chalk Dust Torture” has been here before. One of the most unique numbers in their repertoire, the song spent the majority of it’s first eight years as a punctual rocker, used to open/close a show, or infuse one with a massive dose of adrenaline. Then, out of nowhere it started randomly being used as a launching pad for exploration. The 07/10/1999 version which spilt into “Roggae,” the 08/03/2003 masterpiece that seemed to fulfill the idea of what it would be like if “Chalk Dust” were originally written as a 25-minute song, and the elongated 08/09/2004 version that’s probably the only memorable part of the Hampton ’04 show. In 3.0 it returned to it’s historical place of a doors-busting rock anthem, used seemingly to open every other show in 2009 and much of 2010. Yet, when it opened Set II of 06/25/2010, something changed, the paradigm shifted, and the exploratory possibilities were renewed. Call it fate, call it destiny, but when the band stretched the 08/25/2012 version into “What’s The Use?” and the 08/28/2012 Set II opener into a spacey jam that ultimately landed in “Frankie Says,” everyone could sense that the version played at Dick’s would fully embrace the unknown. Thus when it was placed in the “C” slot of the F.A.C.E. part of the gag, only forty minutes into the second set, the band jumped all over a version that ranks up there with 07/10/1999 and 08/03/2003 as the best versions of the song ever played. Like the “Undermind,” Trey is in control of the entire jam. Yet what separates the “Chalk Dust” is his willingness to rely on off-beat rhythms in a way he simply couldn’t in years past; to fully communicate with his band members as they shifted through a multitude of themes. Each member shines in this version, and every fan owes it to themselves to watch the performance of it for themselves. You’ve just never seen Phish fully embrace the unknown and exploration in 3.0 in the way they do throughout the “Chalk Dust” jam. Surreal still now to hear it, something about Dick’s just brings whatever it is, out of Phish.

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“Prince Caspian> Light” – Commerce City, CO – 09/01/2012

After playing an impossibly brilliant show to kick off their run at Dick’s over Labor Day weekend, it seemed pretty certain that Phish just wouldn’t be capable of topping their 08/31 performance. Even a “Run Like An Antelope” opener, followed by a “Tweezer -> Fluffhead” in slots 3 and 4 didn’t seem up to the immeasurable task asked of them on this evening. Thus when Trey abandoned a potentially promising “Golden Age” jam for “Prince Caspian” it felt like a confirmation that they just couldn’t quite summon up what was needed to even attempt to push the show into the conversation with the “Fuck Your Face” show. Then, out of nowhere, “Caspian” went where it hasn’t gone in years; or, since at least 1999. Trey hooked onto a Hendrix-esque concept and drove the song far below the waters, infusing it with sinister lead, before breaking it all down, only to re-build the atypical jam with torrential focus and drive, summoning the demons. Brutal, evil, raging, it was the kind of jam that just wasn’t commonplace in Phish 3.0. It felt badass. It felt like the Phish of old where one couldn’t predict where or when their moments of inspiration would emerge. Fading into “Light” – the 3rd version of the song on this list this year – it was clear Phish was going to at least take a stab at competing with the previous night. And compete they did. A performance for the ages, “Light” – which had never crossed the 20-minute mark in it’s storied career as Phish’s go-to 3.0 jam vehicle – built through multiple, fully-conceived themes to a peak that’s honestly difficult to communicate in writing. Stylistically altering the fates of two remaining jams on this list, the Dick’s “Light” combined the exploratory zealousness of 2012, with their high-energy, Tension & Release jams of lore, patiently building over time to a peak that nearly tore the Colorado soccer field down. Sustaining the peak from 20:10 – 22:45, the venue was overwhelmed in the expansive lights, fist pumps, engulfing cheers, and shit-eating-Trey-Grins that have long represented the band’s most memorable moments. Honestly, a jam that needs to be heard to believed, this was Phish fully connected, refusing to abandon an idea when they knew they could sniff greatness, building towards a moment of ethereal bliss that felt like a brilliant cap on the summer, and confirmed that Dick’s was no one-show-pony.

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“Sand -> Ghost -> Piper” – Commerce City, CO – 09/02/2012

On the final night of their 2012 Summer Tour, Phish opened up their second set with a triumvirate of music, featuring three of their most historically brilliant jam vehicles. After playing two of their best shows of the year – and of the era – the band opted to treat the First Set of 09/02 like a Greatest Hits album, throwing down high-energy classics rather than traversing the unknown like the previous two nights. With so many songs still on the table, it seemed a certainty that they’d treat the final set of Summer in the same manner. Yet, when they left the confines of “Sand” seven and a half minutes into the song, they kicked off 50 straight minutes of unabridged music, the likes of which ranked with the best of the previous two days. The “Sand” itself is incredibly notable for the sheer fact that – aside from the adventurousness of 12/13/1999, 12/31/1999 and 06/07/2009 – no version has ever left the structure of “Sand” quite like this. Building from a sublime state of ambient pause, “Sand” went the rout of “Light” as it built into an absolutely epic peak, thus transforming the trance classic into an arena rock anthem, before bookending it with the “Sand” theme. Not to abandon what they’d built over the first 25-minutes of the set, Gordo directed the band from the jam’s conclusion seamlessly into “Ghost,” the first version since Long Beach. Directing “Ghost” in much the same way it’s been used in 3.0, the jam built through high energy exchanges from Trey with Fishman, supported by throttling bass and obedient piano fills from Page. Where it really got interesting was in it’s final 2:30, as it faded into an ambient fade that featured some beautiful and patient interplay between Mike, Trey and Page – fully utilizing the Rhodes – before emerging in “Piper.” Torrentially building the energy back up, “Piper” came out with one of it’s more unique performances of the year highlighted by it’s final 3:30 that featured some of the best Trey and Page interplay this side of the 07/01/2012 “Light.” A trio of modern classics, jammed out to full potential, the “Sand -> Ghost -> Piper” capped off the summer in victorious fashion, ushering everyone out into the Colorado night; bellies full, blissfully stoned, eager for more Phish.

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“Tweezer -> Maze” – New York City, NY – 12/28/2012

The “Tweezer” we’d been waiting for all year from Phish. Fully embracing the style that was mastered over three nights in Central Colorado, “Tweezer” left the funky/bluesy comfort zone it had inhabited for much of 3.0, and for the first time in nearly ten years – including even the classic versions that have appeared on this list in years past – totally left the structure of “Tweezer” and carved out a new path in it’s unrivaled history. Flowing through fully conceived themes, “Tweezer” was the swift kick in the ass the MSG run needed after a painfully predictable first set. More than that, it immediately bridged the ideas of Dick’s with MSG, and proved that in 2012 – while literally everything produced this year was brilliant – there was a clear line between pre-Dick’s and post-Dick’s in terms of what the band was capable of. The final 11:45 are where the magic’s at, for when Page infuses the jam at 9:09 with a lilting piano fill, Trey latches on immediately, and off they go. Effortlessly blissfully, and suave improvisational mastery is one way to describe this new style of Phish; one which relies wholly on the communication they’ve built as a band over the past 30 years, embraces all of their styles, flows from one theme to another with ease, and emphasizes the sublime and ambient. Building to a satisfying peak, the MSG “Tweezer” followed suit with the concept established with the Dick’s “Light” and “Sand,” and forged a bridge between the modern, sub-tempo jams of 1997-2004, with their career-long dedication to Tension & Release. The sound of a band coming full circle, the “Tweezer -> Maze” used two classic Phish songs to open a Second set that helped to elevate MSG 2012 almost immediately from the catastrophic lows of their 2011 run.

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“Down With Disease -> Twenty Years Later> Carini” – New York City, NY – 12/30/2012

The musical peak of the 2012 NYE Run came at the start of the Second Set of the best show of the entire run. “Down With Disease -> Twenty Years Later> Carini” highlighted a forty-minute segment of music to kick off the best set of the run, and infuse the show with some much-welcomed evil Phish. In a year when “Down With Disease” stayed either noticeably contained, or failed to produce transcendent versions, the jam on 12/30 traversed as far from the structure of the song as any since 08/16/2011. Weaving through various segments of down-tempo, ambient bliss, the jam allowed for the band to just play, all to the delight of the MSG alum. While never producing any fully-realized sections of improv, what the “DWD” does better than any jam of the weekend, is display the diversity that Phish plays with now. Their jams are no longer long-winded, failed experiments that occasionally produce greatness, nor are they singular concepts that build through repetition. Instead, they are constantly evolving entities, which value shape-shifting, and melodically crafted music more than any previous era of Phish. Armed with 30 years of experience, there is no wasted space in Phish jams any longer. The one faux-peak of the jam came at 17:15 as Trey and Mike latched onto a simple, yet sinister riff, transforming MSG, for a moment, into a beckoning ground for the devil. A concept which would be fully realized two songs later, in “Carini,” the evil spirits that had invaded Phish so often in the late-’90’s and early-aughts returned with impassioned results. Fading into near silence, the “Carini” relied solely on industrial beats from Fishman, ambient washes from Trey and Page, and an all-engulfing bass from Mike. Summoning up the best noise they’d created this side of “The Storage Jam,” and doing their best Animals-era Pink Floyd impression, the jam goes deeper that the Cinci “Twist,” and is simply the evilest thing Phish has played in years. In an era when “Carini” has really stepped up as one of the premier jam vehicles, the 12/30 performance took the joke-metal song to completely new heights, unimagined when it was first performed back in 1997. A segment that will surely carry Phish fans through the long winter, “Down With Disease -> Twenty Years Later> Carini” will be hard pressed to be topped whenever Phish steps on stage again.

Honorable Shows

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DCU Center – Worcester, MA – 06/08/2012

Set I: Free, Kill Devil Falls, Roses Are Free -> Theme From The Bottom> Axilla I> Julius, Bouncing Around The Room, Maze, Bathtub Gin

Set II: Down With Disease&> Sand -> Nellie Kane, Mike’s Song> Makisupa Policeman+> Weekapaug Groove, Wading In The Velvet Sea, 2001#> Character Zero

Encore: The Oh Kee Pa Ceremony> Suzy Greenberg

& “Down With Disease” was unfinished

+ The keyword in “Makisupa Policeman” was “Sour Diesel”

# “2001” contained a “Sand” tease from Fish and “Sex Machine” and “Mike’s Song” teases from Trey

On the second night of Phish’s 2012 Summer tour, the band threw down a solid affair that built upon the brilliance of the opening night of tour. Featuring a high energy First Set, and a fully-flowing, jam-heavy Set II, it was an all-around great show, one which helped to establish a base from which to build upon throughout the tour. Highlighted by a blissful jam out of “Roses Are Free” – the first “Roses” jam since Big Cypress” – Set I featured unique versions of First Set standards, not to mention the second “Free” opener in history. Set II flowed through moments of darkness and light, crafting a complete set that never let up. Featuring a funky, ’97-esque jam out of “DWD,” an all-time segue in “Sand -> Nellie Kane,” a bit of humor in the “Mike’s> Makisupa> Groove,” and a top notch 3.0 version of “2001,” the set left little to be desired by a band that sounded as if they were deep into a tour only two days old. The surprise encore of the classic “Oh Kee Pa> Suzy” pairing topped things off, and finished the run off with an old-school feeling. While Worcester II was forgotten by most by year’s end, when listening back, it provides a clear foundation to the brilliance that would become commonplace just a week later.

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Deer Creek Music Theater – Noblesville, IN – 06/28/2012

Set I: The Birdwatcher, The Curtain With, Fuck Your Face, The Old Home Place, Pebbles And Marbles, Weigh, Chalk Dust Torture, Wolfman’s Brother, Cool It Down, Tweezer#, Tela, Stealing Time From The Faulty Plan

Set II: Mike’s Song> McGrupp And The Watchful Horsemasters> Back On The Train## -> Hold Your Head Up> Bike> Hold Your Head Up> Weekapaug Groove$, Prince Caspian& -> Waves, Bug> David Bowie###

Encore: Show Of Life> Tweezer Reprise

# “Tweezer” contained a “Fuck Your Face” tease from Mike

## “Back On The Train” contained a “Psycho Killer” tease

### “David Bowie” contained a “Bug” tease from Trey

$ “Weekapaug Groove” featured Trey & Fish switching instruments, and a drum jam between the two

& “Prince Caspian” was unfinished

By this point in Phish’s June leg of their 2012 Summer Tour, full sets had become so engulfed in the band’s determination to play 200 unique songs, that one had no clue what could or would be played during a single show. Calling upon their recital-type shows from 2009 and 2010, the band focused on songs during many of these shows. Yet, whereas in the past, the shows were full of heavy-rotation songs, in 2012 sets felt like putting Phish on shuffle, where any random song could appear. Probably the most complete, fully formed of these shows was the first night of Deer Creek. Featuring tour debuts tour in the first six songs of the set, plus “Cool It Down” and “Tela,” Set I was both unpredictable and unending, and helped to take the crowd’s mind off the torrid Midwestern heatwave billowing down on Central Indiana. Focusing heavily on songs, the only numbers in Set I to really move outside the box were a dance-heavy “Wolfman’s” and a peaking “Tweezer” that countered the temperatures for brutal heat. Set II is one of the most unique of the summer, featuring an elongated “Mike’s Groove,” an “HYHU” within the groove, and two phenomenal jams out of “Back On The Train” and “Waves,” the former which bled right into “HYHU.” Clearly in a playful mood, the “Weekapaug” featured Trey and Fish switching instruments, inspiring Trey to muse whether or not Phish would be a better band with this set up. The late-set “Waves” takes the medal for song of the night, emerging out of “Caspian,” producing an aggressively atypical jam that came close to making this list. Easily the best show of the Deer Creek-Alpine weekend, 06/28/2012 had just a bit of everything that was Phish 2012 all mixed together.

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Saratoga Performing Arts Center – Saratoga Springs, NY – 07/08/2012

Set I: AC/DC Bag> My Soul, Camel Walk, Sample In A Jar, Wilson> Party Time, Gumbo, Nellie Kane, Driver, Foam, If I Could, Split Open And Melt> La Grange*

Set II: Axilla I> Light> Twist#, Kill Devil Falls## -> My Friend, My Friend& -> Swept Away -> Steep, Piper -> Free -> Kung> Harry Hood###> Cavern -> David Bowie

Encore: You Enjoy Myself####

* First “La Grange” since 22 September 1999

# “Twist” contained an “In-A-Gaada-Da-Vida” tease from Trey

## “Kill Devil Falls” contained a “Jeopardy!” tease

### “Harry Hood” contained a “Kung” quote

#### “You Enjoy Myself” contained a “Flashlight” tease from Mike

& “My Friend, My Friend” was unfinished

Closing out the first leg of Summer with a three-night run at SPAC, Phish produced two of the best shows of the year, the final of which produced a massive bustout, and a fully-flowing, jam-heavy Set II. Coming out the gates with a string of standards, Set I got a boost from a high-energy “Wilson> Party Time” pairing, and a surprise twist at the end when everyone who thought they’d be closing things out with a seedy “Split Open & Melt,” were instead treated to the first “La Grange” since 1999. The real magic, however, is in Set II: a high-octane, jamming set which saw both “Light” and “Piper” go deep. In between were masterful segues of unlikely pairings – “Kill Devil Falls -> My Friend -> Swept Away -> Steep,” “Free -> Kung> Harry Hood” – which elevated the possibilities of the set. Never relenting energy, yet never sacrificing exploration for such energy it was a masterfully atypical set that simply couldn’t have occurred with as much success during any other year of 3.0. Concluding with a noise-ladened segue from “Cavern -> Bowie,” it was the kind of set that displayed a band at the top of their game: relentlessly attacking their catalogue with precision and youthful excitement. Capping off the tour with the only appropriate song left, “You Enjoy Myself” closed out Leg I on a classic note, ushering everyone into a month of no Phish with jam-packed must-listen-playlists. After the best June of 3.0, Phish closed it out with a memorable run at SPAC, and a tour finale that foreshadowed the music that was still to come in August.

The Top Ten Shows Of 2012

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Bader Field – Atlantic City, NJ – 06/15/2012

Set I: The Sloth, My Sweet One> 46 Days> Camel Walk, Tube> Cities -> It’s Ice, Ginseng Sullivan, Stash, Simple> The Wedge, Stealing Time From The Faulty Plan, The Squirming Coil

Set II: My Soul, Birds Of A Feather& -> Back On The Train -> Heavy Things, Twist> Piper# -> Billy Breathes, Sneakin’ Sally Thru The Alley -> David Bowie##

Encore: First Tube#

& “Birds Of A Feather” was unfinished

# “Piper” and “First Tube” contained “Twist” teases

## “David Bowie” contained “Stash,” “It’s Ice,” “Birds Of A Feather,” “Simple” and “Ginseng Sullivan” teases

Night one of the quasi 2012 Phish fest (If there’s a Ferris Wheel it’s a festy, right? Right?) produced easily the most complete show of the weekend and immediately raised the bar from the brilliant opening shows in Worcester the previous weekend. Opening with the random trio of “The Sloth,” “My Sweet One” and “46 Days” was really all the indication anyone needed that the night was going to produce the kind of magic one hopes to catch at any Phish show. The First Set enveloped into a lengthy recital of rarities and unique combinations – “Camel Walk,” “Tube,” “Cities -> It’s Ice,” “Simple>The Wedge” – and all around excellent playing, including perhaps the best “Stealing Time” we’ve ever heard from the band. Wholly embracing the 200-song challenge, Set I was both the exact kind of comeback needed after the Bonnaroo show, and the kind of reassurance that the band wasn’t simply going to play 200 different songs throughout the month; they were going to craft wholly unique shows while doing it. Set II was simply perfect. The aforementioned “Birds -> BOTT -> H Things” made way for the late set “Twist> Piper -> Billy Breathes” which kept the Farmhouse-era jams unravelling, and produced a segment of music that barely missed this list. Infusing “Bowie” with various teases of songs played throughout the night only further solidified it’s placement among the top tier of the summer. A show that felt like one of the best shows of summer right when it happened, 06/15/2012 never relented it’s placement among the best, regardless what came after it.

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Riverbend Music Theater – Cincinnati, OH – 06/22/2012

Set I: Wolfman’s Brother> Peaches En Regalia, Shaggy Dog*> Runaway Jim#, Light Up Or Leave Me Alone, Wilson> Alaska, Stash, Llama, Buffalo Bill, Saw It Again -> David Bowie

Set II: Down With Disease&> Guelah Papyrus, Kill Devil Falls -> Twist##> Halley’s Comet> Sand -> Roggae, Carini> Chalk Dust Torture, Golgi Apparatus

Encore: Fluffhead**

* First “Shaggy Dog” since 29 October 1995

** First “Fluffhead” Encore since 3 November 1990

# “Runaway Jim” contained a “When The Saint’s Go Marching” tease

## “Twist” contained a “Eleanor Rigby” tease from Trey and a “Heaven On Their Minds” jam

& “Down With Disease” was unfinished

A must-hear, top-tier show of the summer, the band let it all hang out on the third Friday of the June leg, crafting a show full of rarities, segues, gimmicks, and one of the best jams of summer. A “Wolfman’s” opener is always a welcome sign, for it produces a no bullshit intro to a show, bringing the house down before anyone has a chance to catch their breath. Followed by the always welcome Zappa-cover, “Peaches En Regalia” and the first “Shaggy Dog” since October 1995 immediately gave the show an air of superiority over the rest of summer thus far. The rest of the First set contained even more rarities with “Light Up Or Leave Me Alone,” “Llama,” “Buffalo Bill,” and “Saw It Again,” the latter three which were results of a Fishman gaffe when the band tried to go into “Poor Heart” and “The Moma Dance,” leading to Trey joking they apparently needed to play a song that started with drums so their drummer could keep up. The energy spilled over from the “Saw It Again” fade into “David Bowie” resulting in another solid version for the summer. Set II started out with an abandoned jam in “DWD,” a welcomed “Guelah,” and a make or break “Kill Devil Falls,” which was oddly placed in the middle of the second set. Fortunately, Trey extended the end of “KDF” over two minutes, resulting in stunning ambient waves that bled into the best “Twist” of 3.0. A “Sand -> Roggae” crafted the second unique “Sand” segue of Summer, and the “Carini> Chalk Dust” added some extra adrenaline to the end of the set. A unique blend of classics, jams, darkness and light, the show ended with the first “Fluffhead” encore since 1990, a placement that all but confirmed the band’s enjoyment in Cinci. The show of summer until SPAC night one, Cinci kicked off an incredible run of music throughout the midwest, and, reignited Phish with their love of the dark side in one of the best jams of the era.

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First Niagara Pavilion – Burgettstown, PA – 06/23/2012

Set I: Funky Bitch> Backwards Down The Number Line, Gumbo> Maze#, Torn & Frayed, The Moma Dance> Scent Of A Mule+, 46 Days, You Enjoy Myself##

Set II: Gotta Jibboo> Mike’s Song -> Simple> Light> Weekapaug Groove### -> Seven Below, Bouncing Around The Room> Julius> Slave To The Traffic Light

Encore: The Lizards

# “Maze” contained an “Eleanor Rigby” tease

## “You Enjoy Myself” contained a “Scent Of A Mule” tease from Trey

### “Weekapaug Groove” contained a “Divided Sky” tease from Trey

+ The “Mule Duel” featured Page on the Theremin

A night after raising the bar on Summer 2012 with a standout show that focused on bustouts and rarities, Phish played another gem in one of their storied venues, only this time, consisting almost totally of standards, which allowed their playing to totally speak for itself. With a First Set that appeared brutally bland upon initial glance, the band offered top-notch versions of “Maze,” “Scent Of A Mule,” “46 Days,” and the first First Set closing “You Enjoy Myself” since 07/13/2003. Interweaving teases, the theremin, and a fully-connected jam in the set closer, the show lived and died on the band’s performance, something that would come to fruition in the brilliant Second Set. Opening with the always welcome “Gotta Jibboo,” the set can essentially  be summed up in five songs: “Mike’s -> Simple> Light> Weekapaug -> Seven Below.” The aforementioned “Groove” is one of the standout suites of 2012 – a 50-minute sequence of communication, connection, and brilliant playing that joined the echelon of “Mike’s Groove’s” throughout their storied career. Foregoing the 200-song challenge for at least one night, Burgettstown 2012 was all about the performance. With little-to-no breaks in flow throughout, the show is one of the tighter shows of 3.0,  and combined with the standout jamming in Set II, is in a lot of ways modeled after a 1.0 type of show than anything we’ve heard from the band in the last 10 years. Rounding things out with a solid “Julius,” a sublime “Slave To The Traffic Light,” and a “The Lizards” encore which added a bit of humor when Trey forgot the lyrics, the show finished in classic fashion. More than anything, the show was a reminder to all that Phish has reached a point where they don’t need bustouts or rarities to craft a memorable show in 2012.

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Nikon At Jones Beach Theater – Wantagh, NY – 07/03/2012

Set I: Skin It Back*#> Possum##, Tube, Happiness Is A Warm Gun**, Mike’s Song -> I Am Hydrogen> Weekapaug Groove, Halley’s Comet> Axilla I> Ya Mar, Joy, Jesus Just Left Chicago> Backwards Down The Number Line> Golgi Apparatus

Set II: Chalk Dust Torture, Sand### -> Golden Age, Wolfman’s Brother -> Walk Away, Bug> Fluffhead####> The Wedge, Run Like An Antelope

Encore: Character Zero

* First “Skin It Back” since 29 July 1988

* First “Happiness Is A Warm Gun” since 31 October 1994

# “Skin It Back” contained a “Spanish Moon” tease

## “Possum” and “Chalk Dust Torture” contained “Skin It Back” teases

### “Sand” contained an “Izabella” tease

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

Jones Beach has produced some of the standout moments in 3.0. From their 2009 three-night run that allowed the band to settle in to the road, featuring a completely unique take on “Hood,” “Ghost> Antelope,” and a second set that rivaled all in 3.0 before it on 06/05/2009, to their 2010 Leg II closing affair that gave us the first “Fluffhead” opener since Hampton, the best “Backwards Down The Number Line” we’ve seen thus far, to their 2012 Fourth of July Performance, it’s been hallowed grounds in this era of Phish. Fitting then, that they’d use the East Coast hideout to bustout “Skin It Back” for the first time in nearly 24 years, after so many soundcheck jams featured the Little Feat classic. Fully embracing the 200-song challenge in this show, Set I is a full-on recital featuring another massive bustout in “Happiness Is A Warm Gun,” plus a solid “Mike’s Groove,” “Axilla I,” and “Jesus Just Left Chicago.” Set II reigns supreme in this show however, with a brilliant jam-combination occurring between “Sand -> Golden Age,” the former which produced hands-down, the best version of the TV On The Radio cover that we’ve ever heard. Dedicating it’s final 4:42 to blissful ambient soundscapes, it’s really the furthest the band has ever let the song traverse, and it’s the most patience they’ve displayed towards expanding it. With another peak in the “Wolfman’s -> Walk Away” combo that literally never gets old, the set finished in strong fashion with top notch versions of “Fluffhead” and one of the most torrential “Run Like An Antelope’s” we’ve heard this side of Utica. In the same realm as 06/15 /2012 and the first night of SPAC, 07/03/2012 used a lengthy, song-based Set I to ease them into a calculated, and professionally driven Set II.

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Saratoga Performing Arts Center – Saratoga Springs, NY – 07/06/2012

Set I: Runaway Jim, Ocelot, Heavy Things, Back On The Train, Funky Bitch, Tube -> Psycho Killer -> Tube, Hold Your Head Up#> Craklin’ Rosie> Hold Your Head Up, Stash, Bouncing Around The Room, Paul & Silas> Horn, Corinna, Light Up Or Leave Me Alone

Set II: Chalk Dust Torture> Carini> Sand> Roses Are Free -> Punch You In The Eye> Sneakin’ Sally Thru The Alley -> Ghost> Suzy Greenberg> Run Like An Antelope##+

Encore: Loving Cup

# “Hold Your Head Up” contained “Psycho Killer” quotes

## “Run Like An Antelope” contained a “Crosseyed & Painless” tease

+ “Run Like An Antelope” featured Tom Marshall and The Dude Of Life on vocals

On the opening night of the final weekend of the First Leg of their 2012 Summer Tour, Phish crafted an absolute masterpiece that still ranks as one of the best shows of the entire year. Once again, the 200-song challenge dominated as they threw down an unprecedented 17-song First Set. Opening initially with a string of standards – all of which carried an extra summer-flair – the set got going in earnest with a nasty “Tube -> Psycho Killer -> Tube,” thus marrying the best moments of 12/07/1997 into one surreal jam. Festivities continued with a humorous take on their “HYHU” gag, including references to the “Tucking” joke that had consumed Summer – by which Fish would tuck his gown into his underwear, and perform whatever song was asked of him; always a willing jester. Concluding with top-notch versions of rarities “Corinna” and “Light Up Or Leave Me Alone,” the set was a marathon 90-minute journey that left all eagerly anticipating how the band would top it in Set II. Focusing on energetic jamming, Set II produced a tight combination of “Carini> Sand,” and a sprawling, forceful and powerful jam between “Sneakin’ Sally -> Ghost.” “Sally” fully left the structure of the song for the first time since 08/07/2009, producing a driven and hard-edged jam, which deviated from many of the traditional funk takes on it. One of the final cuts for this list, the “Sally” displays just how unique and original Phish was willing to go in 2012, how far they were willing to push their jams to discover the unknown. Concluding with a classic pairing of “Suzy Greenberg> Antelope” – the latter which featured Tom Marshall & The Dude Of Life on vocals – the show fit the bill of it’s locale and placement in the tour. Feeling like a true homecoming show, SPAC I was, and is, one of the clear standouts in a year full of them.

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Bill Graham Civic Auditorium – San Francisco, CA – 08/19/2012

Set I: Crowd Control, Party Time, Axilla I, Reba, Free> Mound> Walk Away, NICU, Back On The Train, Gotta Jibboo, Roggae, David Bowie

Set II: Crosseyed & Painless# -> Light## -> Sneakin’ Sally Thru The Alley## -> Crosseyed & Painless -> Theme From The Bottom> Rocky Top> Boogie On Reggae Woman -> Meatstick+, Bug, You Enjoy Myself

Encore: Ride Captain Ride> Tweezer Reprise

# “Crosseyed & Painless” contained a “The Cave” tease

## “Light” and “Sneakin’ Sally Thru The Alley” contained a “Crosseyed & Painless” tease; “Light” contained an “All The Single Ladies (Put A Ring On It)” tease

+ “Meatstick” included Japanese lyrics

Night three at the BGCA was a night to remember in 2012 and Phish 3.0. Featuring a classic first set – the kind where it literally did not matter what song was played – and a fully-flowing second set, including one of the best jam segments of the year, it was a standout show in the greatest regards. After two sub-par shows opened the overhyped, three-night stand at the intimate San Francisco theater, Phish clearly came out on the 19th on a mission. Crafting a killer show with apparent ease, listening to this show was without question, one of the most pleasurable experiences any Phish fan had with the band in 2012. Riding a scorching “Back On The Train,” “Gotta Jibboo,” “Roggae,” “David Bowie” segment into set break, the band came out on fire in Set II. With a six-song opening segment that read “Crosseyed & Painless -> Light -> Sneakin’ Sally Thru The Alley -> Crosseyed & Painless -> Theme From The Bottom> Rocky Top,” there was no let-up over the set’s first hour. Featuring intricate jamming, high-energy transitions, a gorgeous ambient breakdown, a massive “Tweezer Reprise” tease, and fluid song selections, it was a jaw-dropping section of music that left many wondering how the band was capable of putting on a show as discombobulated as 08/18 one night, and one as fully-connected as 08/19 the next. Riding the energy to the end, the show never let up as “Boogie On” and “Meatstick” continued their perfect tandem, and “You Enjoy Myself” closed out the set in strong fashion. Encoring with the second “Ride Captain Ride” of the summer – a song which includes references to San Francisco – it was the kind of rare treat that fit perfectly within the celebratory feel of the show. The “Tweezer Reprise” that followed, and closed out the run, blew the roof off the joint once more, providing the extra oomph that “Tweeprise” is always good for. Immediately launched into the discussion of “Show Of The Year,” 08/19/2012 is literally the exact show that everyone hopes to catch every time they see Phish.

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Chaifetz Arena – St. Louis, MO – 08/28/2012

Set I: Punch You In The Eye> Runaway Jim, Ocelot> Reba, I Didn’t Know+, The Curtain> Peaches En Regalia> Mound> Sample In A Jar, The Sloth, Camel Walk, Possum> Quinn The Eskimo

Set II: Chalk Dust Torture -> Frankie Says -> Undermind -> Sand -> Walk Away, Limb By Limb, Julius> 2001> You Enjoy Myself

Encore: Shine A Light

+ Before the vacuum solo in “I Didn’t Know,” Fish was introduced as The John Coltrane of the Vacuum Cleaner

On a Tuesday night during the last week of their 2012 Summer Tour, everything came together for Phish, crafting yet another classic on par with 06/22/2012, 07/06/2012 and 08/19/2012 for the best shows of the year at the time. With a first set that matched 08/19’s in terms of the irrelevance of songs played, “Reba,” “Peaches> Mound,” and “Possum> Quinn The Eskimo” all stood out as top-notch versions. The “Reba” in particular – the last performance of summer – was a stunning display of the beauty the song encompasses, as Trey crafted sublimed riffs and musical thoughts with the subtle backing on his band. It was the kind of First Set that, once concluded, everyone in the venue just knows will lead to a heated Set II. While on paper, Set II of 08/28 looked admittedly like a crapshoot, once one listened to the intuitive communication displayed by the band throughout it, it was clear we had an immediate classic on our hands. Containing fluid segues from one song to another that no one – not even the most clever PT-vet – could ever conceive of, the first forty minutes of the set were one unending jam. “Chalk Dust -> Frankie Says -> Undermind -> Sand -> Walk Away” all somehow found their way to one another – bridging the gap with masterful playing, where on paper, they appeared to be a choppy mishap. Concluding with a “Limb By Limb” that initially appeared to be a breather, the contemplative Ghost-era track broke ground and wound itself through layers of upbeat, Trey-led percussive jamming, finishing off with a massive peak before rediscovering the “Limb” theme. “2001> You Enjoy Myself” brought things home with a classic pairing of two songs that, while a bit tamed by 3.0, still retain the magic that brings the crowd to full attention and a rousing applause whenever they hit their ecstatic points. One-off encores can be tricky, particularly after a show with so much heat, but no one can argue with the importance of “Shine A Light” to the band in the 3.0 era, and whenever it concludes a show on par with 08/28, it fits perfectly, in the same way “While My Guitar Gently Weeps,” “A Day In The Life,” and even “Harry Hood” does. A killer show all-around, St. Louis sent everyone off to Central Colorado dreaming of seeing a show on par with it, and the best shows of summer that had come before it. Little did anyone know what they were in for…

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Dick’s Sporting Goods Park – Commerce City, CO – 08/31/2012

Set I: First Tube, Uncle Pen, Carini> Kill Devil Falls, You Enjoy Myself+, Ocelot, Undermind#

Set II: Runaway Jim&> Farmhouse> Alaska, Chalk Dust Torture&, Emotional Rescue> Fuck Your Face##

Encore: Grind, Meatstick++

+ “You Enjoy Myself” contained a “We all love Dick’s!” vocal jam

++ “Meatstick” contained Japanese lyrics

# “Undermind” contained a “Crosseyed & Painless” tease

## “Fuck Your Face” contained “Emotional Resuce” quotes

& “Runaway Jim” and “Chalk Dust Torture” were unfinished

There are certain shows that hold such superiority to the rest of Phish’s live catalogue, that words really do them no justice. They must be heard to be understood. Many of them, must have been seen to fully grasp. They are nights when the band is so on, when everything just comes together, that even Trey, Mike, Fish and Page couldn’t tell you why they were so good. In The Phish Book Trey said, “It’s Strange. There are some shows that crystallize into great experiences for bot us and the audiences, and I usually remember a minute of them.” 08/31/2012 was one of these such nights. In so many ways it resembles no single show that has appeared before it in 3.0, and who knows how long it will take them to reach this level again. With a goal set to play a show that read F.U.C.K.Y.O.U.R.F.A.C.E. the band had to somehow fit 13 songs (plus “Fuck Your Face”) into a three-hour show – something they hadn’t done since SPAC ’04. As the show unraveled from the fan’s perspective, it was clear something was amok. The “First Tube,” “Uncle Pen,” “Carini” – which included a blissful type-II jam – just didn’t fit with the 3.0 model. The fifth song “You Enjoy Myself” only threw people off more, and the glorious, set-closing “Undermind” had everyone celebrating like Phish had just won the World Series. As word spread through the venue that the first set had spelled out F.U.C.K.Y.O.U. the sense was that the band had caught onto the all crap they’d received over the lack of jams in 3.0, and were thus responding with an onslaught of exploration to the unassuming ears. The gag of course, would in fact spill over into set two, and the format would allow the band to reach even more sublimity through jams in “Runaway Jim> Farmhouse,” and “Chalk Dust Torture.” When all was said and done, the show was an instant classic. Regardless of the gimmick – something that’s come to dominate the first night of the Dick’s runs – the band stepped up and responded with a show for the ages. Full of top-notch jams – three of which made this list – a song selection that kept fans on the edge of their seats, and an all-time gag that messed with the crowd all night long, 08/31/2012 is without question the best show of 2012, the best show yours truly has ever seen, and the best show the band has played in 3.0 aside from 07/03/2011.

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Dick’s Sporting Goods Park – Commerce City, CO – 09/01/2012

Set I: Run Like An Antelope*, Backwards Down The Number Line> Tweezer> Fluffhead> Roses Are Free> Funky Bitch> The Moma Dance> When The Circus Comes, Theme From The Bottom> Golgi Apparatus, Stealing Time From The Faulty Plan

Set II: Golden Age> Prince Caspian&> Light#, Boogie On Reggae Woman> The Wedge, The Horse -> Silent In The Morning> Mike’s Song -> No Quarter> Weekapaug Groove

Encore: Sleeping Monkey> Tweezer Reprise

* First “Run Like An Antelope” opener since 26 January 1990

& “Prince Caspian” was unfinished

# “Light” contained a “Mercy Mercy Mercy” tease from Page

The night after THE night. After playing their strongest show of 2012, and one of their best of 3.0 overall, you would have been hard pressed to find anyone who thought Phish could in fact top the brilliance of 08/31. On it’s own, 09/01/2012 would have been endlessly praised, yet grouped with 08/31 it was unfortunately overshadowed, and has been hopelessly underrated by many in the Phish community. The truth is, 09/01 is one of the best shows of 2012. Opening with the first “Run Like An Antelope” opener since January 1990, and featuring a “Tweezer> Fluffhead” in the 3-4 slot, the show was a keeper just 45 minutes in. Rounding out Set I with a focus on First Set standards offered a nice breath of fresh air after a show-and-a-half of mind-altering music. The Second Set kicked off with a 50-minute sequence of music that read: “Golden Age> Prince Caspian> Light.” Featuring expansive, groove-based jamming in “Golden Age” – on par with the brilliance of 07/03/2012 – a deep, extensive and sinister “Caspian” and one of the the jams of the year in “Light,” the set opened with endless possibilities, assuring the entire crowd that the magic of 08/31 had in fact spilled over into Night II. Filling the middle of the set with crowd pleasers – “Boogie On Reggae Woman,” “The Wedge” – and a quick, contemplative breather in “The Horse -> Silent,” the set ended with a straight up nasty take on “Mike’s Groove,” with the Zeppelin cover “No Quarter” bridging the two classics. A welcome shock to everyone in the venue, the “No Quarter” built upon the rage of the “Mike’s” “jam” section, and fit the bill with the darkness that had engulfed so many of the jams throughout the weekend. Finishing with a raging “Weekapaug,” when the band reemerged for the encore, Trey informed the fans that they’d have to give them a minute, cause Fishman was simply too worn out from rocking out. When they finally did play, the classic pairing of “Sleeping Monkey> Tweezer Reprise” finished the show off right and sent a message to the fans that Phish had thought as highly of the last two nights as we did.

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Madison Square Garden – New York City, NY – 12/30/2012

Set I: Runaway Jim#, Cities> The Divided Sky, Back On The Train, Ride Captain Ride, Ocelot, Ya Mar, Horn, My Friend, My Friend&> Run Like An Antelope

Set II: Down With Disease##& -> Twenty Years Later> Carini> Backwards Down The Number Line> Julius, Slave To The Traffic Light###

Encore: Harry Hood###, Show Of Life

# “Runaway Jim” contained a “Dave’s Energy Guide” tease from Trey

## “Down With Disease” contained a “Woman From Tokyo” tease

### “Slave To The Traffic Light” and “Harry Hood” contained a “Little Drummer Boy” tease

& “My Friend, My Friend” and “Down With Disease” were unfinished

For the first time since 2009, Phish took the stage on a 30 December and played like they fully understood the implications of the date in Phish history. 12/30/1993, 12/30/1995, 12/30/1997, 12/30/1999, 12/30/2003, 12/30/2009; these are shows that are revered across years and eras for the anything-goes atmosphere that engulfs Phish on the night before THE night. After a 12/28 show that featured a fully connected Set II, and a rocking 12/29 show that never quite got off the ground, the energy was palpable in MSG, and Phish responded in classic fashion. A top-notch first set, chock-full of classics was really the definition of fun. It was the kind of set that, like 08/19 and 08/28, matter little what songs were played, for by setbreak everyone was raving about just how good the band had sounded. Whatever good feelings were crafted by the band in Set I, however, would quickly be reversed (for the better) with a three song jam segment that would ultimately be the most memorable aspect of the entire NYE Run. Reading: “Down With Disease -> Twenty Years Later> Carini,” the set started with an ominous dive into the netherworld, featuring some of the most abstract, beatless, egoless music the band has produced throughout 3.0. Akin to the best moments of Dick’s, the thing that separated the “DWD” and “Carini” was that they were devoid of any of the climactic peaks that defined the “Light,” “Sand” and the MSG “Tweezer.” Emerging from the reckoning with a killer version of the 3.0 theme-song, “Backwards Down The Number Line” and “Julius” brought everyone back to life, and kept the show moving, regardless of the song selection. Finishing things off with an emotive “Slave” set closer, and a gorgeous “Hood” encore was the perfect way to end the show of the 2012 NYE run, and veritably end the 2012 playing season. The NYE show the following night was by far their best NYE show since 2003, and a great show in it’s own right. However, 12/30/2012 was the exact kind of show that defined Phish 2012: solid song selection, high-energy, transcendent playing, and an intuitive linear music communication from four solid years of playing together which produced some of the best improvisation music crafted by the band in the last 10-15 years. After such a phenomenal year for Phish – a year that rose to the ranks with best the band has produced in the last 30 years – one can only wonder what the band has in store for us in 2013. A year of with another two-legged Summer tour, 30th anniversary events planned, Festival X, and yet another year-ending NYE Run at MSG, there is a resounding sense of hope surrounding the direction of the band. The ups and downs of 2009, 2010 and 2011 fully behind them, 2012 was without question the best year of 3.0. The year where people stopped wondering if Phish would ever regain their former glory, it was instead when everyone stopped critiquing and fully enjoyed the ride Phish was taken us all on.

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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!