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 II: The Gorge – Dick’s

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Click Here For Part I

The Best Jams Of 2013 – Part II

07/27

Down With Disease -> Undermind> Light -> Sneakin’ Sally Thru The Alley -> 2001

A meaty segment of fully-flowing Phish, this 50-minute opening sequence is undoubtedly one of the most connected musical moments of the entire year. And like Jones Beach’s hour-long groove session, this chunk of improv is clearly more about Phish’s connection to itself. Save for the underworldly dip within Undermind, much of what’s played here is fluid and energetic. Exemplified in the bulbous jam that builds from Sneakin’ Sally, this is the sound of a Phish celebrating the trials won, foundations set, and conflicts overcome in the first three weeks of tour, rather than pushing forth overtly challenging music. Pure joy continuously emits from the stage here as the band celebrates their most accomplished run of the year, to that point. From here on out, there would be no more uncertainty. This is the division between the pre-Tahoe-Tweezer-Phish, and the latter.

07/31

Tweezer

A moment of profound unity between both band and audience as each rediscovered once again what was truly possible in the medium of a Phish show[1]. Is it the best jam they’ve ever played? No. But it is the most important piece of music the band has played since the 07/29/1997 Gumbo or the 11/17/1997 Ghost[2]. It’s that revolutionary moment where the band is clearly searching for some ambiguous sound, some indefinable goal, and unquestionably uncovers something totally new about themselves in the process. Say what you will about the after-effects of the ‘woo’s,’ what’s clear to everyone involved is that without the Tahoe Tweezer, none of the brilliance that emerged with such stunning ease and consistency throughout the Fall would have been possible.

08/03

Rock & Roll -> Steam

Celebratory melodic jamming as a singular jam. On the second night of a three-night run in the intimate halls of San Francisco’s Bill Graham Civic Auditorium, after an opening show in which the band essentially took a – much-deserved – full-show victory lap following the Tahoe breakthrough, Phish unleashed a jam that displayed their evolved cubism, along with their innate communicative abilities, all under the umbrella of a reverent melodic passage that spoke volumes to the musical peak they found themselves on. Mike and Trey trade licks and leads throughout, and seemingly every trill Trey offers, Mike responds back with a perfectly placed meatball-riff that envelops and fits the immediate moment of the jam brilliantly. For all the hyperbole that’s been invoked to describe the recent Fall Tour, perhaps the most incredible thing about it is the fact that its best jams are unquestionably the simplest ones. A direct effect of the peak the band discovered via the Tahoe Tweezer, deliberateness, faith in simple, melodic music, and a trust in the communicative direction of each member, all helped to shape the band’s October peak. Each of these qualities is heard in their purest form throughout this Rock & Roll. If we only knew then what we know now…

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08/04

Energy> Runaway Jim

As a rule: In 3.0, you never miss a Sunday show[3]. On the final Sunday of the Summer Tour, Phish crafted a complete show that is as much a self-referential statement as it is an evolutionary step forward. Capped off by a 30-minute segment of music that ushered in its second set, the Energy> Runaway Jim is Phish’s 2013 Summer Tour in its essential form. Fusing a 2013 debut – which emerged as The Song Of Summer – with one of their oldest classics, the band simultaneously reflected on a tour that had set the foundation for future musical successes – while also forcing the band to overcome numerous external struggles[4] – and looked ahead to the (at the time) unknown heights of Fall. Building outwards from the structure of Energy via a rising theme, the entire jam changed on a dime at 6:39 when Trey imposed his wha into the mix. What followed was a rhythmically induced wall of sound that flowed into a piece of seedy urbaneness defined by Page’s Lydian riff from 9:49 – 10:11. Trey would systematically – and brilliantly – mimic, and then distort this riff to the jam’s fading conclusion.

In Runaway Jim, Trey did his best Hendrix impression since 09/01/12’s Prince Caspian, as the band proved the limitless potential for Jim – whenever the band is keen on letting it off its leash, that is. Rooted in sinister, bluesy psychedelia, this jam felt like a peek back into Fall ’97, when Trey would regularly indulge in his rock star fantasies. Yet in the context of 2013 the jam takes on a much more interesting – and necessary – accord, considering just how far Trey has come as a guitarist since 2008, and how he commanded many of the best jams throughout the Fall Tour. Rather than imposing his will because of a lack of support from his bandmates – or, in effort to simply kill time – it’s clear Trey needed to prove to himself, to the band, and, to his fans, that he was capable of shredding in an improvisational setting again like in the days of old. In a tour in which so many of the band’s classics were given new life, it was quite fitting the tour would conclude with yet another pushing the band to such heights.

08/05

Harry Hood

There’s that moment in every single jam where everyone – band and audience alike – collectively realizes we’re suddenly in wide open, untapped, and unknown terrain. It may come via a reliable Set II opening vehicle[5], or in a totally unexpected song/slot in the show[6]. Wherever and whenever it comes, the moment is ultimately defined by an immediate percolating of the senses, and a rush of euphoria, as the stakes of a show suddenly take upon unknown – in many ways, indefinable – potential. This moment is, for many, the entire reason why we see Phish. When that moment happens to come in a song steeped in as much historical lore as Harry Hood is, however, it raises a show to an entirely different level of excitement, sentiment, and lasting resonance.

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

A creative palette of themes and varying musical passages, this jam harkened back to the band’s most prolific exploration within Hood from 07/26/03. A clear statement to the band’s M.O. moving forward in 2013, this Harry Hood opened the doors even further to what was possible in the coming Fall, here, coming on the last night of Summer Tour proper.

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08/31

Chalk Dust Torture

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

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

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


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

A Few Examples:

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

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

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

27:29 — The first WOO!

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

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

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

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

[2] Obviously a point of immense contention. Certainly a subject for another essay, and another time. However, if you allow yourself the perspective that Fall 1997 was the last period – until now – when the band was both – A. Fully Committed to the idea of Phish, so much so that they spent a majority of their time exploring within their music to push it forward along a specific set of goals, and B. Neither succumbing to the overwhelming pressures of fame and the bloated organization they’d created by turning to drugs which led to a 11-13 year period of uncertainty, collapse, rebirth, and rebuilding, nor immersed in the necessary process of rebuilding everything that was lost in said period – then the notion that the band hasn’t played a piece of music that’s equally inspired, influenced, reassured, and pushed them further than the Tahoe Tweezer clearly has since some time in 1997, is both plausible, and completely accurate. None of this is said to dismiss the music of 1998 – 2012, of course.

[3] 03/06/09, 06/07/09, 06/21/09, 11/01/09, 11/29/09, 06/27/10, 07/03/11, 09/04/11, 08/19/12, 09/02/12, 12/30/12, 07/14/13, 07/21/13, 08/04/13, 10/20/13, 10/27/13 are each both Sunday shows, and some of the best whole-shows the band has played since reuniting five years ago.

[4] It really can’t be emphasized enough how big an impact the rain that followed Phish throughout the Eastern half of the United States had on their playing, and presumably, their psyche. Out of the fourteen shows the band played from Bangor – Toronto, six were played up against torrential rainstorms, (07/07, 07/12, 07/14, 07/17, 07/19, 07/21) one had to be rescheduled completely, (Toronto) one had to be aborted some 13 minutes into the second set, (07/19) and another was nearly cancelled, only allowed to continue when the rains that poured relentlessly from the skies over Chicago, suddenly cleared (07/21). Throughout this stretch, you can hear the band’s increasing frustration in their inability to fully concentrate on their music in the face of such insolvent, yet unremarkable interferences. Be it Trey claiming the band was “practicing making safe music,” on 07/12, or Page and Trey’s clear frustration with being forced to evacuate the stage on 07/19 and 07/21, or the abrupt and constricted three-set show on 07/20, or Page’s endless gratitude towards their fans for their support on 07/22, one got the sense throughout those three weeks that many of the barriers between artist and fans were brought down as a result of extraneous issues.

[5] There’s that sensation that always accompanies a Set II opening Down With Disease, Tweezer, Crosseyed & Painless, or Rock & Roll (among others, but these in particular, especially in 3.0) where it feels like the band is giving us a knowing wink and a nod, as if to say, “here we go…”

[6] Think: 12/14/95 NICU, 07/10/99 Chalk Dust, 08/06/10 Cities, 07/01/12 Fee, or the 08/31/12 Undermind, for just a few examples.

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!

Phearless – On The Third Week Of Phish’s 2013 Summer Tour

942411_10151477068446290_461141722_nRemember way back on July 2nd when all those pictures popped up on Twitter of the rain that had consumed central Maine?

This wasn’t the way to kick of summer tour, we all thought at the time. Surely mother nature would realize the imminent onset of Phish’s 30th Anniversary 2013 Summer Tour and act accordingly, right?

Right?

Wrong.

In a fortuitous twist, the rain clouds that greeted everyone in Bangor, ME three weeks ago have yet to recede from Phish’s 2013 Summer Tour. From SPAC to the postponed show in Toronto, from Jones Beach’s torrential Set I downpour to 07/14’s Set II storm, from the rain that engulfed the Alpharetta pavilion to the mayhem in Chicago that resulted in 07/19’s cancellation, 07/20’s three-setter, and 07/21’s perfectly executed Set II, rain has defined the 2013 Summer Tour as much as the music itself.

For a band that has played its fair-share of weather-affected concerts – Coventry anyone? – Summer 2013 may take the cake as THE tour where the weather has affected Phish more than any other.

And yet, through all the rain, through all the on-again/off-again shows played, that Phish has continued to evolve this tour with the kind of energy, passion, and foresight as they have is more than anyone could ask for considering the circumstances.

The key? Phearless-ness and Energy. Like no tour since 1.0, here in the 2013 Summer Tour the band is attacking their shows with a sustained combination of focused precision and egoless exploration, resulting in fully-realized jams, flawless segues, and unyielding energy throughout each of their shows.

Below are another collection of thoughts and questions I’ve compiled about the last week of the tour.

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Energy (As THE Song Of, And The Keyword For, Phish 2013)

Certain songs appear in Phish’s rotation at just the right time.

Think “Maze” in 1992, “Down With Disease” in 1994, “Ghost” in 1997, “Seven Below” in 2003, and “Light” in 2009.

When the band debuted The Apples In Stereo 2007 song “Energy” to kick off 07/05’s second set it immediately felt like a Phish song and fit the initial mood of the tour. A bouncy melody combined with populist lyrics, it carried the tone and communicable message that has consumed so many of Trey Anastasio’s original songs for the last ten-odd years.

And then, with little effort or force, the song moved into Type II territory resulting in a moody, psychedelically-infused jam that bled seamlessly into “Light.” Eleven days later the band revisited the song midway through Alpharetta’s final set, expanding further on the jam that – in many of the same ways as “Light” has for the last four years – just builds outwards from the song at will.

When Trey walked on stage for the final set of the Chicago run wearing his “Phearless” shirt, (two t-shirt Sunday’s in a row!) following what must have been one of the most frustrating weekends the band has experienced in years, there was really only one song that the band could open with that would both fit the mood of the show while simultaneously altering the course of the tour going forward: “Energy.”

Resulting in one of the most patient, contemplative, and overall hooked-up moments of the tour thus far, the 07/21 “Energy” moved through various untapped musical terrains without any of the restraints that have, at times, held many 3.0 jams back. The performance was a statement on the musical peak the band is experiencing this summer, and on the overt role energy has played in Phish’s now-30-year career.

Think back to Trey’s rant in the hotel room in Europe in the middle of Bittersweet Motel. Angered that Brad Sands would slag off a show he clearly thought rocked, Trey spoke directly to the camera saying: “I couldn’t fucking care less if we missed a change, or a number of changes. Doesn’t have anything to do with how we’re playing. It’s all about energy.”

A concept that has always driven many of the band’s best shows, energy as an idea, and “Energy” the song are starting to define 2013 in a retrospective, yet forward-driven way, perfectly aligned as the band simultaneously celebrates their 30th year of existence. A song that speaks to the communal power of what Phish has created, while musically opening itself up to the untapped potential of the band’s improvisational journey’s, “Energy” is clearly THE song of Phish 2013.

One more thought on this, listening back to the “Energy -> Ghost -> The Lizards” segment one can literally hear the musical journey that Phish has embarked on over the past three decades in 35 uninterrupted minutes. From the sprawling, patient endlessness of “Energy” to the seedy minimalism of “Ghost,” which then evolves without effort into a bright, rhythmically-laced jam, before segueing seamlessly into “The Lizards,” the song that ushers us into Gamehendge, it’s a musical journey that takes us through the evolution of Phish both musically, emotionally, and thematically. It’s, no question, the jam segment of the summer so far.

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Alpharetta: Combining Gimmickry With Dick’s-esque Jamming

After everything that went on in Chicago this last weekend, it’s hard to remember that mid-last-week, Phish threw down two barnburner’s in the pristine suburban purgatory of Alpharetta, GA. Caught between their absolutely masterful two-night run at Merriweather Post, and the survival experience of Chicago that clearly had so much more to do with than just the music, Alpharetta’s at risk of being both overlooked and underrated.

While neither of the shows offer complete packages due to their underwhelming first sets, something clearly happened in Alpharetta that both altered the overall contour of this tour, and injected it with some fresh ideas that’s worth noting.

Whereas the run from 07/10 – 07/14 featured an exploratory-driven, top-of-their-game band that simply could do no wrong, the Alpharetta shows saw Phish truly tinker with their approach for the first time since SPAC. Eschewing the overtly old-school approach that saw the band reach their biggest peaks of the tour thus far in the aforementioned shows, Phish dedicated their two second set’s in Alpharetta to a combination of playful gimmickry, and Dick’s-esque jamming, resulting in a boost in energy and variety, while still consciously evolving their jams forward.

Summed up most perfectly in the 07/16 “Rock & Roll -> Heartbreaker -> Makisupa Policeman> Chalk Dust Torture> Wilson> Tweezer -> Silent In The Morning> Birds Of A Feather” segment that consumed the first hour of the set, the band blended Type-II jamming while threading the “Heartbreaker” theme throughout, resulting in a run of must-hear music. What makes this block of music ultimately so rewarding, so memorable, and so impacting is, whereas the band has attempted this type of set throughout 3.0 – 10/30/2010, 08/17/2011, 06/16/2012, and 07/07/2012 immediately come to mind – never before has it worked quite as well as it did in Alpharetta. By dedicating 35min of the segment to improvisational jams out of “Rock & Roll,” “Chalk Dust,” and “Tweezer” the band avoided the sloppy, and often awkward pitfalls that tend to plague sets such as this. Displaying an effortlessness in opening “Chalk Dust” up for the first time since 08/31/2012, while also experimenting with their Dick’s-esque melodic-driven jams in “Rock & Roll” and “Tweezer” gave the set far more depth than most gimmick-laced-tease sets of 3.0 have carried.

On the next night the band centered experimentation in two under-11min jams that proved once again how irrelevant song length is in 3.0. Rather than anchoring the set under one massive jam, “Energy” and “Piper” were featured as bookends to the return of “Fluffhead” in the middle part of the set, offering both abstract and thematic jamming which gave diversity to the set and their improv. A set – and an overall run – that carries far more weight than would be initially assumed by simply glancing at the setlist, Alpharetta combined energy, playfulness, and innovative jamming to play the role of celebratory cap to the east coast leg of the tour, while also helping to thematically push the band forward towards the west.

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What’s The Deal With All The Repeats?

For anyone following Phish’s 2013 Summer Tour, there’s one thing glaringly obvious about each setlist: repeats. I addressed this topic in my last essay, yet feel it needs revisiting due to the unending communal discussions surrounding it.

Fourteen shows into the tour, we already have two songs played in nearly half the shows – “Chalk Dust Torture,” and “Backwards Down The Number Line.” In addition to that, from run-to-run, and show-to-show, songs are being repeated night after night with a frequency that harkens back to the early-90’s; back when the band had a song catalogue half the size it is now.

As expected, many are openly complaining and lambasting the band for their apparent inability (or desire) to diverge from a strict rotation. Cause, no matter how well the band’s playing, you’ve gotta bitch about something, right?

Coming off a year that saw the band bust out song after song at literally every show – a tour in which they set out with the goal of playing 200 different songs – there is certainly something a bit jarring about the frequency with which the band is playing just their core classics here in 2013. Not to mention the fact that on paper, some of their shows tend to look a bit blasé at first glance.

Yet, when one removes themselves from the dreaded zone of personal expectations, when one allows themselves a shift in perception, it’s actually stunningly clear why the band would focus on such a small rotation.

So clear, it actually makes perfect fucking sense.

To me there are two reasons why the band is focusing on a tighter rotation in 2013:

1. Coming into 2012 it was apparent the band needed some sense of outward motivation to keep their relative high of August 2010 – September 2011 going strong. While they’d rediscovered their sea legs at the Greek Theatre in 2010, there’d been so many bouts with inconsistency strung throughout the 18months leading up to Worcester 2012 that it was clear the band still needed exercises to keep them fresh. (Think of this in the same way as the improvisational exercises the band relied on from Summer 1993 – Summer 1995, and parts of Fall 1996.) Throughout 2012 though, the band once again became completely comfortable and inherently confident with their ability to craft complete shows and innovative jams, that their need for bust-outs and rarities simply to spice up their shows became less and less necessary. (ala the peak music of December 1995 and Fall 1997 that was a result of said musical exercises, and thus just sounds like a band effortlessly playing, rather than attempting any specific style.)

While sure, thrilling as it may be to hear a song for the first time in 5-10 years, the bust out exercise is more telling of a band seeking inspiration in their past, rather than discovering it in their present and future.

Point being, something was clearly discovered at Dick’s that showed the band how truly powerful their music was right now, in the moment. They tapped into something in the “Carini,” “Undermind,” “Chalk Dust Torture,” “Light,” and “Sand” that they hadn’t experienced with that kind of consistency or ease in years. As a result, they grew beyond the need to center shows around a one-time rarity, hence the reason 2013 shows are now centered around jams, such as the 07/05 second set, 07/06 “SOAM,” “Carini,” 07/10 “Crosseyed,” 07/12 “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge,” 07/13 “Simple,” 07/14 “Light -> Boogie On Reggae Woman,” 07/21 “Energy -> Ghost -> The Lizards,” and 07/22 “DWD,” rather than unique song choices.

2. 2013 marks the band’s 30th anniversary. A monumental achievement for a band that just nine years ago was essentially left for dead by its creators. Throughout 3.0 there’s been a clear focus on systematically rebuilding what made Phish Phish. From 2009 and early-2010’s foundation setting, late-2010 and 2011’s experimental excursions, and 2012’s fully-realized jamming, bust outs, and shift towards a new era in Phish history, the band has essentially rebuilt themselves using the tried-and-true method that saw them rise throughout the early/mid-90’s on way to their initial musical peak period of 1994 – 1998.

Yet, through it all, regardless of whatever process the band is engaged in, one thing has always remained, and will forever define them as musicians: their songs. Specifically, their classics.

In light of their anniversary, and their ability to now focus on a totally new musical era of Phish, it makes sense that in 2013 the band would want to highlight the songs that, more than anything else, got them to the veritable summit of the musical mountain first.

If you made a mix-tape of all the songs that just sound like Phish to you, chances are they’d all be receiving heavy airplay here in 2013. And that’s the point. 2013 is both a year of celebration and a year for the band to take another leap forward musically. And what better way to both celebrate the legacy they’ve built, and take their next evolutionary step forward musically than through the songs that got them here in the first place?

Far from a sign that the band is unpracticed, lacking creativity, or just disinterested, the tightened setlists are instead a clear message from the band of how much they respect and value the songs that will ultimately live on long after they do.

We all got into Phish, and continue listening to Phish for various reasons. Yet one thing will always be true: it was their songs that we heard first, and their songs that we will always return to. Instead of focusing on what they’re not playing in 2013, let’s instead focus on why they are playing what they are playing.

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What Do We Make Of 07/20/2013?

I’ll come right out with a disclamer: I wasn’t in Chicago. In many ways I realize I have no business writing about the experience as I wasn’t there to live through everything that came with the weekend. All’s I can base my perceptions from the ground on are the texts I received from my friends at the show, the tweets I followed throughout the weekend, and the reaction of the writers and thinkers in the community who were there.

That said, how could I possible write anything about the last week of tour without addressing something about the Chicago Run, specifically the three-setter on Saturday?

With a specific focus on the music created, here are my thoughts:

Following the first show that was cut short due to weather since – I believe – 07/01/2000, a wave of negativity permeated through the Phish scene. Thanks in large part to the inexperience of the Northerly Island staff and crew, along with the fact that across town Pearl Jam was able to resume their concert around midnight – ultimately playing until 2am – many felt the band had made a bushleague move in canceling the show.

The next day however the band informed their fans that, in response to 07/19’s cancellation, they’d be performing a three-set show, their first non-holiday/festival three-set show since 07/12/1996 in Amsterdam, and their first state-side one since Amy’s Farm back on 08/03/1991. In many ways it was the ultimate sign of communal understanding, and band-oriented sentiment about the regret felt over the debacle on Friday.

In addition to the good-vibes that now suddenly stretched far-and-wide throughout the Phish scene, many began making additional requests and predictions for the show in effort to make it somehow even more epic and even more important than it already stood to be.

The band’s response: An opening quartet that read “Prince Caspian -> Twist, Ha Ha Ha> Possum,” or: PT Hahaha Possum. The first dose of band-led criticism of their fans own backseat driving of the weekend, the message was either completely lost on the fanbase in its initial moments, or bitterly soaked up.

The remainder of the show was modeled in many ways like the Saturday Night Rockers that are littered throughout 3.0, featuring an energetic song-based approach, devoid almost entirely of deep improv. Avoiding rarities of any sort, many felt the band simply wasn’t up to the challenge of both making up for the previous night’s cancellation, and the headiness of a rare three-set show.

Once again, I wasn’t at the show. I’ve just listened to it a few times, and these are my thoughts.

I believe the weather impacted the weekend in Chicago in ways that the weather leading up to Coventry wasn’t even capable of. The mindset the band must put themselves in prior to performing has to be one of a meditative freeing of all outside expectations and challenges. To then be taken so completely out of it by real life weather warnings and safety precautions, must be jarring, unnerving, and frustrating in the highest sense. Add this to the fact that the band had been dealing with torrid weather all tour, and I’ve got to assume that by the time they were told they had to cancel the Friday show, they experienced combined exhaustion and negative energy.

In many ways, the 07/20/2013 show sounds like a band trying to fit a massive show into a confined space.

The middle show of a three-night run – typically a Saturday night – is always the most popular showing, featuring many fans who either don’t see Phish very often, or may just be checking them out out of curiosity. A result of all these outside forces the band had to juggle, I feel like the band was trying to appease everyone involved by consciously playing a lot of their biggest “hits,” while also maintaining energy and flow, all the while dipping a bit into experimentation.

To that point, the show lacks nothing for energy and flow. Particularly in the final two stanza’s, the band weaves thematic sets that never relinquish energy, nor musical connectivity. The second set especially is one I will revisit throughout the year for it boasts some of the smoothest segues, and emotive music the band has played thus far this tour.

What the show does lack however is a clear attempt by the band to truly reward all invested in the event with a moment of sheer unique Phishy-ness, (i.e. bust out/gag) nor a period of freely-improvisational-exploration.

Would the two above qualities have made the show an all-timer?

I have no idea.

Should the show be lambasted based upon its inherent inability to satisfy so many people’s unattainable expectations?

You’d have to ask someone who was there experiencing it all.

To me, the show sounds like a band willing themselves out of an un-winnable situation. Essentially residing with one-foot in a creative world, while another is trying to both live up to the shared expectations of everyone involved, and deal with the logistical barriers that were venue/weather-related, and had to have been wearing them down.

In the end, that they were capable of such musical ambience in Set II, and in the third set’s “Light -> Harry Hood” should in many ways say all that needs to be said about just how trying the experience was, yet how much this band clearly cares about their fans and their music.

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The Brilliance Of The “Harpua” Gag & The Role Of Conflict In Phish’s Music

James Kaminsky over at the One Phish Two Phish blog already addressed the “Harpua” Gag in a really excellent piece earlier this week, so I’ll spare you a massive recap. Seriously, you should just check out his essay, for it breaks down perfectly the band’s message through the elongated gag.

What I’ll say is this: Since their choice of opening up with “Garden Party” to close out their best year of 3.0 and 12/31/2012 – and most successful year overall in over ten years, no less – the band has been sending out a clear message to their fans that, ‘while we respect your passion and enthusiasm for the band, don’t forget why you’re here in the first place.’

Essentially: Quit telling us how we should play our music for you.

This is both the right message for the band to deliver, and one their fanbase should heed at all costs.

As fans of a band as diverse, and willfully experimental as Phish – a band that has reached far more musical peaks than most bands could ever conceive of – it’s understandable we each have our own stylistic aspects and songs from the band we want to hear over others. For me, the peak of Phish will always be the unyielding experimental jams of 1995, 1997, and 1999. Being at Dick’s last year was an absolutely peak moment in my life because I felt as though the band was playing right to me. After witnessing numerous 3.0 shows that featured an array of aborted jams and uneven setlists, to see the band play with the kind of freedom they did last Labor Day was the best experience I’ve ever had with Phish on a personal level.

While this kind of passion towards one aspect of Phish is important because of the eventual reward it offers fans who travel to numerous shows, it becomes problematic within the scene when fans force their expectations and individual desires on the band. As a writer of Phish, I’m as guilty of this as anyone.

Yet, as I sat there watching the band seemingly fall on their faces through an awkward gag with the Second City Comedy Troupe, (I specifically say ‘seemingly’ because in hindsight it became blatantly obvious that the band did not in fact fall on their faces, rather nailed their gag…) I realized all over again why I see and listen to Phish in the first place. It’s not because of my expectations, or my wishes, it’s because of the communal force, and metaphysical connections in play when those four guys walk on stage without any idea where there show might take them. Watching them weave through a horrible rap about how “Harpua” should really be told, into the first Mike’s-narrated “Harpua” since 10/31/1995, and all the jokes and snide remarks that emitted from the stage throughout, I was transformed back to the halcyon days when I was 16, hearing Phish for the first time, and felt as though I’d unearthed a world I never knew existed, yet so desperately wanted to be a part of.

That this came in the midst of the bands best tour in fifteen years, and in the most perfectly placed “Harpua” since 07/29/2003 only made the message that much more relevant.

In addition to “Harpua’s” brilliance as a message to their fans, the song also shed a larger light on the role of conflict in the band’s music.

For a band that espouses such philosophies as “surrender to the flow,” one would think at face value that conflict has little place in Phish’s history. Yet, the truth is, much of the best music the band has ever made came directly out of conflict.

In 1994 and 1995, the band was searching for way to expand their songs in effort to find passageways to linear musical communication, resulting in the abstract musical storm of Summer 1995, and the effortless tidal wave of connectivity in December 1995.

In 1996, minimalism was a musical obstacle to overcome which resulted in the shedding of their skin in 1997.

On a more personal level, the internal conflicts, addictions, and uncertainties that littered the band’s immediate community in 2.0 directly correlated to the stew of dark and seedy jams that defined that era.

Here in 3.0, conflict has been missing in many ways from the Phish scene, due in large part to the positivity and health of each of the band members. Where they have found conflict though, has been in their own evolutionary steps forward, addressing moments of stagnation and writer’s block with the aforementioned exercises such as “The Storage Jam,” and the bust-outs of 2012.

In a lot of ways, the weather that has followed the band throughout the East Coast Leg of the Summer 2013 Tour has provided the band their first dose of external conflict in years. Resulting in the postponement of 07/09’s Toronto show, the cancellation of 07/19’s show, and an aborted “Run Like An Antelope” to close out Set I of 07/21, when the band finally emerged on stage for that night’s second set, they had literally weathered the storm, responding with their most relaxed and freeing set of the year. From the brilliant musical explorations of “Energy -> Ghost -> The Lizards,” to the shared comedic energy of the “Harpua” gag, to the rage of the completed “Antelope,” the conflicts that had been brewing within and around the Phish community finally gave way to a set for the ages.

“Look, the storm’s finally gone! Thank God!” The line has never felt so appropriate on so many levels than it did when Trey exclaimed it in the latter stages of 07/21/2013.

Proving that the “right way” for Phish to both play and evolve is always centered upon their way, 07/21’s second set displayed a band at their peak: jamming with ease and conviction, while goofing on their fans like they have been throughout their entire career.

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The Toronto “Down With Disease”: The Phearless Moment Of Tour & The Great Transition West

Coming on the heels of Chicago’s weather-impacted weekend was the make-up show in Toronto that was originally scheduled for July 9th. A Monday make-up-show following a massively hyped weekend in The Second City? Toronto had sleeper show written all over it.

And while the show didn’t really live up to its sleeper potential, it did result in yet another monumental exploratory step forward for the tour, this time in “Down With Disease.”

Akin to the 07/13 “Down With Disease” and 07/10 “Crosseyed & Painless” in many ways, the Toronto jam explored a litany of musical terrains all while remaining somewhat connected to the “DWD” theme. Building towards a plain of melodic blissfulness, Trey emphasized chordal jamming, locking in with Page for a five-minute segment of music that’s among the most connected of the summer in a tour growing thick with them. Progressing from 10:22 onwards, and ultimately resolving itself in a glorified peak around 15ish minutes, the jam is in many ways the polar opposite to Chicago’s spacious exploration in “Energy.” Displaying an elevated sense of musical diversity in back-to-back jams, the Toronto “DWD” expresses the phearless vibe currently permeating through Phish, and provides a notable transition point as the band moves westward.

After reaching an initial peak in the tour from 07/10 – 07/14, then fusing energy and gimmickry into their Alpharetta and Chicago shows, (all the while dealing with the external impact of weather) the Chicago “Energy,” and the Toronto “Down With Disease” appear to represent a conscious shift back towards exploration, something which has suited the band well out west in 3.0.

Entering the west coast leg of their tour like no tour since Summer 1997, (in a structural sense) the band will now emerge at The Gorge with three weeks of consistent shows under their belt, rather than following a five-week break which has been the norm in this era. Building upon an established foundation, rather than having to start anew, one has to assume, that for all the incredible music crafted over the past three weeks, the best of the tour is still to come. Just listen to the effortless jamming, and intrinsic connection on display in the 07/21 “Energy -> Ghost,” and the 07/22 “Down With Disease,” and imagine how much more relaxed, how much more free, how much more phearless the band is going to sound once they hit the open soundscapes of The Gorge and Tahoe, and the urbane hotspots of BGCA and the Hollywood Bowl!

All of this without mentioning the brilliant “David Bowie” that closed out the Toronto show! It sure is a good time to be a Phish fan!

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Favorite Shows/Jams Thus Far

Like I said last week, I’ll be updating this list as the tour evolves. Take these with a grain of salt, for their just one man’s thoughts. As we move deeper into the tour, I’ll only be highlighting the shows that have really captivated me as whole-show entities as opposed to listing the entire tour. Rather than ranking the shows, they’ll now just be listed in chronological order, ala the jams.

Favorite Shows

– SPAC 1 – At the time I wondered (wrongly) if we’d even be talking about 07/05’s Set II two weeks from now. Even after three weeks of monumental second sets, there’s still something about the fully-flowing nature of 07/05’s second frame that has me constantly revisiting it. From the debut of “Energy,” to “Light’s” effortless segue into “Mango,” to the late-nite swank of “46 Days,” and the raw power of “Steam,” to the set concluding mastery of “Drowned” and “Slave,” the set is one we’ll be talking about all year long. Throw in the “MFMF> Cities -> Bowie” cap to Set I, and you’ve got a top show of the year.

– SPAC 3 – Perhaps the quintessential Phish show of 2013. 07/07 combines energy, an old-school setlist, and thematic jamming all packed tightly into a show that is far better than the sum of any of its parts. One of those shows you just toss on and leave it playing, knowing you’re gonna be happy the whole time it’s on. 07/07 is one of those special shows that immediately provides a tour with its barometer for greatness.

– PNC – Upstaged by MPP 1 & 2 as my favorite show of the summer, PNC is still an all-around classic that reflects the musical high the band found themselves on in the second week of tour. Featuring an old school first set, a jam of the year contender in “Crosseyed & Painless,” along with top-notch versions of “Hood,” “Light,” and “Slave,” PNC was one of the strongest shows of the tour while it was happening, and will surely continue to be regarded as such for the remainder of the year.

– Jones Beach – Caught between the PNC and MPP firestorm of tour’s second week, and featuring an elongated – and, frankly, weather inappropriate – first set, 07/12 has become something of an underrated gem in 2013. Yet with the lone “Reba” of the year, another masterful “Bowie,” great mini-jams in “CTB,” “Ocelot,” “ASIHTOS,” and “46 Days,” not to mention the relentless, and fluid 50min “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge” that opened Set II, it’s still one of the best offerings of the year.

– MPP 1 – A prelude to the following night’s mastery, 07/13 features one of the most engaging setlists of the year, while boasting top notch versions of “Maze,” “SOAM,” “Hood,” and the best “Mike’s Groove” in over a decade. For me, it’s all about Trey’s rhythmic playing in “Hood” and “Simple” that puts this night over the top. Talk about blissful innovation at its best. What a high they were on during this run of the East Coast Leg!

– MPP 2 – IMO, the best show of the tour thus far. A tightly wound peak experience featuring two fully formed sets without a single misplaced moment. Energy, innovative jams, perfectly placed classics, this show has it all. The seminal show thus far of the musical style and aesthetic structure Phish has been pushing all summer long. Highlight’s abound, but definitely check out “Stash,” “SOAMule,” “It’s Ice,” “Light -> Boogie On,” and “You Enjoy Myself” to hear the band at the peak of their powers here in 2013.

– Chicago 2 – The much maligned three-setter from Chicago, this show resonates with me based on many of the aspects I wrote about above. While perhaps an underwhelming show barring the circumstances and expectations throughout the community, the second set flows with precision and ease, and the “Light -> Hood” in Set III is up there as one of the better musical pairings of the summer. A show that I believe will outlast all the initial criticism it’s received, it’s one of those special shows that has more to do with the energy surrounding it rather than just the music played within it.

– Chicago 3 – Many are calling this the show of summer. Wherever I’d rank this show, it’s definitely one of the best offerings from the band thus far in 2013. Following a high-energy and well-played Set I that featured a show opening “Dinner And A Movie,” a torrid “Bag -> Maze,” an energized “Gin,” and a silly “Boogie On” that preceded a monumental rain storm, the band emerged for Set II and played the set of the year thus far. Reading: “Energy -> Ghost -> The Lizards, Harpua> Run Like An Antelope,” it’s the kind of set words simply won’t do justice for. If you haven’t heard it, get on it. If you have, you know exactly what I’m talking about.

– Toronto – While not the sleeper show everyone was expecting, Toronto was still an above-average and fun show, packed tight with great song selections, a three-song encore, and a jam out of “Down With Disease” that sets up a perfect transition to the Western leg of the tour. Check out “Undermind,” “Twist,” “Stash,” and “Ocelot” in Set I, and don’t miss the “DWD” or “Bowie” in Set II. A killer show for fans who’ve been waiting 13 years to see Phish again, Toronto caps of three weeks of tour in about as great a way as anyone could hope.

Favorite Jams 

– 07/05/2013: “46 Days -> Steam> Drowned -> Slave” – My favorite moment of SPAC 1 when it happened, and still my favorite today. How they figured a way from the seedy barroom stomp of “46 Days” to the ethereal bliss of “Slave” is beyond me. Perfectly fluid, leaving no music on the table, it’s a segment that proves the band has been on from the moment they hit the road.

– 07/06/2013: “Split Open & Melt” – Without coming off as too much a hypocrite, I sure would love to hear the band mess around with this kind demented melodic jamming more in the first set. Heard here and in the 07/14 “Stash,” there’s something about when the band opens themselves up with such freedom and pure musical communication – particularly in Set I –  that’s unrivaled in my mind. One of the most special moments of the first weekend of tour.

– 07/06/2013: “Carini -> Architect” – One of my absolutely favorite moments of summer thus far, I’m still in awe over how the band fit SO much music into 12 minutes. A beautiful, fluid, relentless jam, this one carried the torch from Dick’s and MSG and planted it firmly in 2013. Cannot wait to hear how the band approaches “Carini” when they take it out for a spin out west.

– 07/10/2013: “Crosseyed & Painless> Harry Hood” – The peak jam of the second week of tour, this one stylistically impacted the tour in ways few others were capable of. Hinting at the 02/16/2003 “Piper” theme, the jam built to an absolutely stunning peak made only the more special by Trey’s rhythmic interplay. Heard in the 07/13 “Hood” and “Simple,” the 07/21 “Ghost” and 07/22 “DWD,” the 07/10 “C&P>Hood” is one of those peak moments that happen throughout every tour and affect literally all the music around them.

– 07/12/2013: “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge” – Like a jam segment right out of Summer 1998, this seguefest that opened JB’s second set is a must hear for any fan of open-ended improv and groove. Spring-boarding from “Rock & Roll” by way of a take on the 08/08/2009 theme of the same song, the jam weaved through melodic plains before building into “2001.” In “Tweezer” the band locks into a relentless groove that just bleeds into “Cities,” before it segues flawlessly into “The Wedge.” Battling the elements out on the Long Island Sound, the band unquestionably struck musical gold with this jam on this night.

– 07/13/2013: “Mike’s Song> Simple> Weekapaug Groove” – While I was probably wrong to predict that this “Mike’s” would in fact lead the band into their first Type-II “Mike’s” since February 2003, (expectations and predictions are a bitch) there’s no denying the ferocity and tenacity of this version that still holds up some two weeks later. For me though, this jam segment is all about “Simple.” A gorgeous version that sees Trey focusing on rhythmic interplay, teasing at the “DWD” theme throughout the jam, it’s stunningly beautiful, and absolutely perfect. It will be great to hear how the band approaches “Simple” whenever they revisit it next.

– 07/14/2013: “Light -> Boogie On Reggae Woman” – A clinic in Phish crack, the MPP “Light” is as enthralling as it is experimental as it is utterly rewarding. Featuring start/stop groove, noise-based themes, and a fluid segue into “Boogie On,” it’s just one more version in a seemingly endless list of top tier “Light’s.”

– 07/16/2013: “Rock & Roll -> Heartbreaker -> Makisupa Policeman> Chalk Dust Torture> Wilson> Tweezer -> Silent In The Morning> Birds Of A Feather” – One of the most locked-in moments of summer thus far, this 55min segment of music from Alpharetta 1 combines energized and fluid segues, Dick’s-esque jamming, choice song selection, and thematically repeated teasing’s of Zeppelin’s “Heartbreaker,” all resulting in a massive tour highlight from the band’s lone southern stop. Particularly in the “Rock & Roll,” “Chalk Dust,” and “Tweezer,” the jams proves how irrelevant song length is in 3.0. Like the 07/06 “Carini,” it’s mind-blowing how the band is capable of covering such musical terrain in such a short amount of time.

– 07/21/2013: “Energy -> Ghost -> The Lizards” – Perhaps the most important segment of music played all year, this trio both spiritually freed the band from the burdens of the weather-related and logistical forces plaguing their Chicago run, while also helping to point the way forward for the tour. Tracking the musical lineage of Phish’s history, this segment’s one of the most innovative and forward thinking of 2013. On par with the best jams in the band’s history, we’re gonna be talking about this trio for a LONG time to come.

– 07/22/2013: “Down With Disease -> 2001” – And this is how you point the way westward. Building off of Chicago’s brilliant second set, the band played the “DWD” of the year thus far, residing wholly in a zone of sublime melodic blissfulness before choicely guiding it towards the ominous grooves of “2001.” A patient and effortless jam, this bodes great things for the tour moving forward. As a band, Phish has typically played their most refined, relaxed, and exploratory music on the West Coast throughout 3.0. Based upon the sustained peak of 07/10 – 07/14, and the explorations in Chicago and Toronto, one can only imagine this trend will continue this weekend.

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Thus concludes tackle & lines 3rd week tour recap. Gonna be traveling to Japan next week, so will probably do a big West Coast wrap-up following the Hollywood Bowl show. Feel free to leave any comments or thoughts to the post. Can’t wait to see what’s in store for all of us as Phish heads out west!

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.

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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 – 07/06/2013

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

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

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

Encore: Show Of Life> Tweezer Reprise

^ “Architect” made its Phish debut

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Phish is so good. (well, duh)

Phish is so good right now.

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

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

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

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

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

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

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

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

Is this a jam?

Is it an extension of “Tube?”

You don’t know.

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

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

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

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

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

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

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

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

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

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

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

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

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

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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!