Review: Fuego

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Depending on your level of intensity as a Phish fan, your take on the band’s 2013 Halloween performance probably fell in one of two camps. The decision to unveil twelve brand new songs – rather than the traditional approach of covering an album from one of their musical influences – was either an inspiring risk in the band’s 30th year, or it was a cringeworthy gimmick that further proved how out-of-touch Phish was from the endless desires of their fanbase.

The divisive nature of conversation within the Phish community is such that grey is rarely a viable color option. Whether or not this is due to its fervent dedication, or its preference for polemics over metered discussions is still up for debate.

(For the sake of clarity and openness, I personally thought Wingsuit was one of the defining moments of 2013. Both for the balls it displayed by the band, and the shift it initiated towards the future of Phish, I unabashedly viewed it as an overwhelming success.)

Regardless the hyper-dichotomy the initial presentation of (what was dubbed at the time) Wingsuit caused within the Phish community, there was one universal takeaway from it. In both presentation and delivery, it’s clear Phish sought to craft an album that captured the energy, equitable playing, and open-ended musical possibilities that have made their live shows so incomparable within the realm of modern rock. That this particular goal is so critical for a band entering their third decade – a band that has both proven their merit within the live realm of the rock universe, while accomplishing nearly every artistic goal they’ve ever strived towards – says everything you need to know about the quality of their studio album’s to date.

To be blunt, Phish’s studio recordings are to their live shows what a burger in SE Asia is to Kuma’s. A tepid imitation that only leaves you craving the real thing that much more.

For as divisive as the initial response t0 Wingsuit was in the Fall of 2013, the leak, and subsequent response to Fuego, has been met with a far more measured shrug and understated grin. New Phish music has arrived, and this is a good thing. Now, much of the community directs their attention to the impending tour where we’ll see just how these ten new songs fit in the ever-expanding Phish catalogue.

Overwhelmingly it seems the Phish community is genuinely pleased with Fuego. The record pops with energy and is sonically weightier than many of the band’s previous efforts. Yet, there’s still a consistent hesitation for many to disarmingly love the record. The reason for this is simple: the task for the band to transfer what makes them special in the live setting into a studio is complicated. It raises questions over what is specifically necessary for Phish to thrive as a band.

Does there need to be an audience present?

Do they need the freedom to play without taking a cut?

How much of an impact does a confined setlist and a time constraint have on their overall level of creativity?

The answers are not simple, and as anyone who’s listened to Fuego can attest, neither are the results.

The record opens with its title-track, a brawny, nine-minute song that has “Set II Opening Jam” written all over it. Recorded live during the 10/30 soundcheck at Boardwalk Hall, “Fuego” is at once the closest representation of live Phish on a studio album, and an absolutely torrid opening statement. Not to mention a veritable showcase for the ongoing resurrection of one Jon Fishman. Throughout, the band sounds confident and adroit. The production is such that the song is left to speak for itself; the levels are simply adjusted here to accentuate the power of each musician’s playing. There’s a franticness to the playing. Listening, it’s as if one can simultaneously latch onto the nerves accompanying the band in the hours before the Halloween show, and, now, as both fans and band anxiously await just how “Fuego” will expand this summer.

The title of the record indicates heat, obviously. By most interpretations, Fuego – in both its phrasing and in the music produced – is a confident assertion from the band as to where they stand in 2014. Whereas 2009 was defined by a communal joy at the simple presence of Phish again, in 2014, nothing short of straight-fire from the band will cut it. By these standards, the album’s opening nine-minutes are as invigorating as they are shocking.

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From there we weave in-and-out of a number of set fillers as the group’s collective songwriting – as well as the individual creations of each member – are put on display. One must point out the overall quality of the songs that make-up the meat of Fuego. Whereas in past Phish records, the ballads and contemplative numbers have tended to be their most disappointing (save for “Fast Enough For You,” “Lifeboy,” and “Thunderhead”) here, these songs shine as individual numbers. Still, there are flaws throughout. Notably, the fact that any concept of flow is essentially tossed to the wayside, and unquestionably each of these songs live and die – in large part – on the production work from Bob Ezrin.

“Devotion To A Dream,” – something of a wizened “Backwards Down The Number Line” – benefits greatly from both the work of Ezrin and a brilliant concluding solo from Trey that hints at his Eat A Peach inspired lead work in the 10/29/2013 “Down With Disease.” Conversely, “The Line” is barely tempered with and is one of the finest overall tracks of the record.

Both “Winterqueen” and “Sing Monica” teeter between overtly cheesy pop and sheer studio dominance. While I’ve never understood Trey’s post-2.0 infatuation with writing as if he were trying to compose Game Of Thrones: The Musical, the spaciousness that hangs within the verses, and the horns that build halfway through, add a completely different dimension to one of the (admittedly) weaker Halloween debuts. Love it or hate it, it’s clear “Sing Monica” is here to stay. If the version from Fuego is any hint though, the reworked solo is going rock live, and could find the most overtly-pop song the band’s written since “The Connection” serving as a reliable Set I closer.

“Halfway To The Moon” – one of the most emotive and mysterious songs the band has debuted in 3.0 – is both sharp and disappointing all at once. Musically, the studio slims it down while equally smoothing out its edges, giving it an even sultrier groove than has been apparent in many live versions. However, the over-production of Page’s vocals eliminates any of the organic quality that has always been key to the song. That it’s always sounded like a haunting mix between Neil Young, The National and Cass McCombs should have been accentuated. Instead, Ezrin drains Page’s voice of any human quality, thus cutting out the personal struggle that is at the core of the song.

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Last week I wrote in depth about both “555” and “Waiting All Night.” While my feelings towards the two as individual songs has yet to change – I fear the production on “555” has swerved into gimmicky terrain, yet am completely blown away by everything about “Waiting All Night” – I find that their placement on the record alters my thoughts towards them ever-so-slightly.

Whereas “555” feels like a proper shift towards the album’s second half following “Sing Monica,” “Waiting All Night” is as awkwardly placed here as it was in it’s two live versions to date. The song is perfectly set up to be an ideal landing spot for a Set II jam, and one can only hope the jarring entrance that’s accompanied it in its infancy doesn’t follow it into 2014.

What’s more is the placement of “Wombat” and “Wingsuit” back-to-back, in the set-up and closing role, only increases the lack of flow that permeates throughout the record. Following the blissful nature of “Waiting All Night,” one has to wonder why we’re dropped into the awkward giddiness of “Wombat” only to then be released in the ethereal and stunning “Wingsuit.”

——–

A necessary digression:

One of the defining aspects that makes the most memorable Phish shows so transcendent – and so re-listenable – is the presence of flow. Be it due to song selection, or fluid jamming, or an advanced attentiveness to tonal structure and key shifting/uniting within the setlist, Phish’s insistence upon connecting all the separate pieces of their catalogue into linear narratives is something that separates them from most other live acts. One only has to scan the setlists from 2013 to see how setlist structure and flow helped craft some of the best shows of the year, including 07/05/2013, 07/27/2013, 07/30/2013, and 12/29/2013, among others. That so little effort was made to connect the ten pieces of Fuego into something that feels tangible and unified, is one of its biggest disappointments.

The standard of great albums (from Highway 61 Revisited to Dark Side Of The Moon to Sound Of Silver to High Violet to Lost In The Dream) begins and ends with its narrative continuity. Dedicated listeners want to be able to press play and let a record unveil itself to them organically. Repeated listens and interlocking themes, that can only emerge from this kind of listening, tend to materialize from records that flow effortlessly from one song to the next. Most critically, Fuego feels like a collection of songs rather than a linear story.

——–

A song that was defined by on-stage dancing, an infectious funk-strut, and some of the goofiest, and self-referential jokes that Phish has ever composed, it’s shocking how little fun the band sounds like their having throughout the recorded version of “Wombat.” The vocals are sung without any sense of humor, and the result is an awkward, borderline embarrassing, delivery of a song that clearly requires an all-in mentality. Musically it’s taught and danceable, and the loops that cater the song’s post-explosion will be received with ecstatic praise should they accompany the it this summer.

Whereas Halloween 2013 opened with the blissful airiness of “Wingusit,” Fuego closes with it, and it’s clear this role is far more appropriate for it long-term. (As a side note, for all the issue I have with the overall flow of Fuego, it’s undeniable how perfectly the band nailed their opening/closing selections.)

“Wingsuit” is unquestionably one of the records supreme highlights. The surreal nature and ambient quality that made it one of the immediate keepers on Halloween is ever-present here. And the final break and subsequent solo from Trey is so clearly lifted from David Gilmour it feels like the proper musical nod in its delivery. A song that feels simultaneously like a rebirth and a conclusion, the symbolic nature of it opening 10/31 II and closing Fuego are not lost on this listener. In the same sense, the idea of the song expanding outwards as a Set II Opening Jam, while also working as a landing pad for an extended “Down With Disease” is equally imaginable.

That we have so many structural options with the majority of these songs is a testament to the band’s diverse songwriting capabilities so deep in their career.

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For a band that has always struggled to capture the magic of their live performances within the confines of the studio, Fuego is as close a representation of the true nature of Phish as has ever been put to tape. In it’s best moments – “Fuego,” the powerful solos in “The Line,” “Devotion To A Dream,” “Halfway To The Moon,” and “Sing Monica,” and the ambient bliss of “Waiting All Night” and “Wingsuit” – Fuego feels like a major accomplishment for Phish. And it is.

Never before have they truly come close to honing in on the unbridled energy, and atmospheric spaciousness that drives so many of their fans to travel to see them repeatedly.

And yet, at the same time, what Fuego proves as well is that there’s simply no way Phish can (or will) ever truly recreate the magic that is so ever-present at their shows within the confines of the studio. The issues with flow, the overproduction of certain songs, and the abject tepidness of “Wombat” leave a bad taste in your mouth long after the record finishes. This is not to say the record is a failure in any way. No matter what criticisms you lay on it, it’s unquestionably the band’s strongest record since either Billy Breathes or The Story Of The Ghost.

In the end, it seems clear that even after the applaudable efforts from Phish to craft a studio record that reverberates with the power and energy of their live shows, it may be something of an unattainable goal. So much of what makes Phish’s live shows so unique is polar opposite to what makes a classic album so lasting.

Whereas Phish shows capitalize on the unknown, albums are carefully crafted artifacts. Spontaneity plays such a huge role in every Phish jam, while each moment of transcendence on an album has been labored over for weeks, and sometimes months. The two mediums are neither compatible, nor do they cater to every artist. While Phish ultimately comes up short on Fuego in terms of recreating their live show within the confines of an album, the sheer fact that they took the risk some three decades into their career is reason enough to believe in this band going forward.

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.

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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!

The Three Decembers – 1999

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Minimalist music got its start in the underground art-rock scenes of New York and San Francisco in the early-mid 1960’s. Pioneered by such composers as Philip Glass, John Adams, Steven Reich and Terry Riley, the music was created in effort to communicate the banality of the modern world, specifically, in an urbanized Post-War-West. Characterized by an almost stationary and repetitive melody, Minimalist music shifts between great lengths and ephemeral ideas. It is usually accompanied by a slow modulation, is generally marked by moments of elongated silence, and, is notable for its lack of overall direction. The Velvet Underground might be the first pop group to bring Minimalism to the masses, experimenting with the style in their attempts to describe Lou Reed’s experiences with electroshock therapy, and the band members well-documented substance abuse problems. In the 70’s Brian Eno’s Ambient Series focused entirely on minimalist music as he sought to regenerate his feelings of being stuck in airports, and being on solid ground, through motionless melodies. Perhaps no one has had more of an impact on minimalism than Brian Eno, whose career as both a solo artist and producer has helped to influence countless pop and rock acts to incorporate minimalism and ambient music in their own catalogue. From U2 to Radiohead, David Bowie to Coldplay, David Byrne to Paul Simon, Eno has infused the sound of modern pop music with a simplicity, cogitation, and subtly overt description of the world we live in.

When electronic and dance music rose to prominence in the mid-90’s, minimalism found its proper place in the lexicon, heard seemingly everywhere – most notably in Britain – from Radiohead to the Aphex Twin. Just as Baroque properly described the artistic, scientific, architectural, and literature advancements of 17th Century Italy, Minimalism’s stark, motionless melodies, washes of noise, and overall structure-less ideas are a reflection of the burdened existence of humans in this age of globalized commerce, overpopulated dreams, and decaying empires. While it has been compared to fascism for it’s repetitive thoughts, claimed as proof that American audiences are uneducated, and criticized by British music critic, Ian MacDonald, as the “passionless, sexless, and (the) emotionally blank soundtrack of the machine age,” Minimalism is, for better or worse, the music of our time. Whether or not one enjoys it is another topic entirely, but in order to truly understand and appreciate the era in history we currently reside in, one must grasp the role that minimalist music plays within this period. In this same regard, the artists – the communicators of an era – must embrace the concept to stay relevant, lest a revolutionary style emerges to document our era in a more contextual way.

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To many Phish fans, the end of 1997 felt like the end of 1993 or 1994 did. Having just concluded one of the standout tours of their career – not to mention a holiday run for the ages – 1998 loomed as yet another potential peak year, ala 1995. Reinforced by the surprise “Island Tour” during the first week of April, the band was rejuvenated, confident and stirring with 0402bandexcitement to push the sound they’d explored throughout 1997 even further through linear musical communication. Citing boredom after a three-month break, the band announced four shows on Long Island and Rhode Island in effort to keep the musical successes of 1997 fresh. A historic run that’s discussed with near-unanimous admiration and awe to this day, the Island Tour is perhaps the rawest Phish anyone’s been granted access to since the late-80’s. Each show is full of standout performances and transcendent jams, and features a Phish teetering on the edge of a musical cliff multiple times. And yet, no matter how risky, how far-flung, how abstract the band decided to push a jam, a set, or even a full show, the results completely speak for themselves. ‘Stash’, ‘Twist’, ‘Mike’s’, ‘Weekapaug’, ‘Roses Are Free’, ‘Piper’, ‘Tweezer’, ‘Birds Of A Feather’, ‘2001’, ‘Brother’, ‘Ghost’, ‘You Enjoy Myself’, ‘Bathtub Gin -> Cities’, ‘Prince Caspain -> Maze -> Shafty -> Possum -> Funk Jam -> Cavern.’ All top tier jams, all unique in their own right, all display a band in one of the peak moments of their career, connecting with such ease that it’s almost unrecognizable to the discombobulated quartet that would regularly stumble through shows just six years later.

In particular, the “Twist” from 04/02/1998 and the “Roses Are Free” from 04/03/1998 stand out as two of the most innovative, original, and jaw-dropping moments in Phish history. The “Twist” built through a Gordo-led dance-beat and swirling guitar riffs from Trey, (matched by Kuroda’s instinctive lighting skills) into an atmospheric jam that rivaled Spielberg and Dreyfuss for musical Close Encounters. A song that has been known to consistently push Phish into more demented, spacious and inter-stellar dimensions than practically all others, their performance on 2 April is famous for the integrated relationship between the music and the lights, creating a true aural and visual sense that the band was on the verge of lifting the venue off into outer space. Kicking off Set II of the 3 April show, “Roses Are Free” made its 3rd appearance in the band’s history. Opening into an unyielding soundscape it featured one of the most connected planes the band has ever reached, whereby Trey emphasized singular note dance beats over a thick layer of a Mike and Fish groove from 13:20 – 17:35, before stretching on into the unknown for another ten minutes. Separate from the overt funk jams of 1997, the Island Tour proved the grasp Phish held on linear musical communication. Completely locked into a simple musical language with which the band could connect, their jams in 1998 diverted from the Hendrix-esque onslaughts, the four-part James Brown breakdowns, and the disco-spaciousness of 1997. In their place were more fluid, glossy passages, Mike-led slow-strutting bass jams, blissful washes of noise and space, and an overall emphasis on the Ambient music that Brian Eno had perfected in the ’70’s.

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From the musical highs of the Island Tour, Phish returned to Bearsville Studios, heads full of ideas and inspiration, and recorded a number of songs that would ultimately become The Story Of The Ghost. As with 1997, they began their summer in Europe. Armed with an arsenal of new songs, they focused on pushing their jams into more simplistic, groove-oriented, and ambient realms. A quick 10-day tour of Copenhagen, Prague and Barcelona allowed the band to stretch their musical minds much like the previous summer, and eased them into what would become their last consistently brilliant summer tour until the 2012 run. A notable point in the band’s history, they were not only big enough to play pretty much wherever they wanted, but had just emerged from a year in which they’d overcome their first batch of improvisational writer’s block and had conquered their 14-year-long goal of crafting music that highlighted each member equally. They were essentially a 1997-version of Jordan: reinvented, dominating, perfecting their craft in such a way that few of their peers were capable of. And like Jordan, after a 72-Win season in 1996, another set of MVP’s in the regular season and Finals, and a commanding Championship over the Seattle Supersonics, Phish followed up their victorious 1997 with a year that, while incredibly successful and memorable in its own right, was the first sign of a band who was regressing.

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As a quick side note: what might be most interesting about the period between 1998 – 2004 is that literally nothing substantial has ever been written about it. And yet, it is the most clear-cut era of Phish that features a band in conflict with each other, struggling with why they’re still playing together, attempting to reinvent themselves once again, failing to surpass the highs of 1995 and 1997, and battling against the internal and external forces that substance abuse has on people. Biographers have written at length about the band’s improbable rise from the mountains of Vermont to Madison Square Garden. Bloggers – such as this one – have relentlessly praised the band’s musical heights in 1995 and 1997. The 3.0 era is littered with reviews, insights, interviews and articles about the happy state of Phish, and the clear redemption story that they’ve come to be considered. Yet no one has comprehensively written about, nor sought to truly understand, the darkest, most confusing, and most misunderstood period of Phish. In his 2009 book, Phish: A Biography, Parke Puterbaugh essentially wrote off the entire six-year-era, claiming it to be little more than a drug-addled voyage into the unknown.

While we can all agree that these years featured loads of mistakes, shows where the band simply didn’t show up, questionable energy, and cringeworthy moments, there’s also an untapped amount of brilliance that emanates from the conflict, and provides an intriguing view into the world of the band. Yet, it’s almost as if no one wants to go there with Phish. It’s almost as if the majority of their fanbase, the writers tasked with articulating their history, and the band members themselves, wants nothing to do with the reality that the scene overtook them at the height of their powers and popularity, and directly impacted the music they made. The sum of Phish’s entire history – some 30-years in – has thus been reduced to: happy hippy drug band makes it big, happy hippy drug band jams, happy hippies dance, everyone has fun, happy hippy drug band breaks up (twice), happy hippy drug band returns a bit older and wiser, happy hippy drug band rediscovers their happy hippy selves, happy hippy drug band becomes the elder statesmen of the jamband scene all while infusing good ole’ fashion rock n’ roll into their happy hippy repertoire. While it’s an endearing tale, it’s not honest. It does not serve any of their fans – nor any casual observers – any benefit by providing a lighter version of the band’s history. Conflict and confusion are a part of life whether we like it or not. And one of the most intriguing aspects of Phish has always been their diametric relationship with darkness and light. At no time was this relationship clearer than during the tumultuous period of 1998 – 2004.

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Drugs had begun to seep into the lives of Phish and their road crew in ways they simply hadn’t before 1998. While, sure, obviously Phish’s music wouldn’t have been produced in the way it was without the aid of a few psychedelics and a bit of weed, and yes, their energy and drive couldn’t have been sustained over four month tours without a bit of yay to keep them going, drugs have been a part of the modern musical lifestyle, since at least the Honky-Tonk and Jazz age. But up until 1998, drugs had taken a back seat to the omnipresent goal of hooking-up in a unified and fully connected way. In 1998 however, we see, for the first time, the negative effects of a life lived on the road, and the addictions that can stem from casual drug usage and partying. The introduction of pharmaceutical drugs and MDMA were probably what turned the tide in the late-90’s. The latter – which is thought to have entered the Phish scene in 1997 – is known for both its ethereal highs, and the lack of disturbance to cognitive behavior. Yet taken regularly, it leads to increased paranoia, chronic depression and liver damage.

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Prescription drug abuse isn’t thought to have become an issue within the band until around 1999. Overwhelmed by the tidal wave of fandom that followed the band’s every step, in need of a substance to effectively cut their anxiety, it’s no wonder the band and their crew – each with various connections to fans and dealers – latched onto drugs that have increased in their prescriptions in America from 5 million to close to 45 million between 1991 and 2010. Essentially a heroin addiction, prescription drug abuse takes a viscous grip on the addict, resulting in an unrelenting need to satisfy their urge to get high, while impacting their cognitive awareness, personal relationships, and increasing the addict’s anxiety and paranoia. Trey and Page, most notably, would be overtaken by the unrivaled force of drug addictions. Affecting both their own individual lives, the addictions eventually led to Page’s 2004 divorce and Trey’s bottoming out in 2006 which all but killed him.

Musically they had become even looser than 1997 leading many of the band’s oldest fans to accuse them of laziness – a claim backed up in part by the increasing amount of flubs that accompanied many shows. While yes, a stronger focus on jams seeped into their live repertoire in 1997 and 1998, and while yes, one can certainly claim that this was a stylistic result of the linear musical communication they’d unearthed, there is unfortunately a laundry list of examples where the band used jamming as a crutch to overshadow their lack of tightness from 1998 – 2004, particularly when it came to performing their compositionally complex classics. Just listen to the 04/02 ‘Sloth,’ 04/03 ‘Reba’, the 04/05 ‘You Enjoy Myself’, the 07/02 ‘Fluffhead’, much of 07/05, 07/15 ‘Guyute’, the 08/02 ‘David Bowie’, 08/09 ‘Esther’, 11/04 ‘Guyute’, 11/11 ‘Punch You In The Eye’, and the  11/15 ‘My Friend, My Friend’, among others for clear examples of the band’s performance and discipline slipping. What’s more is that each of the above shows contain jams that have, over time, come to overshadow moments where it’s clear the band had lost a step when it came to performing their compositions. While not nearly as mistake-prone, or even careless as they would become in the coming years, 1998 is the first time where we see a clear shift from practice and dedication to the songs they’d written, to the band who would eventually all-but omit their songs entirely in favor of extended jamming.

All said, 1998 is still retained as one of the better years of Phish. The Europe tour, while not as monumental as 1997’s absolute destruction of the old world, still produced moments of brilliance throughout, and pushed the band forward in their experiments with the sublime and ambient blissfulness. The Copenhagen ‘Down With Disease -> Dog Faced Boy> Piper’, ‘Tweezer -> 2001’, and 07/02/1998 Set II, Prague ‘s’Fee -> Water In The Sky’, ‘Buried Alive> AC/DC Bag -> Ghost -> Cities’, and ‘Piper -> Makisupa Policeman’, and the Barcelona ‘Ghost -> Johnny B. Goode’, ‘Tweezer’, and ‘Drowned -> Theme From The Bottom’ all stood out as moments when the band hooked-up and embarked on extended journeys, defined by stunningly beautiful, and wholly simple, fully connected music. When they returned to the States in mid-July, Phish trekked from Portland, OR to Limestone, ME over the course of a month, igniting the tour with two gimmicks that would reap insurmountable payoffs.

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Throughout their entire career Phish has always emphasized cover songs as a way to celebrate their influences, embark on extended journeys of classics, and inject their overall sound with fresh ideas. In the mid-80’s The Grateful Dead dominated the band’s cover arsenal, so much so that Trey swore off listening to the band in 1986. Almost overnight, The phish1dDead’s songs disappeared from their live catalogue, as Phish moved swiftly in their own unique direction. Frank Zappa, The Talking Heads, Jazz Standards and under-the-radar rock groups like Traffic, Robert Palmer, and Little Feat took precedence in the late-80’s. In the early-90’s there was a noticeable shift away from covers and towards the band’s own catalogue, as original songs began to dominate their shows. With a goal to “tighten the ship” from 1989 – 1992, the band spent much of their shows focused on their own burgeoning song collection, reserving many of their covers for the Fishman “HYHU” gag. By late-1993/early-1994 however, Phish was so ripe with confidence in their catalogue and overall show, that they began re-introducing covers back into their sets. While still, many were of the “Freebird,” “Great Gig In The Sky” variety – honoring the cover as somewhat of a joke performance – legitimate takes on The Who’s “Sparks,” Deodato’s “Also Sprach Zarathustra,” and Joe Walsh’s “Walk Away” injected new life into Phish sets, and would help to shape the band’s sound in the coming years.

An idea was thus born in the Summer of 1994 to cover an entire album of another band, immersing themselves in the style and sound of a group, in effort to both capture the snapshot of a band, and see what affect it had on their own music. On 31 October 1994 Phish spent the show’s entire second set performing The Beatles’ The White Album, an exercise that would be repeated six more times – including one 11/02 cover – and each offering would impact the band’s style and sound in various ways, such as songwriting, and stylistic jamming. In 1995, covers began bleeding into Phish’s live repertoire like they hadn’t since the mid-80’s. A new tradition was born, by which the band would select one song from the year’s covered album to remain within their rotation, so as to always remind fans of the original performance, and to keep the sound born out of it, relevant. ‘While My Guitar Gently Weeps’, ‘Drowned’, ‘Crosseyed & Painless’, ‘Rock & Roll’, and ‘Shine A Light’ are each revered songs for this very reason.

Flash forward to 1998. Now a band that had twice peaked – once in December 1995 with the defining sound of their entire career, and then in November/December 1997 with a wholly reinvented style – they were, in the Summer 1998, seemingly out there with nothing left to prove. Hence the overt-looseness of the tour, Summer 1998, while chock-full of stunning improv, sounds in many ways like the most pure fun the band’s had in years. Calling upon the inspirational source of covers, Phish infused the entire summer with one-off covers that added an anything-goes dynamic to nearly every show, and ultimately led to one of the most emotive, personal, and honorable gags of all time. ‘California Love’, ‘She Caught The Katy And Left Me A Mule To Ride’, ‘Albuquerque’, ‘Ramble On’, ‘Rhinoceros’, ‘Runnin With The Devil’, ‘Sabatoge’ – all out of nowhere covers – all proved the versatility of Phish’s musicianship, and all gave the tour a defining sense of humor that has stayed with the band some 15 years later. All led to Virginia Beach when, for the first time in twelve years, Phish covered The Grateful Dead. Honoring the band and their leader on the third anniversary of Jerry Garcia’s death, Phish shocked their unassuming crowd with a stunning and beautiful encore performance of The Dead’s composed tale, “Terrapin Station.” A moment that linked the two bands forever, it marked a sense of unity and equality, and a shared goal the two bands embraced, regardless of the often lazy comparisons tossed around about them. It represented, in many ways, a growing-up moment for Phish. They’d conquered the goals they’d set out for themselves over the previous 30 months, and were now, just a band again, playing for the sheer sense of joy they got out of playing together. It was clear at this point in their career that The Dead had provided a road map for their success, and that there was a shared lineage between the two. It was okay after 1995 and 1997 to embrace their similarities, and to honor the band . After twelve years of forging their own path, they no longer sounded like a kid trying to emulate Dad. They now sounded like the Dad, fully established, with a sound all their own, honoring those who’d come before them.

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All summer long, the posters that accompanied each show proclaimed Phish would play in a ring of fire by tour’s end. Used to senseless gimmicks and jokes from the band, many fans brushed this advertisement off in the same way they had Fall ’97’s Phish Destroys America posters. As far as anyone was concerned, they were there as one more proof of the absolute brilliance with which Phish had been playing over the last five years. Musically a dedication to Ambient music had overtaken the band. From the onset of the tour, the band infused their sound not with the thick and meticulous funk grooves of 1997, but with a more refined, minimalist, spaciousness and overtly Ambient style. Heard in the jam that emitted from the end of ‘Horn’ on 07/15, Ambient influences popped up in the 07/17 ‘Mike’s Song’, 07/19 ‘McGrupp’, 08/01 ‘Tweezer’, 08/03 ‘Halley’s’, 08/08 ‘Piper’, 08/09 ‘Bathtub Gin’, 08/12 ‘Ramble On -> Slave’, and the 08/15 ‘David Bowie’, among others. Combining both the “ring of fire” gag with the style that was creeping into their jams, Phish emerged after three sets of music on the first night of the Lemonwheel Festival and played an hour-long set of music totally in the Brian Eno Ambient style, lit only by a ring of handmade candles provided by their audience. Bridging their festival tradition of the late-night, instrumental set with the musical style they were infusing into their sound, the “Ambient Jam” is the most successful of their late-night sets, not only for its sheer listenability, but also for the impact it had on the band over the course of the next two years.

When the band returned to the road in late-October, their jams took on a patient, wholly-ambient soundscape, as they further built upon their linear musical communication. All but phish_DSOTMeliminating individual notes from their jams, they took on the sound of one unified instrument, more so than any period in their career. The 10/29 ‘Reba’, 10/30 ‘NICU -> Prince Caspian’, the terrifying ‘Wolfman’s’ from Halloween, UIC ‘AC/DC Bag’ and ‘Bathtub Gin’, Hampton ‘Simple’, and the Worcester ‘Weekapaug’ and ‘Simple’ were far less reliant on beats and dance breakdowns as their jams had been in 1997 and early 1998. Trey stepped further into the background, all but omitting the Hendrix-style guitar onslaughts from his repertoire, favoring instead, patient washes with his effects, allowing Mike and Page to rise to prominence in their most innovative jams. While the style aggravated many who only saw it as a continued downward spiral away from the youthfully crazed jams of 1993-1995, and others who viewed it as nothing more than a distraction from the grip the band was losing on playing their actual songs, one cannot ignore the fact that here was a band, fifteen years into their career, not even a year removed from one of their peak musical achievements, attempting to reinvent themselves once again.

It’s a point Tackle & Lines has been pushing since its onset: Where most bands would have cashed in on the successes of 1993, 1994, and 1995, and either broken up, or reverted to an easier method of playing, Phish has never remained still. Keenly aware that if they keep pushing their music further, if they stay dedicated to the process of improvisational change, the musical payoff will come, and, they will gain even more knowledge about each other as people. This knowledge not only serves them as friends, but as musicians trying to unearth the secrets of linear musical communication.

The Holiday Run of 1998 was unique for two reasons. First, it was the band’s first four-night NYE run in the same venue – that being, “The World’s Most Famous Arena,” Madison Square Garden. Second, it is generally referred to as the most consistent, and overall most on-point NYE Run they’ve ever embarked on. While there were certainly more highs in 1993, 1994, 1995 and 1997, no one would ever call the 28th in any of those years a standout show. A path that would be followed in their 2003, 2009, 2011 and 2012 NYE runs, the 1998 NYE run in no way suffered from a rusty opening night, nor a weak show throughout, probably due to the consistency of the venue. Ambient jams dominated the run with ‘Carini> Wolfman’s’, ‘2001’, ‘Frankie Says’, ‘The Squirming Coil -> Slave’, ‘Mike’s Song’ and ‘Simple -> Harry Hood’ all standing out as the best moments of integration. Concluding the year with the best all-around NYE show since 12/31/1995, the band looked to 1999 as a year of change. Few probably realized at the time just how different things would be when the band finally reemerged as a singular unit six months later. Combining the stylistic changes that had been occurring within their sound over the past two years with the impact drugs and the burgeoning scene were having on the band, 1999 was to prove to be the most tumultuous and confusing year of the band’s career – save 2004, of course. And yet, with the awesome world-wide event of the Millennium occurring just one year later, Phish would prove once more their ability to rise above the darkness, and in part, accomplish one more of the distinctive goals they’d set as a band.

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While Phish’s 1997-1998 foray into linear musical communication produced exceptional results in terms of whole-band unified jamming, and led to a musical peak in 1997, there were a few casualties of the controversial era. The band’s dedication to precision playing, particularly with their composed pieces, took a back seat to their nightly dives into the unknown. The tension & release jams which had been their bread & butter for twelve years nearly faded from existence, as the band opted for mellower, less peaky jams with which they could communicate on an even plane. Being as the music they were making had to be  completely egoless to work, Phish’s guitar-extroidinaire stepped behind the shadows, and many of the jams which in the past had lived and died with him, became far less reliant on his output. Sure, no one could have replaced him, but it was necessary – by Trey’s own admission – that he reduce his role in leading Phish, thus giving Mike and Page a chance to step up and lead the band. This diminished time in the spotlight took its toll on the natural born star, Trey, and in the winter of 1999 he embarked on his first solo tour, in effort to not only get his kicks as a front-man again, but also to test out potential future Phish songs in a live setting.

His decision in early-1999 to pursue a solo-tour in his free time was a monumental shift for the band. No longer would all the band members’ time be dedicated to pushing Phish forward. For the first time, it appeared the band might need a vacation from itself. Phish suddenly became a part of Trey’s life, not his whole life. This new world for both Phish and their fans has become the norm some fourteen years later, as fans have come to expect that Phish will play only when they’re recording or in the immediacy of a tour, and the rest of the time will either be dedicated to family or side projects. Yet, in 1999 it was just another in a long line of reasons, that displayed the band was on rocky ground and was, in a lot of ways, adrift for perhaps the first time since Trey’s suspension from UVM in 1984.

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When fans strolled into Sandstone Amphitheater, just west of Kansas City, on 30 June 1999, the first thing that must have caught their eye, was the stage set-up which was drastically altered from the way it had been since the mid-80’s. Whereas for the first 15 years of their history the band had been arranged on stage in a horizontal line – Page, Trey, Mike, Fish, from left to right, respectively – which spoke of their goals of linear musical communication. In 1999 Mike and Trey switched places, and Fishman moved behind Trey and Gordo. A clear sign that the band wanted to sonically emphasize the rhythm within their music, the shift would have a direct impact on the music they made over the following two years, while at the same time, symbolically represented the growing divisions that would ultimately tear the band apart. When looking at pictures of the 1999 – 2000 stage set-up, what’s most interesting is that Fishman is not located directly behind Mike, ala a generic rock band. Positioned slightly ajar, with an opening towards Trey, the band appears to be a trio, with Page off to the side. The new set-up would have its effects on a growing division between Trey and Page, with Trey conferring with Mike and Fish about song selections, directions of jams, and Page being left in the dark for much of each show.

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Wasting no time displaying the affect their new stage set-up had on their sound, Phish opened 1999 with a twenty-minute “Bathtub Gin” which heralded in a tour, and a year that would see them move even further from a regimented playing of their songs, while consistently favoring improv and the unknown. Prior to the start of the Summer Tour, Phish released The Siket Disc. A compilation of instrumental song concepts from The Story Of The Ghost sessions, The Siket Disc was the product of Phish toying with ideas out of extended jams, rather than composing any songs proper. These songs debuted throughout the summer, adding a new element to the shows, as many fans who either hadn’t heard the record, or weren’t following the band on the road, simply thought they were extensions of jams. “My Left Toe,” “The Happy Whip & Dung Song” and “What’s The Use?” received the most play, each of which added to the loose style with which the band was playing, where any song could catch a groove and set off on a twenty-minute excursion. What’s more is that the songs further emphasized the minimalist and ambient style the band had been experimenting with throughout 1998, pushing the band to continue developing their sound through a more noise-based approach.

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Much like three of their last four Summer Tours, Summer 1999 lives and dies on its improvisational jams. What’s truly incredible about the tour – and really, the year overall – is that through all of the unknowns, through any of the conflict, through any of the slop, the band is still capable of crafting unique, mind-altering improvisational music. Retaining the groove-based nature of the 1997 revolution, the sound of Phish in 1999 is even more spacious, even more focused on the abstract. Their best jams emanate from simple grooves set by Mike and Fish and allow Trey and Page even more freedom in painting melodies over the tops of a rhythm section that has essentially been training for this moment for three years. Increasing his arsenal of effect pedals, Trey continued to remain in the background of many Phish jams, though by year-end, the best jams would have built upon linear musical communication, only to be fully realized through colorful melodic riffs from The Bad Lieutenant. What’s most unique about the Summer 1999 tour, is that it’s the one tour where the band’s drug problems really showed – just listen to 07/24/1999 – AND were a good thing. The whole summer sounds like a band that’s over the crest, and is just playing on pure instinct. First sets were mostly compiled of songs that couldn’t have matched in any other year – 07/08/1999, 07/13/1999, 07/24/1999, 07/25/1999 – and yet due to jams and segues, work somehow in an effortless way. Second sets, much like the last four years, are full of stunning excursions into the unknown. Only this tour, with a more spacey and contemplative approach, emphasize the space between notes, and the mellow moments in between the rage, creating a dream-like affect throughout the entire tour.

Standout shows are found in Camden, where the band embarked on one of the first extended jams out of “Chalk Dust Torture -> Roggae” with stunningly blissful results in the first set, before taking “Tweezer” and “Birds” of a feather to ambient, groove-based realms in the second. The second night of Great Woods is remembered for the sublime “The Curtain> Halley’s Comet -> Roses Are Free -> NO2” segment in Set I, a monster “Wolfman’s> Piper” in Set II, and a fitting one-time performance of “Tuesday’s Gone” in the encore, concluding their first two shows at Great Woods since 1994, the latter of which stretched into Wednesday morning. Holmdel, NJ’s two-nights featured the closest shows the band had played to Trey’s hometown of Princeton, and Page’s Basking Ridge, in five years. The first night contained a jam sequence in Set II that has lived on as one of the lasting soundscapes of the era. Reading “Meatstick -> Split Open & Melt -> Kung -> Jam -> Bouncing Around The Room,” the jam is nearly 55-minutes of unabridged improv. The fifteen minute jam out of “Meatstick,” and the post-“Kung” jam prove to be two of the most equally sublime and unnerving moments of the entire tour. The Oswego Festival granted fans a third set on 07/18 which read “My Soul> Piper> Prince Caspain> Wilson -> Catapult -> Icculus> Quinn The Eskimo> Fluffhead,” thus bridging stunning improv with their age-old gimmicks. As the tour wound into the midwest towards its conclusion, Columbus’s second set of “Ghost -> Free> Birds Of A Feather -> Meatstick> Fire” provided one of the most fluid sets of the entire tour, displaying the band’s grasp on groove-oriented, spacious jamming, regardless of the fact that Trey clearly stumbled through the lyrical section of “Birds.” For as controversial a show it is among the legion of Phish’s dedicated fans, 07/24/1999 at Alpine Valley still retains some of the most surreal moments of the tour. The 18-minute jam that unfolded from the second song “Fluffhead” is a completely unprecedented moment in the band’s history, resulting in a blissful jam in the least likely of places. The Second Set’s 18-minute “Mango Song ->The Happy Whip & Dung Song” provides yet another completely atypical jam of the show, and the encore of “Glide> Camel Walk, Alumni Blues> Tweezer Reprise” will set the standard for years to come in terms of what an incredible encore is. The following night at Deer Creek is probably the best show of the entire tour, and is on the short list for show of the year. With an absolutely classic first set that opened with a six song segment “Meat> My Friend, My Friend -> My Left Toe -> Whipping Post> Makisupa Policeman -> Happy Birthday Chris Kuroda” that was as out of place as it was stunning, the show is a microcosm of 1999. Loose, jammy, a bit strung-out, the music crafted is the kind you’d expect a band to craft in the wee-hours of the morning.

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After six months apart from each other in early-1999, the band dedicated the last six months of the year to Phish. Thus, only a month and a half after the conclusion of the Summer Tour, the band embarked on a month-long Fall Tour that saw them spend more time on the West Coast since Summer 1997. Inherently understanding that their songs had gotten away from them over the course of the last two years, First Sets began to resemble the recital type sets that would become commonplace over the next fourteen years. While there’d still be jams regularly contained within for at least the next five years, a clear structure was being implemented, whereby the band would play themselves into shape over the course of a tour, through essentially rehearsal-esque First Sets, and then use Set II as a platform for exploration. Fans of Phish’s extended-improv have more than their fair share of choices in 1999, as the Fall Tour is littered with standout jams that feature even darker themes, deeper spacious exploration, and an emphasis on electronic beats that would come to define their sound over the next year-and-a-half. The Portland ‘Ghost’, Boise ‘AC/DC Bag -> Gumbo’, Chula Vista ‘Boogie On Reggae Woman’, Memphis ‘2001 -> Down With Disease’ and ‘Mike’s -> Catapult -> Mike’s -> Kung -> Mike’s -> I Didn’t Know’, Minneapolis ‘Piper’, and Albany ‘Limb By Limb -> 2001’ all stood out as the top-tier jams of the tour. The 09/14 “AC/DC Bag -> Gumbo” resides in its own separate category. A jam that displayed the interwoven communication 16-years as a band creates, the “Bag” wove through blissful ambience, beat-driven electro-funk, and noise-laden soundscapes over 27-minutes, crafting a jam for the ages, fusing sounds of 1995, 1997 and 1998 in a compartmental vehicle that could have only been created in 1999.

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Along with their career-long goal of establishing a sound that allowed them to play as one unified instrument, Phish had long talked of a desire to play what they called “The Long Gig.” In their ideal world, the band would surprise their fans by locking the doors prior to show time, give everyone in attendance one phone call, and then play for as long as they desired, be it overnight, or over the course of multiple days. The idea was part experiment to see how their fans would react to not only an onslaught of Phish, but also the psychological effects of being locked in a room for an extended period of time with no clear ending. Musically, the band had always wanted to see what kind of music they would be creating some 10-20-30-hours in, if they embarked on an unyielding journey of exploration. Unfortunately, with the age of modernity that birthed us cell phones, frivolous laws that prevent trapping people, and the monetary needs of a venue which relies on turnover at the gate on a regular basis, the idealized Long Gig would have to be altered to be plausible.

With the millennium celebrations fast approaching, Phish realized that by combining their New Year’s show with their festivals, they’d have the opportunity to fulfill their Long Gig, at least in part. A massive Phish-blowout was in the works. Located in the Big Cypress Seminole Indian Reservation, the show would allow the band to emulate their summer festivals, while celebrating the literal, once-in-a-millennium event. Phish would play three-sets on the 30th, an afternoon set on the 31st, and then emerge just before midnight and play through the night, a seven-hour, unending set, one that would go down in infamy as perhaps the most unique, special, and incredible gag/show of Phish’s entire career.

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phish_9_16_99_1The December 1999 tour was announced as a run-up to The Big Cypress Festival. Just three-weeks in length, it gave the band a chance to tour their home turf, seeing as 1999 would be their first ever NYE run outside of the Northeast. Building upon the improvisational accomplishments of the summer and fall, the December 1999 tour is probably the best example – aside from their June 2000 tour of Japan – of Phish fully realizing the groove-based-ambient jams they’d been working towards over the past year. Maybe it was the cold weather, maybe the anticipation of an entire night of live music, maybe the cement structures which always seem to bring out a darker side of Phish’s music, maybe it was the sheer fact that they’d been playing almost continuously for six months, whatever it was, the improvisational music crafted in December 1999 resides in a category with that of December 1995 and 1997 as some of the most original they have ever crafted. This is not to suggest that the greatness of December 1999 is somehow comparable or equal to the greatness of 1995 and 1997. It’s not. For starters, many of the overall shows in December 1999 are shit, and in many ways, complete throwaways. As with much of 1999 (and 2000, and 2003, and certainly 2004) the jams are what make or break a show. Overall the energy of shows was certainly lacking, most likely due to song selection and performance. Unlike December 1995 and December 1997, December 1999 is not a peak month in Phish’s history. What it is – for all of the negativity brewing within the band and for all of the ominous darkness hovering over the scene – is a shining example of the band immersing themselves in their music, crafting jams that are original, and completely true to themselves, using a minimalist style to further push linear musical communication.

– Jams –

In a month so reliant on its jams, selecting three to sum up the overall sound is a bit daunting. Each show contains at least one exploratory excursion that would be worthy of selection, be it the 12/02 ‘Bathtub Gin -> 2001’, the Cincinnati ‘Limb By Limb’ and ‘Split Open And Melt’, Portland ‘Halley’s Comet’, 12/10 ‘David Bowie -> Have Mercy -> HYHU’, 12/11 ‘Ghost -> 2001’, the 12/13 and 12/16 ‘Sand’, the Hampton ‘2001> Sand’, or the Big Cypress ‘Mike’s’, ‘DWD’,  ‘Rock & Roll’, ‘Crosseyed’, ‘Drowned.’ Yet for as remarkable as each of those jams was in both their musical merits and their ability to embrace the sound the band was seeking to emulate, there are three jams which just capture the entire era of Phish with more ease and authenticity. The Hartford “Drowned,” and the Big Cypress “Sand -> Quadrophonic Toppling,” and “Roses Are Free” standout as The jams of December 1999.

On the day after Trey’s Grandfather passed away, Phish took the stage in Hartford, CT, and unleashed a Second Set jam out of “Drowned” that turned the tide of The Who classic in a shape-shifting manner, that altered all versions played up to now. Leaving the song proper, guns a blazing, Trey absolutely dominates the torrential jam like few of 1999 right up to 14:28. From there, the band embarks on a beat-driven, dance-heavy jam that builds off a rock-solid foundation from Mike and Fish, and features interwoven licks from Page on the clav, and Trey alternating between guitar and his own keyboard.

Moving through various rising themes, the jam pushes into its own realm, away from the arena-rock jam in which it originated, as each member trimmed the fat and moved into more simplistic rhythms. At 20:19 the band crosses a plane, leaving the dance-heavy mid-section of the jam, as Trey hits the sirens and they move into more abstract territory. It’s here that we 17445967week0hear the massive influence of Mike, who emerges from his back-up bassist world and directs the jam around pseuedo-dance-beats that emphasize space over notes. Trey follows suit, while Page moves to his synths to cultivate a wall of sound, and Fishman keeps the jam afloat atop a subdued, electronic beat. The last six minutes of the jam are spent in atmospheric space, as Trey allows the layered loops he’s established to continue, and his guitar becomes more of a destructive force, in conflict with the beat. Concluding with an ominous tone before fading into “Prince Caspain,” the Hartford “Drowned” embodies literally everything about 1999. Combining blissful Hose with dance-heavy breakdowns, atmospheric noise, and minimalist influences, the jam is a stark image of where Phish was in this latter era of 1.0.

Three hours into their all-night set at Big Cypress, Phish kicked into the song that had come to define December 1999, “Sand.” Born out of Trey’s solo band, “Sand” was built on a incessant beat from Mike and Fish, staccato dance melodies from Trey, and ambient washes from Page. While it jammed consistently, it rarely diverted from its theme. It thus provided both a sustained groove-based dance party for their audience, and further ample reason for their longest-surving fans to continue criticizing them for laziness. All this changed on 12/31/1999 (well, 3am 01/01/2000, to be technically correct) when the band followed a straight-up fiery peak of the song’s theme with one of the most unique jams they’ve ever embarked on. At 17:41 Trey stays locked in to the fatty and distorted tone he’d used to emphasize the jam’s tension & release segment. Only here he follows Mike and Fish by pushing their poppy rhythms forward, diverting the expected return to “Sand”. Moving into a melodically demented realm, the band locks up rhythmically in a jam that sounds like a combination between an early-morning dream, and the last few hours of an acid trip. As the jam flows into a more twisted and melodic soundscape, the recorded voice of Mike Gordon appears, repeating the phrase “Quadrophonic Toppling.” A short sample on The Siket Disc, the song’s title is repeated, much like it is on the recording, though here, over far different music. A jam, a tease, it’s unknown really what inspired the band to inject the snippet into the “Sand” jam, other than to just fuck with the crowd, three hours into a mind-bending set. Emerging from the demented jam Mike and Page take the lead as an organic dual ensues with Page on the grand piano and Mike twisting bass lines around his “Squirming Coil”-esque patterns. Trey and Fish are thus left to enrich the jam with ambient washes through effects and cymbals, crafting yet another dream-like state, only this time, far more at peace.

Three hours later, just after 6am on New Year’s Day, Phish kicked into the fan-favorite Ween cover “Roses Are Free.” Since the “Sand -> Quadrophonic Toppling”, the set had struggled to remain fluent. While there were certainly some memorable moments within – “Reba”, “David Bowie”, “Drowned”, “Piper”, each of these jams popped up in between filler songs, compromising the structure of the set in favor of continuity. A song that had only been extended twice before, many expected “Roses Are Free” to follow the route of the last couple hours. A welcome surprise then when Trey held out the final chords of the chorus, the band followed suit, and they embarked on a totally unprecedented 35-minute jam that brought the sun up on the new millennium. Initially dominated by blistering Trey riffs juxtaposed against Page’s experimental jazz diversions, when Trey backed off at 8:30, the jam opened up, allowing Mike to join the fray. Over the course of the next nine minutes the band embarked on a loose and weaving, subdued psychedelic jam that featured Page in the spotlight, while Trey and Mike backed him up with minimalist noise. All this changed at 17:54 when Trey, who had begun searching for a melody to build off of, began looping a lilting riff that would see him take control of the jam, littering over the top of the base set by Fishman’s traversing drums, Mike’s equally bouncy bass, and Page who began incorporating ambient washes into the jam. Around 20:04 Page started forcing an ominous tone onto the jam, increasing his atmospheric noises pushing the jam into more abstract territory. The excursion resided in a conflicting zone over the next six minutes as Mike and Page underwrote the jam with intensifying noise, while Trey continued his blissful and sublime riffs. A sound that at first listen could have been accused as being offensively out-of-synch, when put into the context of the performance, it’s an incredibly fitting jam, displaying the interwoven musical relationship of Phish, crafting the experience of dawn through music. The final nine minutes are akin to a prayer of thanks, as they play out like a direct mental projection of the band’s state of mind after six-and-a-half-hours of near-continuous playing. Building to a driving force, the jam ends with little fanfare, simply concluding seemingly mid-jam, it shows the finite nature of improv, and displays the organic style with which Phish sought to embody in their 1997 – 2000 period.

– Shows –

If anyone were to compile a list of the best shows of December 1999 it would read like this: 12/02/1999, 12/03/1999, 12/08/1999, 12/11/1999, 12/15/1999, 12/18/1999, 12/30/1999, and, of course, 12/31/1999. Each of these eight shows reigns supreme over the rest of the month, and provide a snapshot of the best full shows the band played during one of their most unique months. Yet, if one were to select two shows that summed up the overall sound, the overall goals, and the overall mood of December 1999, those two shows would be 12/03/1999 and 12/31/1999. Providing a diametric perspective on one of the most controversial and misunderstood month’s of the band’s career, these two shows embody the improvisational sound, the lost sensation and the heralded place in their career December 1999 ultimately was.

On the second night of the tour, Phish crafted a full show in the minimalist style they’d spent the previous year pining at, displaying the sheer brilliance of it in the context of their music, while also proving its negative effects on their overall performance and relationship. The entire show was thus blanketed under the style that had overtaken their improv, altering the band’s approach in typically guitar-slinging songs like “Wolfman’s Brother,” “AC/DC Bag” and “Possum.” The shift is most successful in a second set that reads: “Sand> Limb By Limb, Bug> Piper, Harry Hood.”

Opening with one of the theme songs of the 99-00 Phish era, “First Tube” relies on a forward pressing, simple beat from Fishman and Gordo, while Trey and Page flitter over the top with walls of sound, and layered melodies, creating an electronic/dance feel. It’s a song that would become a commonplace opener over the next year, adding a burst of energy right out the gates, here, ushering in a show that would seek to emulate it’s musical philosophy. In the first set, “Wolfman’s,” “Bag>Possum,” and “Slave” were transformed and built like “First Tube.” Each relying on extremely simple, repeated riffs from Trey, accented by washes from Page, all over a steady beat from Mike and Fish, they fully emulated the minimalist approach the band was undertaking in 1999. Was this method good for a live concert? That’s in part up to the listener to decide. Many of the band’s oldest fans have long complained about the simplistic, lazy style Phish engulfed themselves in in the late-90’s, something which drained energy from what was once the most high octane, energized show out there. From this blog’s perspective, they’re right to a certain degree, and wrong to another. While it is apparent that the band’s performance on 12/03/1999 does lack some of the energy one might find in 1993 or 1995, but that’s the thing, it was 1999, not 1993 or 1995. Phish’s sound has always evolved, and the fact that they evolved from such an individually isolated zone of music to emulate the music of the time really goes to show the musical prowess of Phish. The fact that “AC/DC Bag” and “Possum” can be reinvented, in the moment, from a guitar-driven, straight forward rock song, to a patiently building minimalist dance number reveals more about Phish’s diversity than their laziness, regardless of the influence drugs and alcohol had on the band at the time.

The second set is without question one of the premiere examples of the 1999 sound fully working for the band. Flowing with ease, jamming with purpose, the “Sand”, “Limb By Limb” and “Harry Hood” all stand out as moments where the band fully hooked up under the guise of the minimalist style they were seeking. “Limb By Limb” in particular, which leaves its theme at 7:50, entering a rhythmic and melodic dual between Trey and Page before journeying off into the unknown. It’s the kind of solemn and peaceful jam that could only have occurred in the 1998 – 2000 era of Phish, where the conflicts of the time mixed with the linear musical communication they’d established, crafting music that was as simplistic as it was advanced.

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At this point, really the only thing left to say about 12/31/1999 should be said by the band in a series of interviews, be it for a book, or for the – hopefully – expected DVD to come about their Millennium blowout. Every fan has said their piece, as has every blogger. All that can be said about it really, is that it is without question the peak event in Phish’s 30 year history. Now, this is not to say it is their peak musical moment, for that came in 1995. What it is though, is the event where Phish realized all that was possible with their music, and with the culture they’d created, and played a concert that was totally their own. Afterwards, all Trey and Fishman could do, was look at each other and say, “We should quit.” After musically reaching their peak four years earlier, then shedding their skin and completely reinventing themselves in 1997, they’d finally discovered a moment that they knew they simply couldn’t top. Nothing Phish does in the future can, or will ever top it, even if they try to do it once more. Big Cypress was, and is, the greatest concert Phish has ever conducted. Not because of the music they created, but because of how they fully realized the power their music conducted.

From a musical perspective, the most fitting thing about the show is that the 1999 style fully matched with the band’s goal of playing all night long. Whereas their 1993-1995 sound would have been too intense for an all-night gig, and their 1997 sound would have been too reliant on Trey’s Hendrix-esque onslaughts, and four-part funk breakdowns, their sound in 1999 was so mellow, so patient, so melodic that it created a dream-like state for everyone in attendance, and everyone listening over the past thirteen years. Crafting a completely surreal feel to the entire show, ‘Down With Disease’, ‘Twist’, ‘Crosseyed & Painless’, ‘Rock & Roll’, ‘Sand -> Quadrophonic Toppling’, ‘Piper’, ‘David Bowie’, ‘Drowned’, ‘Roses Are Free’, ‘2001’ are all pushed forward with an effortlessness that could only emerge from a band so intuitively aware of each other as Phish was in 1999. The exhausted sensation, the “we made it” feeling that emanated through the concert field by daybreak sums up Phish in 1999 like no other could. While they played together for another eight months before taking an indefinite hiatus, Big Cypress was the top of the mountain for the 1.0 era of Phish. And is still, the peak of everything they have ever created.

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A year completely built on conflict, 1999 shows Phish producing some of the simplest, most connected, most linear music of their entire career, all while struggling with some of the more complex issues they would have to confront as individuals. A scene that had ballooned to proportions they could have never imagined. The negative effects of drugs and partying seeping in to their lives disagreements among each other that had always remained below the surface began billowing out. Confusions over the band’s overall direction became paramount issues. Through it all, the band continued musically evolving with ease. While there were certainly glaring issues due to their lack of practice and the personal conflicts that began to dominate the band, the fact that Phish was able to craft profoundly new music that both pushed their songs in a new direction, and reflected the current times, is an accomplishment that should rank with their 1989-1992 tightening-of-the-ship, 2003’s deep and prodding return from hiatus, and 2012’s overcoming of 3.0’s rediscovery period. Proving that their best music doesn’t always come from periods of sustained happiness. Sometimes, conflict and uncertainty are the best mediums by which to produce music. While in hindsight, one could certainly argue that Phish should have figured out their personal issues and should have practiced more in 1999, the music speaks for itself in its rawness, nakedness, and stark simplicity that is completely unique in comparison to all other eras of Phish.