https://forum.phish.net/forum/permalink/1377869236 While most performing artists play single-set shows, Phish has made a career of playing two-set shows. This is almost certainly because of the precedent set by The Grateful Dead, although the practice likely goes back further than that. Playing multiple sets per show required the band to expand their repertoire quickly, and develop both their musical abilities and their physical stamina. In the liner notes to A Picture Of Nectar, Phish acknowledges that playing three sets a night, three nights a week at Nectar's "taught us how to play". Phish also modeled their approach to first and second sets after The Grateful Dead, with the first set typically featuring tight song arrangements showcasing the band's versatility, and more experimental, psychedelic music in the second set. When the band went through a seismic shift in all aspects of their art between 1996 and 1997, they changed this perception, eliminating the "warm-up" aspect of their first sets. This resulted in some of the band's most highly regarded shows (11/17/97, 12/7/97), but also a few shows where the first set is more creative and enjoyable than the second. But even then, our favorite band would drop a couple of gems in the second half that are worthy of inspection under the jeweler's loupe. Phish hit the ground running at the start of their Summer '98 U.S. tour, and like with 11/3/94, I find it odd that 7/19/98 isn't as highly regarded as the shows that surround it. The setlist displays several jam "heavy hitters", and there is plenty of laid-back funk along with blazing rock and roll. Tweezer is set up to carry the second set, but as with 10/27/94, this version fails to latch on to the deep funk or blissful groove like other versions from this period. But then an angular descending bass line from Mike right at the end of McGrupp flips a switch on the band, and they return to improvisational territory previously visited in the jam out of Horn four nights earlier in Portland. I find these five minutes of improv immensely rewarding and special, particularly in the context of such a mammoth show.

Decent SBD source for this show with a good amount of low end in the mix. Big thanks to John Redmond for getting it done! The show kicks off with a nice four song stretch. Solid YEM. Nice B&D solos in Magilla. Rippin’ Llama. Golgi rounds out a set that flows nicely all the way through. Set 2 starts out with Trey encouraging the crowd to learn the storm dance for the Landlady. An enjoyable Mike’s Groove follows. Tube has a cool little breakdown that leads into the jam. The introduction of Henrietta once again during I Didn’t Know confirms that the Zero Man costume has been officially retired. Strong Possum to close out the set. A red hot Fire rounds out the evening.

https://forum.phish.net/forum/permalink/1377860703 I have never been to the state of Vermont. I'd like to visit there someday, but I only know what I have heard and read about the state. Although Vermont is known for progressive politics and natural beauty, it still seems improbable to me that the four members of Phish met and started playing here. Most American bands that began their career in the early 80s and came to prominence in the 90s were based in New York City or the West Coast/Pacific NW, and there were also thriving music scenes in college towns in the Southeastern and Midwestern U.S., but Vermont may as well have been Canada to most hip young people at that time. On the other hand, the band has never been shy about claiming Vermont as their home, espousing the virtues of that state at every opportunity. And they have acknowledged how their distance from more densely populated urban areas allowed them to develop creatively and forge their own style. The plethora of universities and college bars in the Northeast also allowed Phish to hone their craft and expand their audience without having to relocate to a nearby metropolis like Boston or New York City. And it certainly didn't hurt to be popular with the local skiers, either, which kept their schedules busy during the winter months. Several things about this show stand out to me: The early arrangements of new songs The Mango Song, Chalk Dust Torture, and Guelah Papyrus, which would get ironed out over the coming weeks; the Tweezer with the wind-down ending seguing into one of the first versions of Tweezer Reprise (I wonder if they had originally envisioned the Reprise this way?); Let's Go by The Cars ("I love the nightlife, baby") being used to introduce Fishman, who provides some interesting "Zeroman" pontification; and Trey amusingly forgetting the words to The Lizards, prompting the band to honor a request for an impromptu and ripping version of The Sloth.

This was an interesting one to bring my family to for their first show. The first set started strong and there was great play in Evolve and Mull. Personally was a little disappointed by the Stash, but Bowie closed the set strong. The second set left me a little dissatisfied, especially with Ether Edge. This was the only song that my mom (at 60 y/o) was able to melodically follow, and that's because (sorry mom) it is a campy and churchy tune (see "Lord I Lift Your Name On High"). I prayed I'd never see it again, but the band threw it in the otherwise sublime first set in Nashville 10/7/23. Ultimately the purpose of this review is to advocate for Free in the Jam Charts. While this version is nothing like Cuyahoga, if the goal of a Jam Chart is to change the way we perceive a song, this version accomplished this. Not only was I personally transcended by this Free, but in re-convening with a few friends after the show, I was told I was not alone in this ("I've never heard a Free like that;" "Really liked that last one[sister]"; "The Free though??"). Overall great showing in Huntsville, great two shows to kick off the tour

https://forum.phish.net/forum/permalink/1377852761 Margaret Atwood introduced the phrase "context is all" as a motif in "The Handmaid's Tale" in 1985, and the quote is practically a cliché by now. It neatly summarizes the development of post-modern art in the 20th century, and is a crucial component of our interpersonal digital communication today. But even though context is important, it can also sway our perceptions unnecessarily. Not every Phish show played during August '93, December '95, or Fall '97 was a glorious bacchanalia of sound and light. And occasionally, a very good show is overlooked because it is dwarfed by surrounding giants. Compared to the previous three shows on the tour, or the best shows that came later in November '94, 11/3 UMass may fall short; but removed from this context, I believe this show is far better than "an average show". Phish performed a total of seven shows on the UMass campus between 1990 and 1995. Some are better than others, but the audience response on this AUD recording demonstrates how the Amherst network of colleges was a stronghold for Phish fans in the early 1990s. It makes sense, then, that this show would begin with a nostalgic feel; Fee, Divided Sky, and an old-school Wilson > Peaches combo effectively turn back the clock to the Spring of 1989. However, a remarkable SOAMelt brings us up-to-date with the 1994 Phish sound and style of improv. DWD and Julius rage for eight minutes apiece, while the fledgling Simple sounds like it's almost ready to fly. According to the review on the legacy phish.net review site, Trey was pointing at Fishman when he said "You end up looking like that" during the Vibration Of Life explanation. The segue from the YEM vocal jam into BBFCFM is superb. And listen closely to the very beginning of Nellie Kane, when one waggish lad in the audience yells out, "Play the White Album!" There are many great four-show runs in the band's history, too many to list. But runs of five consecutive great shows are scarcer; partly because 3-show festivals and 4-show NYE runs are the norm, partly because of the physical stamina required. 10/29-11/2/94 is widely regarded as a phenomenal three-show run for the band, and 11/4 has plenty of fans as well, but I feel that 11/3 deserves to stand shoulder-to-shoulder with the others.

https://forum.phish.net/forum/permalink/1377836606 The legacy of Phish in Philadelphia is an old story worth retelling. The city was one of the earliest touring hubs for Phish during 1989-1990, likely for its proximity to Trey's boyhood home of Princeton, NJ. They played enough shows in the area to establish a definite fan base there, and by 1992 the Philly crowds was becoming really rowdy at the shows (you can hear the same brave soul shouting for "Crazy Train" during 3/21/92, 11/25/92, and 5/2/93. Stay classy, Philly). Phish graduated to the legendary Spectrum venue in 1995, and the Spectrum can claim to be one of the few venues to host Phish shows in all three eras of the band. Trey's affinity for the Spectrum is also well known, not least because it was the home of the Philadelphia Flyers, who won consecutive Stanley Cups while young Ernest Anastasio III was still playing for the Lawrence Pee Wee hockey squad. [I don't know of any confirmation of this, but I suspect Trey's use and subsequent abuse of painkillers was a result of his appearance in a Flyers Celebrity hockey game at the venue in March of 1997. His posture on stage strikes me as very "relaxed" on the Walnut Creek '97 DVD, and this would also explain the random "All Fall Down" signal at the venue on 12/11/99.] Trey has noted that his first rock show was Jethro Tull at the Spectrum, while the frequency of Bowies at this hallowed venue leads me to infer that Trey also saw the Picasso of Pop perform there during his "Serious Moonlight" tour in July of 1983, just a few weeks before Trey matriculated at the University of Vermont. Suffice it to say that the band has delivered more knockouts at the Spectrum than Rocky himself, and there are many fans who cite shows from this venue as among their all-time favorites. The 1996 NYE run, however, remains overlooked by many fans, mainly due to the disappointing 12/30-31 shows at Boston's Fleet Center, for which more blame falls on the venue than on the band. The 12/29 Spectrum show earns the highest rating on .net from this run, but this show from the previous night deserves recognition as well. There was very little rust for the band to shake off as it geared up for another NYE run. The first standout song of the show is Wolfman's Brother, showing the initial signs of the metamorphosis that would occur the following spring, and a notably smooth transition leads into a speedy It's Ice. The DDLJ > TMWSIY reminds me of the contemplative My Left Toe from the Siket Disc, and the Mike's > Strange Design > Weekapaug Groove also features some softer playing, with Weekapaug ending with a Page piano solo a la Squirming Coil. Those that were there may have complained that these quieter moments "sucked the energy out of the whole city", but the playing holds up on tape and then some!

https://forum.phish.net/forum/permalink/1377827296 It's generally accepted that there is no need for Phish to tour as heavily as they did in the early 1990s. They have earned name recognition in the music industry, as well as the reputation for being one of the most lucrative live acts ever. But every monument needs a pedestal, and Phish clearly made sure that they were building their careers on a firm foundation. The Fall '92 tour schedule was hectic, setting the pace for the next two years: 21 shows in 25 days, traveling over 4000 miles to 19 cities; a grueling schedule by even the most road-rashed tourhead standards. From one perspective, Phish didn't need to undertake this whirlwind run to the Midwestern U.S. and back. They had already toured for 2 1/2 months the previous spring, then spent the summer as a support act for several high-profile artists and festivals, then recorded and mixed an album of really, really difficult original material in the fall. (Trey's face in the band photograph included in the Rift release is an illustration of exhaustion). With a record deal already inked and a new album in the can, most bands would have used the final weeks of the year to take a break from the road, focusing instead on music videos and publicity appearances, attempting to maximize their public visibility. Wisely, Phish and their manager Jon Paluska had recognized that this was not the most effective path to success for them. Instead, the band went out on tour again. Their contract with Elektra provided for no monetary support from the label for tours, but the band knew that touring was the best way to expand their audience. Phish wanted to improve their PA and lighting systems, and add a grand piano on stage, and travel in a tour bus with sleeping accommodations instead of a riding in a van and doubling up in hotel rooms. So they ground out this tour, playing shows for likely around $2,000 a gig, and put their profits back into the organization, believing that this strategy would pay dividends in the years to come. As for 12/4/92, it's one of those shows where the listener must dig a little for highlights. The first set is a "Fall 1991 special" until FEFY and Maze bring us up to date, and Trey's Forbin's>Mockingbird story is a good one (evidence that Trey wasn't lying when he claimed to be a submarine in Time Turns Elastic). Bowie contains secret language but Possum does not, which is exceptional for 1992, and there's a goofy "Aw f***!" signal in the Hood intro, plus a "Milk!" exclamation from Trey at the end. And don't forget to check out the show reviews that explain why Trey cracked up during Cavern, and subsequently asked everyone to "try to be cool" before the second set! And there's another unidentified tease - check out what Page plays on the B-3 at 7:30 of YEM. I'd really like to know what song he is teasing - anyone?

Phish played to a solid crowd in this epic place. First time to enjoy the music since 98’ of Phish after 7/31/98 and 11/4/98. Look up the 2 shows sets lists. Phenomena grips the less than nothing! Give it a whirling fire in the daze to come ringing; into the light heart in the sands and the heart. The show was seriously flawless and more than I could imagine. Really found grace those summer shows with heat and fire burning bright. The sets, this night were straight timing, and mythical expressions that deliver’s and signed with a date. I’ve know seen 13 Phish shows and just for fun this night actually had not an Encore! Band didn’t leave the stage, and actually it was over and everyone knew it the night was over. For some maybe, but not me. After t he nitrous mafia shot my windshield, ripped the 4ner from my Toyota leaving only Run and pulling on my skyroof to try to take all my shit. Just so everyone know so Ohio is not the Heartland. Wisconsin is boyz and girlz. But, The Blossom is a magical venue and region in OH. Cayahoga State Park. Cool cops though and shakedown was stony. Peace????. Long Man River; love long????

https://forum.phish.net/forum/permalink/1377818140 Not all Phish shows are great. Sometimes a Phish show can be marred by uncontrollable circumstances, and other times they just can't deliver the goods on stage. IMO the show on the previous night, 10/3/99, falls into the latter category. That show was the band's first return to the Rosemont Horizon since the exhilarating Halloween '95 performance, and perhaps expectations for 10/3/99 were high, but the band's performance on that night fell flat. However, Phish can always turn it around the next night; the band rarely went into a slump for more than a couple of shows. Listening to 10/4/99 gives me a strong sense that Phish wanted to make up for the previous night. For me, the tip-off is the Funky Bitch appearance early in set 1, considering they had played a relatively ragged version the previous evening with Sugar Blue. Even though they hardly ever played songs at consecutive shows during this period, it makes sense to me that Phish would want to prove to themselves that they were better than what they showed in Chicago. It's also worth noting that Page was playing with a sprained ankle, and it doesn't seem far-fetched to imagine that Trey, Mike, and Fish were acceding to Leo's wishes for a little more polish on the performances. Whatever the reason, this is one of the tightest shows Phish played in 1999, a year of general looseness on stage. The segue from The Wedge > AC/DC Bag recalls the Oh Kee Pa > AC/DC Bag transitions of 1990-1, and Fishman directs the tempo of the band during a fun Makisupa jam (including what might be a preview of the intro to Vida Blue's Most Events Aren't Planned?). The Ghost 2nd set opener admittedly pales in comparison to the Portland monster from the previous month, but there's still plenty of 1999-style Phishiness to be heard. Wilson includes a nice mini-jam that was typical for this era, and the swirling psychedelia of Sand brings matters to a head.

https://forum.phish.net/forum/permalink/1377808193 We always want to listen to the best shows, and usually it is the best shows that are rated most often by users. But once in a very great while, an excellent show slips through the cracks and goes unheard. Maybe the source recording is poor, or new to circulation, or incomplete. This AUD source for 11/24/91 Dartmouth has several dropouts and is also missing the encores, but IMO the two sets that are available are stellar, and deserve to be heard by more fans (possibly as a remastered SBD archival release). This show is another example of the band developing their fanbase on college campuses, and the band manages to get a tight sound in a boomy recital hall. @dscott's show review covers most of the highlights, but listen to the band completely nail the new composition It's Ice, continuing to stretch out the jam, as well as the recently-resurrected Tube. Fishman shows some fortitude by playing through the pain of a splinter in his hand, as well as playing his trombone without a mouthpiece during I Didn't Know - ouch! And Tour Manager Andrew Fishbeck, Monitor Engineer Pete Schaal, Lighting Director Chris Kuroda, and FOH Engineer Paul Languedoc are worthy of mention, all four of whom were literally working around-the-clock to make each show on this tour happen. And this YEM - wow! I hear Trey teasing a melody that almost sounds like the "waiting so long" section of Two Tickets To Paradise by Eddie Money, before the jam dies down and then builds up a groove that is very reminiscent of the dance party/2nd jam of the esteemed 7/29/98 Riverport Gin! Because Phish was a regional phenomenon working toward nationwide recognition during this time, they played shows to a wide variety of audiences; some were rowdy (12/6/91 Middlesbury), others indifferent. The band always took note of the audience response they received, and tailored their show accordingly. At the very end of this tape, Trey thanks the audience for being attentive, implying what kind of audience the band preferred.

SET 1: Buried Alive: Killer opener as always. > Down with Disease: This is a type I rager all the way. Big old loops at the end. Unfinished. -> Makisupa Policeman: Crowd goes crazy for this one when it starts up. Great placement! Woke up this morning, pot. LOL. Chalk Dust Torture: Trey teased Lazy (I don’t know what Lazy is, just found this in the Phish.Net notes). Trey DESTROYS this one. Wowzers. Would recommend! Ghost: Page shines brightly on this one. Drives the funk bus big time! When Page stands up we get down!!! Lots of stop start action starting at 10:20 through the end (couple of minutes worth) > Divided Sky: At first this sounds like Slave. Just momentarily. First and only of the tour. LTP 8.2.97 (Gorge), 23 show gap. Trey is rusty in the early going (tramps). Get past that, and this is a rocking version. Dirt: Exceptional placement! Trey crushes the solo. Soaring is an understatement. > Taste: Close to the Edge by Yes at 6:31. Good Taste with some excellent trilling at the end. The Star Spangled Banner: SET 2: Mike's Song: Big ol’ loops to kick off the jam, love that! Wish they would bring that back. Awesome work from Fishman ratchets the energy up a notch at 6:28, guy is such a beast. Love the subtle mellowing at 8:42 in preparation for the second jam. But instead of going for that second jam, things get a bit funky. By the 12 minute mark they settle this down again into a Trey led jam. Things get quite dissonant in the late 15’s as Trey opts for that weird summer 97 tone. This doesn’t last too long. Shortly after this things are ramping up BIG TIME with Trey wailing like a fiend. Super intense and in your face. Rock and roll!!! With just a minute and a half or so left, Trey manages to ramp up the intensity even more with some severe note bending. Phew! That doesn’t last too long but it surely served its purpose. These guys were such rock stars. They finally head for Simple at 20:52. That Mike’s was incredible. EASY all timer and highly recommended! -> Simple: The Trey/Page musical duet is very cool. Things get pretty crazy in the late 8’s as it takes on a SOAMule sort of feel with Mike and Fish joining back in around 9 and half. Mike and Fish actually drop back out fairly quickly, and Page and Trey create some gorgeous stuff that segues exceptionally well into Dog Faced Boy. That was amazing stuff!!! Highly recommended. -> Dog Faced Boy: They basically jam the opening of this for a good while before actually going into the song proper, super cool stuff and the crowd starts a loud clap along. When they do finally go into the actual song, it’s played a good bit faster than typical. Was played for the first time since August 12, 1996 (109 shows). -> Ya Mar: Crosseyed And Painless by Talking Heads at 10:51. Fun play on the actual lyrics, granpoodie!!! They jam this sucker for 8 minutes! Out of the jam gate Fishman is masterful. This jam is so sick – 4 headed monster! Mike is very prominent, so many bombs being dropped on the Spectrum. This is completely Type II by the way. Trey dialing up the intensity at the ten minute mark taking great runs. But let’s be clear, Fishman freaking owns this jam, dude is incredible. Listen to Mike just destroying America at 13:35 as he guides the band into Weekapaug about 25 seconds later. Incredible! What a finale this ends up being. My goodness, EASY all timer. That was so sick. Incredible segue into Weekapaug!!! -> Weekapaug Groove: Mike is absolutely raging in the early going of this jam, so loud! Around 5 and half things are super funky. They almost take a slight reset or restart and briefly it sounds like they are going to take a hard left into Cavern. By the mid 8’s things settle out of that funky groove into a Trey led romp, this is fairly fast paced. By 9:15 Trey has pushed this thing into overdrive. By the 10 minute mark, the crowd is responding to this and goes berserk. Huge traditional Weekapaug peak at 11:50! Instead of hammering that, Trey takes it back into a funky section at 13:00. Crazy stuff from Page in here. This goes on for a minute and then they get back into a typical Weekapaug wrap up. Scintillating version. EASY all timer, highly recommended! According to Phish.net at some point Trey teased Izabella but I never heard it. Bouncing Around the Room: They could have played anything at this point. Frankly, I think this is awesome placement. After all that came before it in this set, this feels right to me. Character Zero: Played a little slower than usual through the composed section. ENCORE: Ginseng Sullivan: Not seen in the encore slot since 11.24.96 and this was the last time it was placed in the encore slot. > Sample in a Jar: Standard. Summary: Wow, what a show! First set is tame for this tour’s standards. But second set packs a Mike Tyson right uppercut to the jaw type of impact. Loved basically every minute of it! I feel this rating currently on .net is a great representation of what this show is: 4.542/5 (301 ratings). Replay Value: Chalkdust Torture, Mike's Song, Simple, Dog Faced Boy, Ya Mar, Weekapaug Groove

SET 1: Guyute: Typical version, but the crowd goes crazy for it. Funky Bitch: Unfinished. Not your average version! Instead of ending it as they typically would, Trey lays back in the cut just funkily strumming while Mike runs wild and amok. It’s great and I would highly recommend! Wolfman's Brother: During Wolfman's, the lights were turned off and Trey and Mike ducked behind the onstage speakers. When the lights were turned back on, they were hidden from the crowd. Wolfman’s also included a heavy metal style jam with Trey quoting the lyrics to Sanity and Esther. Man, when this jam hits – it’s just a beautiful thing. Like the Funky Bitch before it, Trey hangs way back in the beginning and let’s Mike take the lead. So mellow and so funky. Absolutely delicious. Please listen to the section in the 9’s and beyond. This is sublime, some of the best Phish music they have offered in their career. When folks talk about the band being in the pocket – this is IT. Doesn’t really get better. It is subdued, but that is the whole point. True perfection. This section goes through about the 14 even minute mark when Trey starts to cycle up the pace. The crunch factor enters the chat around 15:45. 18:55 – the hard core theme enters the chat. You know the one I am talking about. The one that goes on forever. If I ever get to meet Trey, this will be the question I lead with – what was the motivation for this excruciating section? Who were you pissed at? How high were you guys? What were you on? 26:25 people whistling, begging for mercy. None was granted. I know this deserves flames, but I will recommend this version. From roughly 9 through 19 is Phish at their career best. What comes next? Hard to put into words. Would recommend. -> Love Me: Of all things they could have gone into, lol. Mike’s vocals are quite on point here. He must have practiced a lot for this. The Squirming Coil: Great Page solo and the incredible dovetail into Loving Cup. This was the first time this combo was matched up in this order, plus 9.19.99, 10.2.99, 12.17.99. Loving Cup: Perfect way to end this set. Smokes! SET 2: NICU: Standard. Stash: Unfinished. Very intense Type I jam that takes a left turn into Type II territory around 11:55. 13:13 shift into porno funk mode. The eventual staccato playing from Trey is exceptional and driving. In the 16 minute range, the only way I can describe this is ‘coming in and out’ – I am certain this is a very poor description for this section so please listen to it but it’s like the band is dunking you under water and then letting you come up for air – albeit briefly. It’s incredible! By 19:45 this amazing section closes out. Big time, psychedelic effects follow but no finish and then into Free. -> Free: First and last of the tour. Left off at 1:59, pick up the song at 1:59. This one is pretty funky. But in the mid 7’s it starts taking on elements of that heavy metal jam from Wolfman’s. Folks probably had PTSD already from that but this time, it was very brief, only a few measures. From there it goes into the ending theme. Really good Free and nicely jammed, would recommend! > Jam: Super heady jam, ethereal. This melts exceptionally well into Piper. Very psychedelic stuff right there! -> Piper: Page absolutely crushes on this one, banging on that baby grand! > When the Circus Comes: Very nicely played. Who said this band doesn’t have soul? Run Like an Antelope: Red hot Antelope! Absolutely smokes, great set closer. Had to have left most a puddle on the floor in the Centrum. They really rip this one. ENCORE: Them Changes: Debut. Thought Page sounded great with his vocals, very strong. Trey has a ripping solo. This was the only time they played this. Fishman also crushes on this. Summary: Show absolutely smokes and is the best of the three night run, which is saying A LOT. That Funky Bitch is awesome, and half of the Wolfman’s is incredible Phish. The Stash, Free, Piper run in the second set is amazing and the Antelope and Them Changes just smokes!! The rating of 4.391/5 (192 ratings) doesn’t quite do this show justice. I would give it a 4.5/5. Replay Value: Funky Bitch, Wolfman's Brother, Stash, Free, Jam, Run Like an Antelope

Decent audience recording for this show. However, the acoustics of the gymnasium are bit boomy. A strong Landlady opens the show. Pretty straightforward yet enjoyable Jim. YEM is delightful. A trippy vocal jam transitions into Magilla. The Bowie closer doesn’t go too deep but has a cool little jam. Unfortunately, Set 2 doesn’t circulate. :(

We love artists like Phish because they are constantly developing and progressing. The Phish Book and the film Bittersweet Motel are invaluable documents because they capture the band during 1997-98, a period of professional and aesthetic transition. The four members were settling new career goals for themselves, while revamping their artistic goals. This led to a notable evolution in the band's overall sound, the effect of which is still heard in the Phish of today. This contrast in styles is most evident when comparing Night 2, set 2 of the Clifford Ball with Night 2, set 2 of The Great Went. How did Phish change so much over 12 months? In The Phish Book, Page comments on the decision to undertake the European tour: 'We didn't just say, "Let's play some clubs!" We've always enjoyed developing new audiences, and short Europe tours seemed like a natural step in that direction'. Just as Santana helped the band break into the Amphitheater circuit in 1992, opening for Santana during the Summer of 1996 allowed Phish to make career inroads in Europe. Meanwhile, the band was adjusting to playing to larger audiences in cavernous arenas, requiring a different approach to performance. That the band was making changes to their sound at this time seems like a coincidence - but maybe it wasn't. The Fall '96 tour was actually less busy than the previous two Fall tours, but the band recognized the opportunities presented by the Winter European tour. Playing shows in front of smaller audiences allowed the band to relax while developing and refining their sound for the rest of the year. The setlist for this show bears many similarities to the 2/16/97 show that was recorded for broadcast on the [url=https://www.youtube.com/watch?v=3n2B4WOFPfc]German TV show Rockpalast[/url]. That broadcast is one of the better freely circulating videos of Phish in the 90s, but the Shepherds' Bush show gets the nod from me. I can hear extra swagger in songs like Wolfman's Brother, Poor Heart, and Cars Trucks Buses, and good debut performances of the meta-originals "Walfredo" and "Rocka-William". This show also features plenty of cover tunes, a strategy Phish would continue to employ during the tour, culminating with the Cities breakout on 3/1. Slave and Hood in the same set is a treat, and the Jam out of PYITE is must-hear wackiness, starting with the only confirmed spotting of the elusive "Close To The Edge" tease by Trey and taking off from there. Opinions may be divided on this show based on the previous reviews, but to my ears 2/13/97 is a winner.

https://forum.phish.net/forum/permalink/1377787033 It isn't easy to pick out underrated shows from a year as venerated as 1994, but there are still a few out there. Great Woods was one of only two two-night stands for the band that year (although they played two three-night stands as well), and this show from the second night lives in the shadow of the band's last performance of Gamehenge to date. The SBD from 7/8/94 quickly entered circulation, and was officially released in remastered audio in 2020. While the AUDs from this show are nice (listen to the screams when Trey starts singing the recently-revived Gumbo), I think 7/9/94 would benefit significantly from an official release. July 1994 is on my short list of favorite months of Phish shows. I suspect Fishman upgraded his drumset over a 2-day break at the end of June, allowing the drums to be more prominent in the band's sound, and spurring Trey towards amazingly aggressive guitar playing. The setlist for this show highlights the strengths of the band’s sound, particularly Maze, DWD, Antelope in the first set. The jump right into SOAMelt from 2001 is also a favorite of mine (foreshadowing the epic Antelope from 7/16/94; did Trey have Tourette's?), and the following Fluffhead is a favorite of @doglogin. All that plus a heavy-metal Tweezer with another great > into an emotional Lifeboy, and an crowd-pleasing Hood/Suzy set-closing combo (which they would reprise at Great Woods the following summer). Not all of the 19 Great Woods Phish shows are good, but this show definitely kicks some Mass. Thanks to @miguelito for the shout-out in his review above :-) "Thank you! Ain't no better room, thank you! We'd like thank Suzy Greenberg, The Dude Of Life, Looks Too Much Like Dave, and everybody else, especially you... see you next time!”

The SBD source for this show is a bit flat and lifeless. There’s a handful of cassette generations in it’s lineage. The beginning of Reba is cropped to start the show. The jam is pretty straightforward but enjoyable. Buried Alive>Lizards works well together. Strong Mike’s Groove to close out the first half. The beginning of Suzy is cut to start Set 2. Highly inspired/goofy version. YEM has some “solid kang”? quotes during the composed section. Solid YEM with a trippy vocal jam that concludes with some Asse Festival quotes before segueing into The Asse Festival. This version sounds more uptempo than the versions that have preceded it. Smokin’ Llama! Really nice Sky. The hardest working man in show business, Henrietta takes the stage following Sky. The Zero Man outfit seems to be retired at this point. Fish dedicates Bike to Peter Schall. It sounds like Page is teasing My Soul during this extended vac solo. Fantastic yet peculiar Possum to close out the show!

SET 1: The Wedge: Great opener. But after a careful listen, I don’t get why this would be a jamcharts version. But this definitely set a nice tone to open this Saturday show. Foam: Nice! Trey has slight difficulties in his opening part. No big deal, but it’s there. Not played since Alpine 8.9.97, 17 show gap but with a difficult song like this, that makes it that much tougher I am sure. Some of Trey’s first half of the solo seems a hair off. But once he gets rolling and shifts into high gear, he rips it all to shreds. Good stuff. The ending is a bit jacked up when they transition out of his solo. Can’t agree with this being a jamcharts version. Simple: Mesmerizing, so chill and patient. Short but fantastic in its own right. Would recommend. -> The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday: 67 show gap and Trey’s rust is apparent. The Sloth: Another bustout, not played since 2.23.97 – a 55 show gap. Ginseng Sullivan: Played fast as lightning, impressive. Trey picking and grinning. Saw It Again: Typical version. This tune has one of the coolest openings of any tune they play. Wish they would jam it out. Horn: Interesting little space jam before they start this up. Water in the Sky: Standard. David Bowie: Super solid Bowie. They definitely ramp up significant tension on this one. I bet this would have been a ton of fun to have witnessed live. On tape, it doesn’t quite have that it factor that would cause me to seek it back out for a relisten. But still, this was a great way to end the set. SET 2: Runaway Jim: Subtle tease of Beauty of My Dreams by Del McCoury at 2:10. Supposed tease of Super Bad by James Brown at 3:14 but I didn’t hear it. Trey triggers a big loop at 6:37 and things get very quiet for 30 seconds or so. Very aggressive jamming though from there with Trey leading the way. Things do settle and wind down into a bluesy space in the mid 14’s. Late in the 18’s we are still in the same basic space but it sure sounds like it’s about to go into Harry Hood. Like, big time. At 21:50 things have transitioned into an upbeat, Trey led sojourn. Big arena rocking type stuff. Lots of trilling, briefly sounds like the return to the DWD theme. Really sick! Supposed tease of Weekapaug Groove at 23:35, but I never heard it – even rewound once and nope. By the early 26’s things have backed out of that power jam (incredible segment) and things are getting a little quirky. By the mid 29’s things are getting dark and intense. This is an incredibly heady space. Just listen to the power this band could wield at 35:05. It’s unreal. On the fly, without a net over a half hour in they are creating soundscapes that are unique and beyond interesting. 3.0 Phish would have resorted to at least three different bliss sections by this point. Not 1.0. Dark. Nasty. Evil. INTERESTING. By the mid 42’s this lengthy intense 13 minute section has petered out into space. It takes awhile but this turns into a psychedelic soup, things are definitely getting scatterbrained, and it sounds like they are starting to run out of ideas. Sounds like something from one of those huge Tweezers from late 94 and summer 95. They find their way into the Weekapaug sounding stuff at about 47:40. By 52:00 Trey is straight up soloing fiercely. By the late 56’s they are winding down that juggernaut of a jam. What’s the Use would have fit so well into this place but of course this was before WTU ever debuted. Tons of feedback and then > Strange Design: Placement perfection right there folks. Absolute perfection. God, I love this band. > Harry Hood: Absolutely smokes! Great Hood would recommend. > Prince Caspian: Rocked this one out pretty well. Suzy Greenberg: The beginning is muffed. Page’s solo out of the chute just sounds so great. Complemented by Mike thumping hard, Trey playing porno funk, and Fish pushing the envelope, yelling and egging everyone on. Great stuff! ENCORE: Buffalo Bill: Before they go into this – they play around with effects and egg the crowd on. Then from Trey “This is Fish’s favorite song and he wants to play this song.” Moby Dick: Crowd eats this up. Big ‘bust out’ – 435 show gap, fun stuff. > Fire: Standard. Summary: Set one is pretty good, very enjoyable Simple and Bowie. The meat of the set though is pretty much just standard fare if you will. Set two, wow. That Runaway Jim is incredible. Not easily consumable though due to the length. I love it and try and listen to it once a year. Obviously, it dominates the set. Hood is very enjoyable. I concur with the rating of 4.437/5 (247 ratings). Replay Value: Simple, Runaway Jim, Harry Hood

https://forum.phish.net/forum/permalink/1377777209 If the history of Phish was to mirror the History of Western Civilization, then the years of 1989-1990 could represent the Dark Ages. For all the events that occurred during that time, there is missing and incomplete documentation, causing us to resort to legends and folklore to fill in the gaps. 4/22/90, then, might represent the Magna Carta of Phish, providing a remarkably clear, detailed, and informative view into this past world (to extend the analogy, 10/31-11/4/90 could be the Canterbury Tales of Phish). The circulating recording may be the very first multi-track SBD of a Phish show. I had previously thought that Mike Lynch, the forward-thinking fellow who recorded the band in Telluride in 1988, had also recorded this show, but I was mistaken. However, Mike Grace, who recorded the circulating soundboards from Colorado shows in Fall 1990 and Spring 1991, might also deserve credit for this multi-track SBD recording. It takes a few songs for the mix to get dialed in, but the extra recording tracks allow for stereo panning of Fishman's drums that is most effective on the Divided Sky opener and a swinging How High The Moon. It's a great recording for anyone who wants to check out how Fishman's playing sounded back in the day. I like @DemandOpener's review of this show above, and I would be remiss if I didn't mention @OrangeSox's [url=http://forum.phish.net/forum/show/1377287790#page=1]excellent overview of Earth Day performances by Phish[/url], which provides a nice background on this show, as well as a few more pictures. For me, this show feels like standing right in front of the stage, on a pleasant spring afternoon, letting the music of Phish wash right over you. The second set is heavenly; this version of Esther may well be the best they ever played, and Harry Hood will bring you to your knees in exultation. And I'm not 100% sure, but I think the melody Trey teasing in BBFCFM might be the Colorado College Alma Mater - anyone recognize that tune?

SET 1: The Curtain: First since 2.20.97, a 57 show gap. Intro is a little rusty. > You Enjoy Myself: Killer placement. You would have to go back to 2.14.97 and then 12.2.96 to see similar placement in a two set show. Crowd is first shocked then goes bananas upon the opening notes. Great nirvana section with some cool yet brief Page effects. Crosseyed And Painless by Talking Heads at 14:40. Love the loops when the jam hits. Super funky and then eventually turns into a rager and then turns back into a funky space. Would recommend this version. -> I Didn't Know: Standard. Maze: Page’s solo seems a little out of sync. Pretty average version here. Farmhouse: Standard. Black-Eyed Katy: Not quite as good as Winston Salem, but not too far off that level. Would recommend. Theme From the Bottom: Super solid. > Rocky Top: Standard. SET 2: Timber (Jerry the Mule) - Nasty, dark, and evil. Intense version for sure. Would recommend. > Limb By Limb: Two fabulous peaks. Trey puts on a clinic. Would recommend. Slave to the Traffic Light: I LOVE the loops in the intense part of the composed section. Adds so much tension. The crowd is downright unruly during the quiet part of the jam. There is one false peak that is pretty good. They weren’t satisfied with that, so they go for it again not long after. This climax is a little bit frantic but strong, nonetheless. Would recommend. > Ghost: Lots of spirited goofing around during the lyrics from Trey and Fish. Mike leading the charge in the beginning of the jam with Fish and Trey still goofing off vocally. Big time loops in the late 4’s set the stage. Things settle a bit at 7 and a half. Trey yells something to Mike. They basically do a stop start thing a few times that was so typical during this tour. We are deep down the funk rabbit hole. Mike puts on a clinic in the mid 9’s and from there Trey comes charging over the top. It’s on now. Not so fast my friend. By the 12 minute mark things have gone quiet again with Mike stomping on his bell and Page and Trey taking the jam in a bluesy direction. Around 14:40 the jam is starting to take on that klezmer sound you would expect out of SOAMule. By 16:20, Trey comes charging over the top in a blaze of glory intent on setting fire to the Centrum. Awesome last couple of minutes to this one, all time version and would highly recommend. > Johnny B. Goode: Ripped it up. ENCORE: My Soul: Typical hard rocking version, no surprises here. Fishman eggs Trey on during his solo – and he delivers, he kills it. Two straight ahead rockers to close out this show. Summary: First set comes charging out of the gate with that The Curtain bust out and then a surprise YEM in the two hole. From there, the set is pretty much standard fare. The second set though, they really open it up and put on a show for the fans. An absolutely great set of music during one of their best tours. Awesome stuff. Tons of highlights. I would concur with the current rating of 4.493/5 (286 ratings). Replay Value: You Enjoy Myself, Black-Eyed Katy, Timber (Jerry the Mule), Limb By Limb, Slave to the Traffic Light, Ghost

wow. i cant believe that happened. trey at the freakin stone pony! incredible show. the rumors were flying that he would show up for tom’s birthday- how could he not? but when it actually happened? and it was just a full set of deep hard hitting jams, complete with tubthumping bustout???!!! the whole place was just in shock, but ROCKING so hard. wow. what a fun night. hell of a party, tom.

https://forum.phish.net/forum/permalink/1377764854 I feel that very little of 2000 Phish is underrated, because many of those shows have been heard and highly rated already. But 9/11/00 Great Woods is an anomaly - I fail to understand what it is about this show that causes its rating to be lower than others from this year. Is there an anti-Great Woods bias reflected in ratings for shows at that venue? Too many other JadedVets with folded arms and scowling faces, disappointed that the band didn't throw down a 30-minute Tweezer, or bust out a sweet Foam? Personally, I find that I have to be "in the mood" to listen to a show from 2000, even the top-tier shows like 6/14 Fukuoka or 7/11 Deer Creek. But 9/11 Great Woods is the exception; ever since I downloaded this show from the Spreadsheet and spun it, I've felt that this was a remarkably strong show. The Road Runner opener boosts my opinion a lot; one of those goofy one-off covers that some folks find distracting, but I feel are essential to the modus operandi of live Phish. The other reviews cover the highlights, particulary in @waxbanks' succinct show review, including a hot Moma Dance and a cool Twist that arguably deserve addition to the jamming charts. I also think highly of the first set versions of Brian And Robert and Beauty Of My Dreams, the latter benefiting from Mike stepping in for Trey's usual solo. I rank this show among my favorites from the Fall 2000 tour.

When I saw them at Great Woods in 2010, they opened with Lit O Bit and it took the wind out of sails right from the get-go, and I feel Everything is Hollow did the same. The first set just never got going. It sounded like it wanted to do something during Plasma but then it sputtered and died. Drowned >ASIHTOS-> Tweezer->Simple, Pebbles, Spanish Moon was a very enjoyable stretch of tunes. The band was rocking, the crowd was rocking, I was rocking, and the boat was rocking but then a rogue wave of hope struck the boat, and it sank. If 2.5 is an average show, I would call this a 2.25. I know for a lot of Phish show reviewers, average starts at 3.5, so you can adjust my score accordingly.

https://forum.phish.net/forum/permalink/1377754112 This show reminds me of the recordings on the Colorado '88 release in a few ways: short but strong setlists featuring rarer material, fun banter reflecting the relaxed atmosphere, and most notably, the sparse audience in attendance. Listening to the recording, one can imagine 12-15 people milling around between the dance floor and the bar, while the band is crowded onto the stage. Shows like this demonstrate what made Phish a great club band; through their music and stage presence, they could turn an ordinary night into an extraordinary one. And if a local taper captures the show as an AUD recording ([url=http://forum.phish.net/forum/show/1376528056#page=1]or surreptitiously patches into the soundboard[/url]), a show like this one can develop the band's local reputation. @DollarBill's review aptly covers the setlist and the highlights, but there are still plenty of surprises to be found in both sets. The absence of chatting near the mics allows us to hear the band talking on stage, and clearly pick out the requests shouted out by members of the audience (and the crew!). My favorite moment: Trey insincerely introducing the "world debut" of Rift, then jokingly asking the crowd, "What song is it that you want to hear tonight?" After the crowd joins in on the joke by shouting "Rift!", you can hear Amy Skelton's voice requesting, "Highway To Hell!" with a laugh. Also, how precious is that Jessica Jam from the soundcheck? Even though the days of Allman Brothers covers were long behind Phish, the inclusion of that jam at the front end of this recording was crucial in expanding their audience, inspiring many ABB fans to give Phish a try. The band would never successfully play another show in Baltimore (see the setlist entry for 7/19/93), focusing on gigs at The Bayou in nearby Washington DC instead; but 2/25/90 was an easily accessible recording from this era of Phish, and IMO deserves more recognition than it has thus far received.

https://forum.phish.net/forum/permalink/1377742407 With a relatively low show rating, it would appear sensible to lower one's expectations accordingly, but this is a fine show (and AUD recording), in front of an enthusiastic all-ages crowd in a venue built in 1911. This was the band's first performance in the state of Kansas and even though the audience may have been unfamiliar with the band's repertoire (as Trey acknowledges during the intro to a very clean All Things Reconsidered), each song gets a big response. The crowd hangs on to all the twists and stops during a very good It's Ice, registers genuine surprise when The Landlady crashes into David Bowie and decides to mingle a while, and appropriately whistles for the drummer dressed in drag (I don't know of any circulating pictures of this outfit, so we'll have to use our imaginations). I usually prefer to be further from the stage when I attend a Phish show, but I still clap and yell for an encore after the second set, ignoring the looks from those concertgoers around me that are engaged in conversation or texting on their phones. Once upon a time, fans were cheering for another encore [url=http://phish.net/setlists/phish-august-15-2004-newport-state-airport-coventry-vt-usa.html]that was not obliged by the band[/url]. So I take note of shows where the band is called back for a second encore, like this one. I thrill to hear fans cheer and clap because all they want is more music from the band that just played for the last two-to-three hours. Do we still love Phish shows that much? Or would we prefer that they end after two sets, so we can go back to what we were doing before the show?

The last seven digital sources that preceded this show were such a treat! Although this is a SBD source it leaves a lot to be desired given how degraded the tapes were. Still an enjoyable listen nonetheless. Art did a great job with what he had to work with here. The recording kicks off with a nice soundcheck. Kevin featured this Eliza on his FTA show at the Great Went. Really cool uptempo version of Eliza. Nice Landlady to open the show. The Possum that follows absolutely rips! You can tell Trey is pumped up by the enthusiastic audience. Another really nice Llama. The levels gradually drop during Trey’s solo. The Asse Festival starts with another drum solo from Fish similar to 10/1 & 10/5. Trey introduces Henrietta for I Didn’t Know. Did Fish retire his Zero Man costume? Strong Mike’s Groove to close the first half. Groove was the highlight per usual. The set starts off with Trey teasing Rocky Mountain Way. Solid versions of Suzy and Sky to open the set. They start up Oh Kee Pa but abort it and head into Tweezer teasing Oh Kee Pa again briefly. Strong Tweezer with a brief Rocky Mountain Way tease. A standalone Oh Kee Pa is up next. DaaM predictably transitions into Bouncin’. Popper joins Phish onstage for a great YEM and even participates during the vocal jam. He adds a unique twist to the BBFCFM set closer. For the encore I thought for sure they’d play Don’t Get Me Wrong, but instead they go with well played versions of Jesus Left and Fire. The interplay between Trey and Popper during Fire is fantastic!

https://forum.phish.net/forum/permalink/1377730358 It's the closest we can get to time travel: putting on a show, closing our eyes and imagining what it was like to experience it in person. Phish had developed a strong fanbase in Charlottesville by playing the legendary Trax six times during 1990-1992, and had been actively focusing on expanding their audience by playing gigs in basketball arenas on college campuses. 10/27/94 captures the band in the middle of a run of five shows in five nights, as they were deep in rehearsals for the White Album performance at Glens Falls, and their playing was evidently honed to a razor's edge. Sometimes we are guilty of ranking a show highly because of just a few moments of elation, and conversely, assigning a low rating because of one or two disappointing songs. Tweezer is set up to be the centerpiece jam of the second set, but this meek and mild version would soon be dwarfed by the heavyweight versions in Bangor, Bozeman, and Mesa in the following months. Another reason for the low rating might be the notably short 2nd set, clocking in at 50 minutes (?!), but our heroes compensate their audience with a lengthy and generous encore. And there are still a few examples of the improv in random places that made Fall '94 special. It is worth noting the significance of the band's featuring of Gamehendge material on this night, from the Wilson opener to the surprise Icculus in the middle of the encore, referencing the pan-dimensional Vibration of Life during the narration between Forbin's and Mockingbird. Of course, this show is best known for this excellent version of Divided Sky, with Jedi Trey expertly leading the band through the composed section and then laying waste to all negativity and doubt with his soloing. 10/27/94 is a show without any of the towering jams that were to come later in this tour, but it holds together with many strong performances.

Another great Multi-Track Recording for the final night of Phish’s Fall Colorado Run. It’s amazing all of these shows were recorded with this setup so early on in the bands career. If only every recording from back in the day sounded this good! Thanks again to Mike Grace for getting it done! The Carolina to start the show is cropped. They get the show on the road up next with Bag. This pairs nicely with Curtain. Tube and Hood are great. Crazy that the last Hood played was at the start of the tour in Keene. Rippin’ Bitch! Solid Bowie closer. The opening hi-hat segment is very short. The jam starts out pretty straightforward but veers off into a cool little DEG segment before concluding. Unfortunately, the beginning of Golgi is clipped on the recording to start Set 2. The first Rocky Top of tour is up next and features a B3 solo from Page. Another strong early version of Llama. Solid Mike’s Groove. Groove has a nice opening segment and tight little jam. The first Caravan of tour starts up and quickly segues into the debut of Manteca in it’s entirety. The first appearance of Manteca came at the start of the tour in PA at the 23 East when it was teased in Bowie. Amazing version of Caravan with Trey throwing in a verse from Manteca at the conclusion of the song. Runaway Jim keeps the energy up with another great version. Suzy is fantastic and has some tasteful Caravan teasing throughout. Really nice solo from Trey in Jesus. Sick YEM to close out Set 2! For the encore an inspired Contact is paired up with Highway to Hell, the latter has a brief Buried Alive tease. Solid show!

Just started listening to this for the first time in years. I was there. Unfortunately the 2 nights prior were so hardcore musically for me , I remember being underwhelmed by the sets. I had fun cuz of the spectacle. But damn. PNC was just so amazing. It didn't help that I saw Trey stumble off the stage at the end of a set. Not sure which one. He was fa sure drunk. I can't wait to replay this. The PYITE opener is dope

Obv this is an all time show, but I just wanted to add for future readers of the show reviews. This is the Antelope that is used in the Simpsons episode in which they appear. I'm pretty sure that a good amount of the writers and staff are phish fans and were pretty pumped to have them guest on the show. Cool that they used this version. For your Health!

SET 1: Tweezer: Super funky out of the gate as is the new custom for Fall 97 versions. Slow and gooey. Loops at 8:44. This version is high velocity up through 16 and half when they finally throttle down – loops and ambience for 90 seconds and then go into Sparkle of all things. Would recommend this version. > Sparkle: LOL, interesting choice. > Gumbo: Awesome jam, I like to think of it as very moody. It stays largely grumpy and awesome until the last two minutes. At that point it brightens unexpectedly with Trey hitting major chord territory. It almost sounds like he is about to opt for the DWD climax jam. Interesting stuff. Out of nowhere they (as one) shut this down and go into My Soul. Would recommend. > My Soul: Trey tastefully takes a back seat and lets Page rip a solo on the baby grand. Very cool! Of course, he still gets a shot at ripping it and he does just that. McGrupp and the Watchful Hosemasters: Mike and Page go nuts during the jam. Would recommend. Dirt: Soaring and beautiful. Split Open and Melt: Pretty average version although it does seem to have a bit of an extended ending. The Horse > Silent in the Morning: Lyric changed to "bask in morning sickness. Other than that, it’s what you would expect of course. Taste: Sorry, but this one can’t touch the best versions from this summer. It’s good. It’s just not great. Sorry not sorry. SET 2: Character Zero: The crowd sounds confused and let down when this starts up. I can understand both emotions. Little did they know what was about to unfold! This think wanks along in rock star mode until finally at 13:08 it starts to settle. Things get awesome in this segment. Trey still raging but with a purpose. Mike dropping BOMBS. Destroying America. At 19:50, they just release the hounds in terms of a super psychedelic effect, will separate your head from your body. Highly recommended, best version of all time. They sneak in through the back door the way they segue into 2001, BIIIIIIIIIIIIIIIIG LOOOOOOOOOOOOOPS… -> Also Sprach Zarathustra: The intro in the first jam is played at the speed of light. What did these boys get into at set break, hmmmmmmmmmmmm? First jam doesn’t even hit until 7 minutes. When it hits, it hits HARD. After the first climax, they implement that summer 97 crunchy stuff. Sounds amazing, all the while the same loops continues to echo until 10:14. Sick. That is when they start up the Super Bad by James Brown stuff and just vamp on that like crazy. Nasty!!!! Mike lays waste to the venue at 12:15 and beyond, just blowing up the place. WOW. There is not a second climax to this one. The funk (and Trey’s ADD) was too deep, they had to bust a move into Cities. Highly recommended version and an easy, easy all timer!!! -> Cities: Solid jam for sure. But Trey rip cords the hell out of this and leaves the rest of his mates in the dust, rough segue into Ya Mar -> Ya Mar: Standard, Trey gets bored with this one too… > Punch You in the Eye: Standard. > Prince Caspian: Standard. Poor Heart: Starts as Rocky Top but it turns out to be Poor Heart? Strange placement. > Tweezer Reprise: Standard. ENCORE: Cavern: Standard. Summary: First second > second set. Second set falls off a cliff after Cities. Kind of an overrated show as it’s currently rated (4.46). I would give it a 4/5. Replay Value: Tweezer, Gumbo, McGrupp and the Watchful Hosemasters, Character Zero, Also Sprach Zarathustra