[For this recap we'd like to welcome guest blogger Jake Cohen (@smoothatonalsnd)) -PZ]

The one thing Phish has proven to us after half of summer tour is that we have no idea what to expect. Which is, generally, a good state of affairs in the Phish world. At every turn they’ve surprised us: they threw down a paradigm-shifting “Hood” at the first show of tour, they turned “Fuego” into a jam powerhouse, they’ve been trying the new material in almost every possible set position, they teased us with no covers before dropping two in one set. Once we thought there was a formula – song-heavy first sets coupled with six- or seven-song jammy second sets – they gave us the Pine Knob show with its eleven-song second set and no song longer than ten minutes.

Sitting on my couch, watching the wide-angle shots as the setting sun illuminated the Chicago skyline, I was excited to see what surprises Friday’s show might bring.

Sunset during Reba #phish – Photo by Jesse McMahan

The “555” opener was totally unexpected, and shows that Phish is still experimenting with setlist placement for all their Fuego material. I think this works better mid-first set than as an opener, but after hearing both “Sand” and “Moma” open shows at Randall’s, a little funk to start things off is nice. The rock opener, “Kill Devil Falls,” was a short, sweet version that seemed to ignite a good bit of energy, with Trey on point and direct in his soloing. “Bouncing Around the Room” continues to appear more often than it has in recent years. Say what you will about “Bouncing,” but it’s a quintessentially Phishy song, containing one of their signature sounds: three-part vocal polyphony along with a guitar riff.

The set really got fiery when Trey dropped into the second early first set “Reba” in a week. Since my crew is personally responsible for the Randall’s version (that was us who Trey thanked “for the suggestion,” even though we were chanting “Tela!” and not “Reba!”), I’d like to think we reminded the band that “Reba” works so well early in the first set. It changes the entire character of a set to hear such an iconic song, with such a powerful jam, this early in a show. This version didn’t depart much from the norm, with Trey and Page setting down some textural playing during the quiet part of the jam before starting to build to the peak. Trey got into some heavy trilling before busting out into a huge peak that pushed past the point where I thought Fish might signal its end.

Photo © Phish – Phish From the Road

At this point in the set, I was hoping to hear some of the many first set tunes that have been missing or underplayed this tour: perhaps a “Fee,” “Billy Breathes,” “Guelah,” or something rare like “Esther.” Instead, Phish finished out the set with well-played but relatively standard versions of material that have become quite common in first sets this tour: “Waiting All Night,” “Birds of a Feather,” “Halfway to the Moon,” “Sparkle,” and “Sample.” Even the once rare “A Song I Heard the Ocean Sing” received a cursory, standard treatment. Still, there was a good flow within this section, and the set never felt like it was dragging. Phish is becoming more and more comfortable with “Halfway to the Moon” and “Waiting All Night” in heavy rotation: both featured assertive solos from Trey, whereas previous versions felt like he was more reserved in his playing. As has been the case all tour, Fishman continues to push rhythms forward, which seemed to energize the sometimes plaintive “Halfway.”

The other major opportunity for improvisation, the apparent closer “Stash,” was a generally textbook version, but is still one of my favorite songs to hear at a show. This was something of a slow build “Stash,” without the tension/release fireworks or brief type II excursions of the Great Woods or Randall’s versions. But the set wasn’t done, as “The Squirming Coil” appeared to send us off. Mike seems to relish the idea of singing the falsetto “scream” on the last chorus (as in the album version). I can’t say I agree with his choice, but hey, Trey cracked up and it shows they’re having fun. The “walk-off” Coil is one of my favorite ways to end a set, and here the webcast was perfect, starting with a tight close-up on Page and panning out ever so slowly to the entire Chicago skyline. As Page was the one to announce the cancellation last summer, it was fitting that he thanked the crowd and exclaimed “no rain!”

Set one seemed to follow the pattern that’s been established so far this tour: a strong set of shorter songs but with good flow and variety of tempos and moods. With set two, they seemed to throw all setlist convention out the door a deliver one of the quirkier sets I’ve ever seen, with a surprisingly gorgeous type II jam where we least expected it.

Setlist pictograms by Joseeen (available at Etsy)

One song I was particularly hoping wouldn’t get ignored due to the fewer covers tendency is “Golden Age,” and I was really pleased to see it occupy the set two opener role, practically guaranteeing an excursion into the unknown. Phish didn’t disappoint here, with Trey introducing a slightly altered new riff partway into the highly percussive jam. Fish kept pushing the jam onward, not letting it fall into the spacey, mellow trap to which this sort of quiet groove can fall victim. Trey offered some rhythmically punctuating strumming while Page took a nice solo on the Lil Punkin organ. This jam eventually became all about Page, as Trey focused more on rhythm and timbre while Page switched over to his Clav.

Eventually, Fishman reeled in the rollicking drums and switched to a more straightforward hi-hat beat, and I thought they might spin this into a new jam segment. Instead, Fish obviated the meter and entered into some very chaotic playing. Trey matched this with lots of digital delay noise and echoplex effects, many of which weren’t synced up with the just-abandoned meter, and Page too offered synth noise. The result was very trippy and weird in the best possible way, recalling the landmark versions of “Golden Age” from Hampton and Hartford last Fall.

As the dark psychedelia subsided, Trey started up the riff to “Mango Song.” On paper it seems like an odd choice, but following the strangeness of the preceding jam it was a perfect call. Played relatively cleanly, this was a welcome but standard version of an all-too-rare tune.

Photo © Phish – Phish From the Road

Things got back into a second set mood with the drop into “Sand,” which seemed to be moving at a pretty fast tempo compared to second set versions. When the jam segment started, Trey launched full-bore into a blues-rock jam with an especially aggressive intro lick, an anomaly since “Sand” jams often begin with texturally sparse and percussive soloing from Trey. The fast tempo and unusual soloing seemed to signal that this might be an atypical “Sand,” and just as Trey was beginning to hint at a modulation to a major key for a new jam segment, he aborted “Sand” and opted for “Piper.”

Appearing in back-to-back shows, this “Piper” seemed like it might be the other big improv vehicle for this second set. Unfortunately, I think we all have to acknowledge that the slow build “Piper” died in 2000 – this one got right into the lyrics and quickly moved to that good, fast jam space that “Piper” often goes into. Page took a big organ solo, and then Trey moved to his echoplex, creating a very trippy and noisy space. Fishman eventually dropped the drums down to almost nothing, but then out of nowhere came back with a new funky beat, over which Trey started playing a new set of major key chords. Here’s where things got really weird.

The feel of this jam was something in the fast rock/funk category, almost like a poppier version of “Sneakin’ Sally” or “2001.” As I was wondering whether this would turn into a song or continue into a jam, Trey signaled to Page that they were, in fact, playing “Halley’s Comet!” This was a totally oddball segue, as it wasn’t clear when they began this jam that they were actually playing “Halley’s” (Trey had to tell Page they were doing that!), having come straight from the trippy halted part of the “Piper” jam and skipping the song’s usual a cappella introduction.

After the lyrics, the band “stayed on F” just as they did during the landmark 11/22/97 “Halley’s,” and I thought (as did everyone, I’m sure) that we might be in for the long-awaited jammed-out set two “Halley’s.” Alas, the band used that brief harmonic plateau to just slow things down a bit before perfectly dropping into “Wombat.” Another call out of left field, and while it was a true “->” segue, it still felt a little choppy. But oh my, this “Wombat.”

@ Scott Harris Photography

During the jam, Trey began exploring a few modal regions of melody quite early, which signals to me that he’s thinking about more extensive improvisation. Fishman matched this by amazingly changing his rhythms almost every eight measures, giving variety to the stable “Wombat” jam with new feels each hypermeasure. As things began to fall apart rhythmically and melodically, Mike switched on the envelope filter and I thought we might be headed for the first “Boogie On” of tour. Instead, Mike’s active upper-register deep space bass provided an accompaniment to Trey’s trilling, which he pushed perfectly into the relative major key for a mellow bliss jam.

Now clearly in the first type II “Wombat” ever, Trey continued to layer delicate soloing and hinting at a build, while Fishman kept the tempo and feel very similar to a “Fee” outro jam. Trey eventually began strumming and pushing the tempo faster with an almost bluegrass feel, not unlike the last jam segment from the monster Randall’s “Chalk Dust,” and when the rest of the band joined it suggested shades of the quiet, mellow interlude of “Runaway Jim.” I was hoping this would build and turn into something totally mind-blowing, but after seven or eight minutes of this glorious jam, Trey launched into “Chalk Dust.”

Back at its normal fast tempo, this “Chalk Dust” was a standard version that gave way to the set closer, a majestic “Slave” whose “See the city” lyric was especially apt with the twinkling Chicago skyline in the backdrop. I do wish they’d dig a little deeper for encores (as they did with the “2001” in Michigan), as it’s become almost farcical to hear “Julius” or “Character Zero” encore practically every other night this tour. But this was a really nice “Julius” that saw Page lead off with a killer solo.

The “Golden Age” might have been the improvisational centerpiece, but the surprise jam on “Wombat” was probably the improvisational highlight, coming from a completely unexpected and surprising place. Phish has shown us that they’re having fun and equally willing to push things when they feel it’s right, or willing to ripcord a jam when Trey wants something else. It’s exciting to think of what surprises the rest of this weekend holds.

@ Scott Harris Photography

Read more...

Screens ’n’ Suds, The Mothership Art Collective and PhanArt will host two poster events this Saturday, July 19 and Sunday, July 20 in Chicago to coincide with the three day Phish Chicago run.

On Saturday from 1:00 to 4:30 p.m., Screens ’n’ Suds' event will take place at TRIS3CT, 130 South Jefferson Street, 5th Floor in Chicago. Admission is free. Jim Pollock and Plastic Flame Press have created brand new prints specifically for the event (see illustration below). These prints will go on sale to VIP ticketed early admission guests first and then to the public at 1 p.m., if any are left. One print per person please. Previous Screens 'n' Suds prints will be available for purchase at the event as well. Tickets to the early admission VIP event are on sale now through tomorrow for $20.00 plus service charges at Eventbrite.

Suds will include Revolution "Citra Hero" IPA (Illinois), Cigar City Brewing / The Answer Brewpub "Good Morning Mekong" imperial coffee porter w/ kopi luewak beans (Florida/Virginia), Brewery Vivant "Tart Side of the Moon" sour ale (Michigan) and Hardywood Park Brewing "Bourbon Barrel Barleywine" (Virginia). There will be a gluten-free option and likely some other special beers. In true Screens 'n' Suds fashion there will also be a raffle for some great art and beer and a silent auction with a 2012 Screens 'n' Suds Pollock and a 2013 Not Pollock Northerly Island, plus a lot more.

On Sunday, the PhanArt Poster and Pin Exhibition will be held from 12 p.m. to 5 p.m. at the historic Congress Plaza Hotel, 520 South Michigan Ave, Chicago, located near Grant Park. This one of a kind art show, also presented by The Mothership Art Collective and created and produced by Pete Mason, is sponsored by Poster Scene, Philly Philms, The Barn Presents, Freedom Flask, and The Helping Friendly Podcast.

The final lineup announced for the PhanArt Poster and Pin Exhibition: Chicago represents a wide array of artists from among the Phish art community, including longtime Phish artists Ryan Kerrigan, TRiPP, Isadora Bullock, Michael Boyer, Ryan Jerzy and Jeff Nesbit are all familiar names with fans from past shows. Each will have a large portfolio of current and past concert poster art to exhibit from a wide range of musical acts.

Read more...

Phish Yoga with Tracy Stonaker

Phish shows and yoga can create a similar state of heightened consciousness. Through unparalleled improvisational communication the band profoundly unifies body, mind and spirit. This is yoga. Join us for an aligned vinyasa yoga practice set to the sonic spectrum of live Phish. Open to all levels of yogis and Phish fans.

Saturday, July 19, 2014 – 2:00 - 3:30pm – $20

All proceeds benefit The Mockingbird Foundation and Street Yoga. Sign up at surrendertotheflowyoga.org/register or email [email protected]

Chicago Yoga Center – 3047 N. Lincoln Avenue, Chicago, IL 60657 – (312) 330-1413

Read more...

[For this recap we'd like to welcome guest blogger Ben Hatley) -PZ]

For the first time in a year, Phish has returned to the Midwest. When tour dates were announced, many were hoping for a more extensive run through this region, after just getting the rain soaked Chicago run last year. Alas, that did not happen, but many, myself included, put a big fat circle on their calendar when they announced they would be returning to Pine Knob.

I was anxious for this show, in large part, because I am still a little bummed to have missed the monster show here back in 2011. When they didn't play here again in 2012 or 2013, I was thinking my opportunity to visit this fantastic venue had passed. While Midwesterners will not be getting to visit a lot of their favorite sheds this summer, I do not think there were many complaints about this being the one.

Photo © Phish – Phish From the Road

Pine Knob just may be as perfect of a place to see a Phish show as you are going to find. The inside of the venue is heavily wooded and absolutely gorgeous. Not to mention, after the brutal weather that we endured the last two years, whether it be rain or extreme heat, going to a show with the sun shining and temperatures in the 70's was a treat in and of itself. The stage was set for a great day.

After partaking in a few cold ones, it was time to hit the show. We got to our seats right as “Wolfman's Brother” started. Opening with the same song they opened with here back in 2011 raised a few eyebrows. Many took it as a sign that they were trying to conjure up some of the magic they drummed up here three years ago. Last night's version seemed to follow this songs typically funky path. Along with the “Devotion to a Dream” that followed, these first two tunes served as a good means of getting the guys warmed up.

Now that they felt a little settled in, Trey cranked up “Wilson.” As always, this immediately got the crowd good and gassed up. As they stormed through the raucous that is the back end, Trey shifted shifted gears and pulled everyone into a sharp version of “Poor Heart.”

Photo © Phish – Phish From the Road

The next few songs did not deliver much in the highlight department, but the set maintained good flow and we got a decent sampling of Phish's stylistic versatility, ranging from funk to rock to reggae to lounge. The first set highlight came in the form of “It's Ice.” The middle section opened up to a wildly funky jam with terrific playing from Page. This is one one of my favorite Phish songs, and I feel like it has just kept getting better over the last few years. As “It's Ice” wrapped up, Trey cranked up what would be a rousing set closing “46 Days.” While it did not break any new ground, it was enough to send everyone into set break pretty pleased.

After wandering around a bit at set break, we returned to our seats right as the lights were going out. “Mike's Song” may not be the jam Goliath that we came to know and love in the 90's, but when you are seeing this song in person, it is still fantastic. Few songs can simply suck you in faster. The lights start flying, Trey starts ripping it up, and suddenly, you are in gravy town. This version did seem to have a little extra something to it. They let it have more of an organic ending than some of the screeching halts we have seen put on this song the last few years. As it wrapped up, Mike and Trey push into “Ghost,” which appears to be the new favorite to be sandwiched in before “Weekapaug.”

Photo by J. Maehoffer

This “Ghost” jumped out into some pretty cosmic places right out of the gate. Trey had some great playing on this jam, and he navigated everyone through some mesmerizing passages. As it wound down, he dropped right into “Caspian.” Now, a “Caspian” > “Number Line” pairing is something that I would pretty much actively root against, but last night, it seemed to work alright. “Number Line,” in particular, had some strong playing that led nicely into “Weekapaug.”

“Weekapaug” jumped right out there and may be my pick for highlight of the show. Yes, it was short, but it sure felt longer. Page, Fishman, and Mike all were shining on this one. They put together a nice segue into “Cavern,” but I feel like this created a bit of a fork in the road. Having “Cavern” in the middle of the set was a nice change of pace, but where do you go from here?

Well, they weren't quite ready to pack it in just yet. “Piper,” as always, provided another opportunity to jump out into some type two jamming. Fishman held this one down like a champ while Trey, Mike, and Page came in over the top and offered up some pretty hot jamming. They moved at breakneck speed before settling this into a slow ending. As “Piper” faded into the night, Mike started “Waiting All Night.” This was a standard take, but it fit well here.

After that, I was thinking we'd move in the direction of a standard closing pairing. Trey had other ideas. Let me tell you, this pavilion went bonkers when he cranked up “Tweezer.” No one saw this coming. They laid a nice foundation for what could have been a big dark funky “Tweezer” jam, but instead, they moved this to “Fuego” instead. While “Tweezer” didn't go out as far as many would've liked, this made for a nice deep set pairing. Not to mention, Phish is clearly loving “Fuego.” It's now been played at every venue this tour. They didn't have enough time to give “Fuego” the special treatment they gave it at the MANN and SPAC, but it was played well. It was my first time seeing it, so it was nice to get another new tune under my belt. “Tweezer Reprise,” as always, brought the raucous and allowed everyone yet another chance to rock out before calling it a set.

Setlist pictograms by Joseeen (available at Etsy)

Once again, I think many expected something standard out of them when they came back out for the encore. It was almost a feeling of bewilderment when Fishman dropped the intro to “2001,” the first time it has ever appeared as an encore. We got one more dance party before calling it a night. There are a lot of “Possum” haters out there but I'm not one. I love it in the last song of the encore spot. How can you not leave the building with a smile after that?

Unlike almost every other show from this tour, they didn't offer up one marquee jam or hands down highlight. What they did do is create a consistently good second set with excellent playing throughout. In lieu of one 20+ minute jam, they offered up a fair amount of exploration in three or four different songs. I don't know exactly how this show will hold up over time after numerous re-listens, but I can assure you, it was a blast to attend!

Read more...

“…truly to enjoy bodily warmth, some small part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. Nothing exists in itself. If you flatter yourself that you are all over comfortable, and have been so a long time, then you cannot be said to be comfortable any more.”
- Herman Melville, Moby Dick

Tuesday night in Canandaigua, NY was, for me, Phish at its best. We took our one chance to see the band this year and went to visit dear friends and fellow .netters Captain Pookie and Memmers, avail ourselves of their hospitality and general awesomeness, and (in Ivy’s case) boogie. Watkins Glen is a 20 minute walk from Pookie’s Place, and you can read about his experience having Super Ball in his back yard here. Pookie basically lives in paradise, surrounded by his amazing wife, impish daughter, four cats, and extended family. And, since he is Captain Pookie, he is surrounded by art.

Painting by Christopher Pike (a.k.a. Captain Pookie)

Adjust my opinions for having been raised in the heart of flat, but I found the Finger Lakes to be overwhelmingly, almost impossibly gorgeous. Scenes of natural awe are everywhere. Waterfalls race leisurely down to Lake Seneca, which conceals ice from the glaciers that hewed this gallery from rock two and a half million years ago. Green towers everywhere around you, and it seems like art is seeping in to the ground and erupting back in the forms of wildlife and wind and beauty. In Pookie’s home, art adorns every wall, in some places with idle joy and in others with focus and brilliance. It is inspiring, and is exactly the kind of place you’d find yourself saying, “I would love to see Phish play. Right. Here.”

So, the show.

A “Buried Alive” opener, and it comes alive, “Twisting” and lifting arms and legs and all those “Heavy Things” up from the soil. Being born isn’t something to do every day, so it may be best to make an escape before an asteroid crashes and we find ourselves returned without passing Go. Once we’re settled on the train, though, we can have a drink, and I know just the concoction. A “Bathtub Gin” with an invigorating kick on the back end that will rev that rusty engine and shake it clean; that’s the cheese. Now we’re almost ready.

But first, let’s look at the sky, take in the cool breeze, linger for a while there like the gulls, and warm our wings on the day’s last golden breaths. And let’s take a moment to watch the sunset, to watch the light and clouds and wind and water collaborate to paint the ceiling in vibrant silver and azure. “Divided Sky” is written for skies of all kinds, but a sunset over Lake Canandaigua as the morning’s rain is waved aside is the most stunning incarnation I’ve seen. Achingly, deeply beautiful.

Photo © Phish – Phish From the Road

OK, we’ve stopped to smell the sunset. Let’s dance. Let’s figure out if we’re gonna go forward or leave it behind. Let’s ask the “Wombat.” “Wombat” is good and “Wombat“ is wise and “Wombat” will lead you to funkalicious love. All you have to do is let him move you. And I wish you would, because while each day needs some of the peace of the Buddha, it also needs the boogie of the “’Bat.” This critter gets a little dark and mean, a little “Melty,” and a lot dirty. He’s the perfect set-up man for mean Mr. “Bowie” to make things just a little bit scary before we move on to the night gallery.

Photo © Phish – Phish From the Road

The centerpiece for this trip is “Disease,” and it’s an adequate theme. The show dug itself up from the dirt, and we’re destined to come back to it eventually. In the time we’ve got, let’s explore. Let’s ride the train and sing off-key and do what we all gotta do, “Jibboo.” And then, and I know it’s a dark “Theme,” we’ve got to face the fact that we’re all just “Meatsticks,” and subject to time, and someday it will be time to bury the meatstick. Or, if burial isn’t your thing, you may go out En “Fuego.” Either way, no energy gained, but no energy lost, we remain in the art that’s around us. And all you have to do to remind yourself is, every once in a while, stop and look around, maybe at the beautiful things nature has carved out with a “Wedge” of glacial ice, and at the life going on around you.

And, where we started the set with “Disease,” we finish again with the essence of vitality, the Runing of the “Fuegolope.” Much more than just a climactic medley of teases, this “’Lope” runs with a ferocious love of the chase and peaks with the Power of “Fuego.” “’Lopes” in general are amazing to watch live, bounding and leaping and crashing into bicyclists, and the “Fuegolope” is a prime specimen. I personally have seen 15 “’Lopes” in various locales and I can highly recommend this Finger Lakes fauna.

I’ve probably mixed enough metaphors by this point, but just to remind you, the “Zero” sum game is much of the fun. It’s never truly lost, but it’s never fully won.

Read more...

Rock Bottom Brewery in Chicago is once again fundraising for The Mockingbird Foundation!

If you're planning to attend one or more of the shows this weekend, or even if you're not, we hope you're able to support this fundraiser by visiting Rock Bottom and drinking some fine ales. They will be serving a strong, hoppy red ale, called "Sample in a Jar," throughout this weekend, and a portion of the proceeds from each sale will benefit Mockingbird. This ale has a "pungent heady hop aroma from loads of Citra and Simcoe hops," and it will be sold in mason jars with the Foundation's logo (as well as Rock Bottom's logo) on them.

Here are the details:

Thursday, July 17th: Summer Honey Tapping Party beginning at 6pm. $1.00 from every "Sample in a Jar" that is sold will benefit The Mockingbird Foundation! There will be live music from Whiskey Jezebel.

Friday, July 18th through Sunday, July 20th: The party at Rock Bottom continues... $0.50 from every jar of "Sample in a Jar" sold goes to The Mockingbird Foundation.

You can purchase the mason jar for just $2.00 from your bartender, server or host! Feel free to stop by to pick up your jar after the show as well for the same price.

The brewery's hours are 11 am until 2 am, and all ages are welcome. There are two main bars, as well as a rooftop beer garden. Please hit them pre and post show, if you can, and support this effort. They are right off the Grand stop - CTA Red Line, at One West Grand. From the venue, you walk about twenty minutes to the Red line at Roosevelt (the closest stop to the venue) and then head towards Howard. They're 5 stops away (7 or 8 minutes).

Phish.Net and The Mockingbird Foundation cannot thank Rock Bottom Brewery - Chicago enough for their generosity. This is the second year that they have hosted this fundraiser, and we are blown away. We hope you all support this effort. Thank you!

Read more...

A three-night run of Phish at the same venue breeds familiarity. A beginning, middle, and an end. By Sunday night, the end, each fan knew the quickest (or most convenient) way to get to this island in the East River. Each fan had their ticket ready at the check-points, knew which beer line was shortest, where to refill the water bottles. And for those of us who were more particular than others (pun intended), the most optimal location to enjoy the show. For our crew, it was on the pavement in front of the soundboard, “just to the right of Mike, even with the first aid tent to the west.” Something to be said for being surrounded by friends, both old and new, from New York City and abroad. Smiling, familiar faces. This particular spot of ours sounded pristine, with just that extra bit of Mike. We were able to soak in some amazing breeze. It provided us with a view of that gorgeous Full Buck Moon on Saturday night. Familiar. A place to call “ours” if only for a few hours.

Phish also breeds familiarity, particularly over a run. What sort of mood is the band in, how nimble are Trey’s fingers, what fashion statement will Mike offer us. With each show, fans check off songs knowing they will not return, shrinking the list of possibilities (by only so much). But with the yin of familiarity is the wonderful yang of the unknown. What keeps us coming back. Knowing that "it" could happen at any time. Well, it happened on Sunday. In such a huge way.

The pre-show music was a mixture of Al Green and some jazz. Good Sunday afternoon music. While, a bit sparser than the night before, there seemed to be a lot of chatter. It could have been due to the projected forecast of rain and lightning -- a forecast carrying enough weight such that @phish tweeted earlier in the day that the 7:00 show would start at 7:15 rather than the understood 7:20. The heavy breeze even felt as though weather was on its way. (Glad that ended up being wrong.)

"Promptly" at 7:23, the band took the stage. We should have known we were in for a unique night as "Sand" opened the show; while “Sand” had begun second sets in the past, I believe this was the first time this song was ever chosen to open a show. It started things off where "First Tube" had left us all the night before. A song with origins in Trey's Tony & Russ trio, centered around a groove. A good song to loosen up the fingers and settle in (rather than, say, a right-out-of-the gates "Buried Alive"). And yes, there was a little extra mustard thrown in there to get us all engaged.

After the eight-minute "Sand,” the eighth selection off of Fuego for the run was played, "Winterqueen." I should admit I've been a fan since I heard the debut last Halloween. It was odd, though, to hear the second song of the set begin without any acknowledgment from the crowd with the exception of some polite applause. Maybe a different placement next time? (::coughWadingcough::) I quite enjoyed Page's utilization of what I would call "that calliope sounding keyboard" a few times during the song.

Aside: I should mention the transition into the closing section was a bit rough. And if I was going to criticize Trey's playing at all this past weekend, it would be centered on the lack of nimbleness in transitioning back into the ends of songs. There seemed to be small hiccups each night at these specific moments.

During the song discussion following “Winterqueen,” I could pick up on some chanting in the crowd coming from in front of us, to the left (Trey side). You could see Trey leaning over that direction, giving that familiar grin and head bob. And just as soon as I made out “Reba, Reba, Reba,” Trey kicked in to the opening notes. I felt this was an average-great version of a song I had been wanting to hear all weekend. I felt the composed section was successfully navigated, sailing into the expected bliss. I quite enjoyed Page’s work on the Rhodes leading into the peak and the “normal” whistling. Trey afterwards: "Thanks you guys. Thanks for the suggestion." You were more than welcome, Trey.

Another aside: I should take a brief moment to comment on how Page’s playing this weekend (among other shows I have heard from the tour) has really impressed me. It just seems he is picking the right instrument at the right time, the right notes and fills, leading jams when needed. Not that other band members haven’t, mind you -- we benefited from standing in front of Mike all three nights -- but something about Page is standing out.

“Birds!! of a Feather” was next, despite the large green pig balloons which had appeared at the front of the crowd, with “Guyute” written on them. As Scott Marks noted at the time, Angry Birds won over Angry Pigs

First thing I heard with the opening notes of “Water In the Sky” was “Don't jinx us, Phish!” Thankfully, they didn’t. I should have had more faith.

With “Water,” I decided to take a walk and see how grass felt beneath my feet. I was surprised that once I left the pavement (with the exception of the beer lines), how spacious and comfortable the lawn felt. Room to walk and stroll, people walk, and run into friends. “Possum” was enjoyable enough (I had written “more organ” in my notes. I believe that was a positive thing.) “Runaway Jim” followed. As with “Reba,” this was a song I was pulling for -- I have always loved “Jim.” While I prefer it to be selected as an opener -- as I appreciate the “driving” nature of its structure, with Trey trilling out notes along with Page on the piano -- it still put a smile on my face (despite slight issues, again, transitioning into the ending). “Bouncing Around the Room” seemed more enjoyable on the grass than it would have on pavement. And by the time I made my way back up front, Phish was on to “Maze,” where it seemed Page was conjuring more breeze with his always-full organ solo.

Aside: It would be natural to wonder about the energy of both the crowd and band alike following the three nights. If Sunday, “for the band,” would be able to keep up. And it appeared to me the setlist was constructed with songs that assisted in keeping up momentum: “Sand,” “Birds,” “Jim,” and “Maze.” Each projecting forward. The closing song was also in that vein.

For some reason “Split Open and Melt” was a song completely off my radar when it started at 8:37; just one of those times when other wants and wishes took up space. But that all quickly dissipated like a “steam dream" as it plunged dark and deep. With Trey on the delay and the chanting from the band, one might compare it to early 90s versions. Strong build of tension and dissonance, accented by Kuroda’s work on the lights. The background changed each evening, from a transparent mesh the first night, to a mesh with a white backdrop the second, to the all black on Sunday. It provided a great backdrop to the band, bathed in red light, with moments of color dancing around the stage in time with the music. Trey making his guitar howl as Page banged away, over and over, drawing out the evil like a guitar salve. Or something like that. Let’s settle on a damn good “Split” to close the set.

All in all, a good first as we are growing to expect them these days. A series of stand-alone songs with one or two highlights. I feel the “Bathtub Gin” from night one was the first set highlight of the run, but the “Melt” may be second if I was forced to choose. The setbreak was highlighted by the Bill Withers being played over the PA, complete with a “Lean On Me” sing-along by the crowd around us.

Down came the lights at 9:10. The opening notes of “Chalk Dust Torture” took me a little off guard. And let me say that I remained wonderfully off guard for the next 56 minutes. The opening hour of Sunday night’s show may be my favorite hour of Phish since Big Cypress. Relistens may temper my hyperbole, but I am still glowing from what we all witnessed, with what Phish performed for us. While Mike Hamad illustrates the musicality of “CDT” in a way I can not even attempt to equal, I am simply going to share with you the notes I took in the moment:

Chalkdust - five minutes in starts to get stretched with this great upbeat jam led by Page "butter jam", desk flip; slowly stumbles into darkness as the rain drops fall (Mike led) but not too dark; rhythmic section, darker, then back to the "buttery" section (9:27) Baby Elephant Walk like; Page leading it another direction ; red lights mean dark CK5 :30; Trey feedback with Mike and Page banging away; whale screeches; bombs :34 rumbling bliss as Trey starts playing pretty; Mike teases? Fishman shuffling along as it slowly dies into . . .

What that all means is that you need to listen. A must-hear, hands down. Best “CDT” of 3.0? Give it a whirl and compare away. I will just say that jaws were dropped, grins were plastered, and “Wtf?” laughter all occurred. (FYI: Through the wonders of immediate relistening, it appears there were also teases of the “Piper” from Dick’s ‘11, aka “Roadrunner Tease.” Just something for you geeks to discuss.)

Fishman shuffling along as it slowly dies into “Light,” twenty-eight minutes after the set began. And what a perfect choice to follow the wonder what we just experienced. “The light is growing brighter now,” matched by Trey's piercing guitar that came out of the vocals. I loved how Trey popped in the tease of Sonny Rollins’ “St. Thomas” (thanks, Dan) in the middle of the beautiful jamming -- sometimes teases just fit. The beautiful jamming transitioned into “Harry Hood” territory about nine minutes in. Only to be followed by a jam structured around a descending melody that immediately brought to mind “Mind Left Body” (see here or here). While it may not have been a tease, or quote, it was close enough and had the desired effect -- more joy. Building to a huge climax around ten minutes in.

To be followed by “Tweezer.” Why a one-two punch when you can have a one-two-three punch? It began slow and funky, dripping like we all were. At one point, the band slid in and out of tempos, slowing down as if someone was playing with a turntable, making it even stickier than it already was. Once that was over, Page brought the jam to this soulful section, reminding me what he did with the “Down With Disease” two nights earlier. The jam really began to soar after twelve minutes, building to a huge peak -- complete with me punching the air over and over again. It was that kind of hour of music -- where you lose control of your (sober) body and let the music guide your limbs. A slow old-school Tweezer ending after about sixteen minutes.

Whew. Breather. Times for high-fives and quick exclamations of hyperbole with friends and strangers alike.

The band felt the need for a breather as well, it appears, and offered up “Wading In the Velvet Sea.” Despite any internal groans I may have tried to suppress, I did find myself swaying to the music. See above re: losing control of one’s body. The “Sing Monica” which followed was not what I would have selected. Sounding to me like some 60s Bay Area pop song, it would have come low on my list of song choices. But hey, I was not in a complaining mood and I did appreciate the little reprise of the melody following the vocals-only chorus.

The beauty of “Slave to the Traffic Light” was a fitting choice to wrap-up a run of music in NYC. And I always enjoy Mike's lead, ringing out so clear. Even with its proximity to “Wading,” it felt right.

Before they began their encore, Page took a moment to thank everyone for coming out, noting that they play “for us.” Sentimentality must have been flowing as the encore began with “Backwards Down the Number Line.” A song about friendship and familiarity. “Do you know why we’re still friends? / Laughing all these many years” -- because of the music, Trey. The expected “Tweeprise” that followed, complete with the Mike bombs, put an exclamation point on the evening, the weekend, the first of hopefully many runs on Randall’s Island.

Continuing with the theme, the walk-out music was the Rolling Stones’ “Waiting on a Friend.”

Even before the expected “Tweeprise,” superlatives were being tossed around regarding this three-night run, with many in agreement that this could have been the best run of 3.0 after Dick’s ‘12. Another offered this evening’s “Chalk Dust Torture” > “Light” as the best one-two song combination of 3.0 since the Albany ‘09 “Seven Below” > “Ghost.” I will let those with the knowledge bases and ability to compare such things prepare a blog post. All I will say is that I am happy we can even have these discussions. That this band, after all these years and countless shows, can still create music that some of feel are “Best evers,” topping previous versions. That through all our familiarity and expectations, they can surprise and fill us with such great joy.

Read more...

Good morning, and welcome to the one-hundred-and-seventy-ninth running of Phish.Net's Mystery Jam Monday. The winner will receive an MP3 download courtesy of our friends at LivePhish.com / Nugs.Net. To win, be the first person to identify the song and date of the mystery jam clip. Each person gets one guess per day, with the second “day” starting after I post the hint. A hint will be posted on Tuesday if necessary, with the answer to follow on Wednesday. Fire when ready...

Answer: @yunkfunk wasted no time and wins his third MJM by IDing the 6/9/94 It's Ice. Congrats!

[For this recap we'd like to welcome guest blogger David M. Goldstein) -lbc]

The first thing to note about seeing Phish on Randall’s Island was that given the encouragement to use mass transit and the limited amount of parking passes, the lot scene was virtually non-existent. But in a city with as many culinary delights as New York, this could actually be used to one’s advantage. Why limit yourself to heady grilled cheese and ice cold Sammy Smiths on lot when you can do what my party did and gorge yourself on delicious barbeque in the Red Hook section of Brooklyn and then chase it with key lime pie and views of the Statute of Liberty?

© Scott Harris Photography.

But what seems like a delicious idea at the time turns far more sinister when you’re in the throes of the meat sweats while waiting over forty minutes for a bus that will supposedly take you to the venue. This process was a stark reminder that what appears to be ridiculously easy on a Friday evening can become a slog on Saturday, when the casual listener reigns supreme and results in a New York City crowd three times the size of the one the night prior. I didn’t speak with anyone who arrived via the ferry, but to be frank, the Saturday bus situation was somewhat of a pain in the nether regions, especially when you’re oozing beef brisket and pulled pork out of your pores.

But upon arrival at the venue, all was forgiven, and we largely have Mother Nature to thank. Remember the hypothermia inducing, Noah’s Ark summoning, deluge that was last summer’s concert at Jones Beach? What’s the complete opposite of that? It was a steady 80 degrees with low humidity and a light breeze, and the incredible weather allowed fans to enjoy Randall’s Island for the green urban oasis that the NYC Parks Department always paints it as – not the mud-centric apocalypse that results from the slightest of drizzles. Food vendors were plentiful and varied, and the beer lines, while just as long, moved quicker than the night before; Sixpoint’s exclusive “Vlad the ImPaler” was a tasty brew indeed – a crisp wheat ale bearing a pleasant similarity to a Bell’s Oberon.

A sunny evening with plentiful food and drink in a lovely park environment might have been enough in and of itself. But apparently Phish was playing, too! The pre-show music was a fitting salute to the CBGB Class of ’77, a mixture of early Talking Heads and The Ramones, likely in tribute to the recently deceased Tommy Ramone. And after kicking off with the first “AC/DC Bag” of the tour, the remainder of the first set wasn’t exactly ‘bad,’ per se, just standard 3.0 to a tee; a variety of six minute rock songs stacked in no particular order like a cord of firewood with an inevitable “Antelope” closer that you could see from a mile off.

Unlike the previous night, the highlight of the first set wasn’t an 18 minute Type II maelstrom that came out of nowhere, but rather a touch of comedy. After a somewhat botched ending to “Back on the Train,” Trey opted to play it for laughs, reprising the muddled conclusion not once, but twice, and then proceeding to state it was planned all along, as was his butchering of the intro to “You Enjoy Myself” one week prior. Was this perhaps a sly jab at social media gadflies who critique his every brain cramp with an eagle eye (and guilty as charged)? Elsewhere, “A Song I Heard the Ocean Sing” seemed slightly more aggressive than usual, with Trey living out his My Bloody Valentine shoegaze fantasies with extra peals of white noise. I find “The Line” far more tolerable when it’s placed in the first set, and “Sparkle” always brings back pleasant memories of me being a gawky 14-year old at a Jewish youth group social. But for the most part, the first set sounds exactly like it looks on paper, and stand-up comedy bits aside, will not account for many repeat spins in this household.

Continuing the regional NYC theme, the setbreak music consisted of Curtis Mayfield’s classic “Superfly” soundtrack, transferring the proceedings from 1977 East Village to 1972 Harlem. This also provided my party with the opportunity to perform a version of “meat sweats reprise;” eating jalapeno corn dogs because that vendor had the shortest line, but also because batter-fried meat on a stick is awesome.

The opening “Punch You in the Eye” was the first one played on Summer Tour, and never, EVER unwelcome in that slot. It wisely makes far more sense as a second set opener at summer shows simply because utilizing Kuroda’s swirling lights in broad daylight pre-HEY! would be a colossal waste of electricity. Trey played the “Landlady” section with aplomb, and then it was time for the man with the lumpiest of heads. Moving from dark, wah-infused metal in which many a whale was harpooned to Page McConnell Rhodes warmth, this “Carini” would have been the undisputed highlight in many an average to good Phish set; especially when it also contained wook destroying Gordon bombs like this one did. But this is New York City. Much like the 20 year old Doc Gooden on the ’85 Mets, the boys were just toying with us; you expect the fastball, then your knees buckle at the curve.

© Scott Harris Photography.

The ensuing combo of “Ghost” and “Wingsuit” comprised the strongest consecutive 26 minutes of summer 2014 thus far. When the band completely nails the drop, it augurs well for the rest of the song, and when Trey steers the jam into D Major, as he so recently (and awesomely) did on 10/25/13 in Worcester, all bets are off. It’s hardly a secret that Phish D Major jams are loaded with money and golden hose, and this “Ghost” was aces in that regard; my handwritten scrawl appeared to read “BIG D. HAPPY JAM BRIGHT.” And as it proceeded to wind down via a discordant funk jam with lots of Page clavinet and a hearty dose of N’awlins swamp, we realized a contender for a Top Ten jam of summer ’14 was afoot.

From its auspicious debut on Halloween to its recent placement as the conclusion of Phish’s newest album, nobody will dispute that “Wingsuit” is a very high quality composition for a band that’s been around over 30 years. The Randall’s Island version was the fourth played since Halloween, but perhaps the first in which its potential as a teary-eyed jam vehicle with towering peaks has been realized. Whether it was the presence of a bright orange “Super Moon” over the East River, the lights of the Triboro Bridge, or simply a huge burst of inspiration, I can only properly describe this “Wingsuit” as “epic,” transporting the listener to a huge European field in the late 70’s where David Gilmour is completely re-arranging your genetic makeup. It was even better than that afternoon’s beef rib, something I did not believe humanly possible.

The rest, as they say, was pure gravy. The “Rock and Roll” was a tour debut, and a nice little rager to properly welcome us back to planet Earth. And the “Hood” was unique in that it was an interesting amalgamation of Type I and Type II jamming (Type 1.5 maybe?), never straying from its major key, but still containing all kinds of tasty McConnell Lil Pumpkin licks and sly noodling from Trey that are generally not part of the song proper. “Tube” picked up where the Mann version left off; which is to say under five minutes, but still flecked with some ridiculously hard clavinet funk, and the ending “First Tube” was a nice cap to the evening because you knew they weren’t going to end off with “Joy,” and “Tube Sando Encore” just sounds cool.

Photo by Andrea Z Nusinov

Leaving Randall’s Island via MTA bus was far easier than getting there, though it would have been nice had somebody alerted us to the fact that the ‘4’ subway train we had painfully squeezed our bodies into was running on the local track. But transportation issues can be excused when a second set is as elegantly constructed and contains as much goodness as the Saturday night Randall’s one did. The “Ghost” and “Wingsuit” were both near-classic versions that made standing through an epic “Yarmouth Road” and “Devotion to a Dream” one-two punch tolerable in hindsight, and the entirety of the Randall’s venue experience was incredibly pleasant. Eighty degrees and sunny while drunk on smoked meats tends to have that effect.

Read more...

Picked up pieces from the first night at Randall’s Island from PZ and LMo.

PZ: Only a little over a week ago I noted in this space that the functional role “Fuego” would assume in Phish’s ever-expanding repertoire was still very much an open question. Opener / early set compact rocker? A launching point for set-defining improvisational exploration? Late game / set closing heroics? The question seems almost silly now, because in that short time we’ve learned the answer rather decisively: much like Phish as a whole currently, “Fuego” does it all. “Fuego” is the tabula rasa onto which Phish’s creative muscle is currently being flexed, joining the likes of “Ghost,” “Tweezer” and “Down with Disease” as the canvass of legacy. Not bad for your new single, right?

LMo: This was a most excellent first set. I could hear the urban city vibe I love so much throughput the concert. “Bathtub Gin” went absolutely over the top of excellence. Trey takes it out of the park and into the sky with Page fast supporting the flight. Page is carrying sound into some very interesting places these days, the piano just soars into unique melodies invented in the moment, improvisations confidently and gloriously asserted.

PZ: When me and my buddies shoot the shit about the Phish, geek-ing it up comparing shows and eras and versions of songs – as we will sometimes do for no better reason than to simply amuse ourselves – the only factor that puts any distance between where Phish is currently versus past eras is the quality and volume of improvisation in the first set. Example, the amazing fall ‘13 tour, which was as good as any… you want to say since Big Cypress, or at least I do. But that’s a hard case to make based on the differentiator that 2003 in particular had so many shows where they fired all cylinders throughout the gig. The prime output from current shows is demonstrating Phish playing at a career peak, but often times there is a sense of a bifurcation where the first set is the “compulsories” and the second set is the free skate.

So when Phish starts to peel off epic (I chose that word carefully, not flippantly) versions of “Bathtub Gin,” as they did during Friday's first set, and follow it with the second soaring, flowering of “Stash” in the first ten days of tour, the “not as good as [whatever]” argument starts to get wicked flimsy. First blush, the “Gin” is right up there with Gorge ‘09 and the Bethel Gin-Teca as the best of 3.0.

LMo: I love to be as close as possible to the stage but there was scarcely room to plant my feet in our spot close in front of Mike. There was not much space for dancing in this crowd but everyone around me was quiet and I like that. “Steam” was truly wonderful and amazing, a lot of brilliant moments that seemed as if they could go on and on... the shift into “Down with Disease” was seamless. The “Dwd” jam was over the top wonderful. We really all went out there to the sound space many of us are looking for with the Phish. Sadly, I was brought to a full stop with the crowd chanting "woo." So, oh well... I will just say it knocked me out my own auditory flight and made me fall back to earth for a little while. So I took a moment to write a sidenote poem in my notebook about something not related to the event.

Solar garlic #stash #phish #randalls – Photo by Andrea Z Nusinov.

Page rocks the “Golden Age” with sweet piano riffs throughout. Awesome Page-side love, thank you. “Limb by Limb” got interesting too. “Fuego” is our summer song this year, just rocking the house every time, big time. I personally enjoyed the experience of sharing this song again after the Atlantic City introduction of it with my buddy Marco, who aptly said to me, "if you build it they will come," just as the “Fuego” started to build the momentum. “Fuego” is “Tweezer” in another outfit.

“David Bowie” was all about CK5. I so enjoyed Kuroda's lights. I tend to close my eyes a lot at a show and just listen to the huge sound, but the lights in “Bowie” really got me last night and I noted a glorious full lightbulb of a white moon hovering over our dear gathering at Randall's. The moon and CK5 were really in sync last night. Cheers to Chris Kuroda for always bringing the best effect. The "Character Zero” encore rocked it out for the finale of a beautiful magic night in New York City and we are right where we should be at this juncture. I felt truly free, let loose of all cares and worries.

Updated MAP! Saturday Randall's Island #phish
Image from Coventry Music

PZ: The reason Phish is better than any other Rock and Roll band is because our band’s drummer, Jon Fishman, is better than your band’s drummer. If your drummer sucks, your band sucks, no matter who you put around him or her. Our drummer doesn't suck. As good an example as any of this Fish Drives Phish phenomenon is the Randall’s “Down with Disease” – when you get a chance, listen to this version, and focus just on Fish. Follow him, listen in awe as he simultaneously anchors and drives and cajoles, then retreats and listens and ponders as the next idea percolates, like the most engaging conversationalist.

The remainder of the set was incredibly balanced with no meaningful downtime, comparatively compact versions of songs that flowed with balance, ease, grace, charm and power. “Steam” ended kinda oddly but seemingly because they had better ideas with the “Disease.” The “Golden Age” jam offered tons of mind candy in a compact package. “Fuego” saw its first fourth quarter action, where it simply works, big jam or otherwise. “Limb By Limb” was elegant and perfectly placed. The set construction was masterful, so much so that stock footage “Cavern” and “Character Zero” were enjoyable even for the JadedVet™.

Randall's Island last night. Photo by Dana (distortion) Yavin.
Photo courtesy © Phish From the Road.

Phish plays again tonight and tomorrow, same time same station. They are a great band offering a high quality adult entertainment experience and playing at the peak of their powers, so if you are driving around the stadium, think about popping by. Lots of trippy stuff, festival-level entertainment everywhere, build some time in before or after to walk the grounds, you are sure to find something unique and cool. While the New Yorker OCD Phish fan crew was hysterically flummoxed by the logistical idiosyncrasies of this venue, all in all it was pretty awesome and easy experience by most accounts. Walk the bridge if you can, at least once – it is really quite something, a vantage point that most of us have sailed over hundreds of times without much thought, yet one that is well worth a moment of your time and reflection.

Gotta run, we are in our spot 20-ppl back straight in front of Mike, if you are in the neighborhood by all means stop by and say hey. Go Phish!

Photo courtesy © Phish From the Road.

Read more...

[For this recap we'd like to welcome guest blogger Craig Hillwig) -PZ]

Sometimes Phish foreshadows the fireworks in its opening sequence, although it’s often not clear except in retrospect and after much contemplation. Mann night two was that type of show.

As a show opener, “Glide” is an appetizer. It makes you wait for the “real” opener. My mind wandered back in time to Madison Square Garden last New Years Eve, when Phish made all our dreams come true with the Truck Set. Was it going to be THAT kind of show? Of course not – each show is its own unique expression and deserves to be received as such. There would be no follow-up “Llama.” But there would be a tie-in to NYE and also to local Phish lore in the second stanza.

Photo by Andrea Z Nusinov

“Glide” finished awkwardly, with Trey laughing and adding, “that’s our own interpretation of that song … thank you goodnight! …. we hope that rocked your faces as much as you’re rocking ours at this very moment.” “Sing Monica” followed, the first of the three Trey/Tom compositions from Fuego that would be played this night. It’s too early tell whether “Monica” will settle in as a first set standard in light of the SPAC encore placement. However, it was not well-placed in this instance. The crowd was looking to release some pent-up excitement after “Glide,” but that would have to wait.

“Birds of a Feather” and “Wolfman’s Brother” followed, both of the standard set one variety. “Wolfman’s” featured Trey sitting back in the pocket for much of the jam, leaving ample room for Mike and Fish to syncopate with Page’s signature staccato clavinet, and the crowd was appreciative about finally being able to get their dance on. These were followed by “Sugar Shack,” a tough tune to play only once a tour due to its deceptively different time signature (13/8 or 9/8 depending on who you talk to on the Twitter). It may have been the best version to date, if only because Trey nailed the transitional guitar parts that have tended to trip him up in the past.

“Alaska”...

Photo courtesy Phish From the Road © Phish, Inc.

Then we got the goods. There’s a certain visceral feeling you get as soon as you hear the first chords of “McGrupp” rise out of the nothingness. It’s a song that has become exceedingly rare in 3.0 (only nine played), and like most of the older composed works it benefits from practice and repetition. It seemed clear that they had practiced it – indeed, the band seemed to be toying with some very Watchful themes during the sprawling “Fuego” jam that anchored the prior night’s second set. There were still some rough transitions, but all in all it was a beautiful rendition.

The second “Stealing Time from the Faulty Plan” of the tour was next. By the sixth show of the tour, we’re getting a sense of which songs are heavily weighted in the rotation, and “Stealing Time” seems to be a perennial favorite of Trey’s. This was followed by a gorgeous version of “Horn,” a rock anthem about a human doormat with a driver’s license and bad taste in wine.

The dysfunctional-love-song theme continued with “Devotion to a Dream” and “Silent in the Morning,” with huge placement points for both. For those keeping count, that’s nine consecutive “Horse”-less versions of “Silent in the Morning,” so this trend officially appears to be “a thing.” Interestingly, the “Horse”/”Silent” combination was originally conceived as a single composition, only to inexplicably be tracked separately on Rift. It’s as if the song was cleaved in half, an incomplete musical thought. Any mourning for the Horse was quickly forgotten once the huge, set-closing “Run Like an Antelope” got under way.

Set two was brought to us largely by the letters “C” and “W” starting with a monster “Chalk Dust Torture,” possibly in tribute to the legendary version they played in Camden nearly fifteen years earlier to the day – the same version that was featured so prominently in the emotional retrospective video played at MSG before the NYE truck set. The “Glide” opener now made a lot more sense, in context. This version of “Chalk Dust” had it all – from dark dissonance to melodic bliss. Page was the star here, starting off on L’il Punkin and working his way clockwise around his rig as the jam changed tone and structure.

Photo courtesy Phish From the Road © Phish, Inc.

“Wingsuit” and “Winterqueen” followed for back to back W’s – an odd but bold pairing of two of the moodier tracks on Fuego. Their presentation together felt like a suite in many respects, and worked well in my view. However, if you didn’t want a fifteen minute cool-down segment so early in the second set, your milage probably varied greatly. A spirited “Twist” brought us back up part of the way with a standard, Santana-inflected version that clearly had no intention of blowing up and came to a virtually complete stop. The band was keeping its powder dry, and we would soon learn why.

“C” also stands for “covers,” and If there were any lingering speculation about a “no-covers rule” after Tuesday night’s “Also Sprach Zarathustra,” Phish demolished it convincingly with compact but fiery “Crosseyed and Painless” that included a smattering of soaring echoplex and some “Birds of a Feather” phrasing by Trey. The venue instantly erupted when the song burst from the nothingness, perhaps due to a realization that any perceived shackles had been broken. Let there be covers!

Photo courtesy Phish From the Road © Phish, Inc.

A wafer-thin “Waste” provided the second cooldown of the set, and it was just exactly perfect.

The “Mike’s Song” that followed was strictly by the books, save for some additional “Birds of a Feather” licks, and seemed destined to finish with a walk-off “I Am Hydrogen” > “Weekapaug Groove.” Instead, Trey abruptly dropped into “Sneakin’ Sally Through the Alley” to close the set, a combination not seen since 7/24/88 at Nectar’s. And then there were covers.

The choice of a “Julius” encore created more than a little doubt about whether they would play “Weekapaug.” But of course, this was a set of C’s and W’s, and so of course they did. Final Score: C’s - 2; W’s-4. Next stop - Randall’s Island.

Photo by Elliot Byron

Read more...