Mid-Tour Awards

Posted in Uncategorized with the tags , , on July 23rd, 2014 by Mr.Miner
7.20.14 (Graham Lucas)

7.20.14 (Graham Lucas)

Best Show: 7/13 Randall’s Island

Runner up: 7/4 SPAC

 Best Set: 7/13 Randall’s Island Set II

Runner Up: 7/12 Randall’s Island Set II

Best First Set: 7/13 Randall’s Island

Runner Up: 7/11 Randall’s Island

Best Stand: Randall’s Island

Runner Up: SPAC

MVP of Tour: Jon Fishman

Runner Up: Page McConnell

 Jam Vehicle of Tour: “Harry Hood”

Runners Up: “Chalk Dust,” “Light” and “Down with Disease”

Best Segue: “Piper -> Halley’s” 7/18, Northerly Island

Runner Up: “Ghost -> Weekapaug” 7/20 Northerly Island

Top Jams of Tour

(In chronological order after 1 and 2)

1. “Chalk Dust Torture” 7/13

2. “Fuego” 7/8

“Harry Hood” 7/1, “Bathtub Gin > Limb” 7/3, “Fuego” 7/4, “Piper” 7/5,  “Chalk Dust” 7/9, “Bathtub Gin” 7/11, “Down With Disease” 7/11, “Ghost” 7/12, “Harry Hood” 7/12, “Light” 7/13, “Tweezer” 7/13, “Down With Disease” 7/15, “Wombat” 7/18, “Light” 7/19, “Harry Hood” 7/19, “Ghost” 7/20

7.16.14, Detroit (Jesse Herzog)

7.16.14, Detroit (Jesse Herzog) 

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Middling in the Midway

Posted in Uncategorized with the tags , on July 22nd, 2014 by Mr.Miner
7.16.14 Detroit (Jesse Herzog)

7.16.14 Detroit (Jesse Herzog)

Phish’s three-night stand at Northerly Island in Chicago was a mixed bag. Although the shows featured a handful of standout jams and shined in short stints, they simultaneously suffered from choppiness, a lack of flow and missed opportunities. “Wombat,” “Light,” “Harry Hood,” and “Ghost” stood up to any jams played this tour, and “The Wedge,” “Piper,” “Golden Age” were not far behind, but only the run’s final frame could make any true case for cohesion. Trey’s jumpiness that was largely absent during tour’s opening two weeks returned over the third, and his inability to commit to jams contributed to some lost potential throughout the three nights. The Chicago shows were certainly not bad, but they were most definitely several steps behind the fluid performances of early-tour to which we quickly got acclimated.

Some Good Points

7.16.14 (J.Herzog)

7.16.14 (J.Herzog)

Friday—Amidst a bumpy second set on Friday, Phish managed to squeeze out one incredible jam in “Wombat,” and two highlight stretches in “Golden Age” and “Piper.” The set kicked off with “Golden Age,” a jam that has consistently attained “B” level outings in its career, but has never sprung into that upper echelon. The Chicago version would follow this pattern, as the guys engaged in a lively conversation in groove, but never pushed the jam to the next level before entering a denouement of ambient noise and seeping into “Mango Song.” The “Pipers” of 2014 have stuck to the high-paced, frenetic jam palette that characterizes most versions, though the Chicago version had a twist. After a hard-edged sequence that got into some engaging textures, the band reached a juncture in which they could have easily dissolved into another song, but they pushed through the quasi-awkward moment and came out the other side with an infectious mid-tempo groove. Just as the piece was elevating, Trey layered the lyrics of “Halley’s Comet” over the groove and the place went nuts over the all-but-seamless segue.

The jam of the night, however, came in “Wombat.” Placing the quirky Fuego piece in the second set, Phish completely blew out its jam into a profound improvisational excursion. Trey provided a signpost lick amidst the funk, and the band dutifully followed, taking the exercise far beyond groove and into a wide-open space. Morphing into a piece of free-form improv, the band crafted a moving soundscape that Trey navigated with a blissful sensibility. Though they had played some solid jams in this set, everything clicked during “Wombat” and the band set sail on a more timeless journey into the unknown.

Saturday—Phish salvaged Saturday night’s performance with two jaw-dropping jams in the fourth quarter of the show—“Light” and “Harry Hood.” An uneventful first half of the set gave way to a table-setter version of “Twist” that saw the band engage in the tightest improvisation to that point in the night. Using this momentum, they launched into “Light” with enthusiasm, and the night’s first open jam was upon us.  And what a jam it was! Standing up to any piece of tour, the band coalesced into an avant-garde experiment in astral jazz that brought echoes of Randall’s Island “Chalk Dust Torture.” Fishman’s fluttery, cymbal-heavy beats provided the backbone for the band’s course from groove into abstraction. This intricate and ever-darkening exchange was characterized by the advanced, cerebral jamming on display in Summer Tour’s most impressive pieces, and now we can add Chicago’s “Light to this growing list.

7.16.14 (J.Herzog)

7.16.14 (J.Herzog)

The second stunning takeaway from Saturday night came in the set-closing “Harry Hood.” Phish had pushed every single “Hood” this summer out of structure and into an open jam, and Chicago’s would be the fifth such consecutive version. Each 2014 “Hood” has also been incredibly diverse, and while this one started in traditional territory, it wasn’t long before the guys had seamless morphed into a rootsier, bluesy feel reminiscent of the Grateful Dead. For a few moments, in fact the rhythmic shuffle of the jam resembled the structure of “Not Fade Away.” The beauty of this piece was just how far away the band got from the traditional sounds of “Harry Hood,” and how effortlessly they left and returned to the song’s theme. And the peak they hit before making the turn for home is something to behold! Notch another huge victory for Summer ’14 “Harry Hoods,” as the classic song is the leading candidate for MVP of tour as we hit the midway point.

Sunday—Much like Saturday’s performance, Phish succeeded in saving the show in the 11th hour with two very creative late-set jams out “The Wedge” and “Ghost.” Midway through the second set, it seemed that Troy had turned on cruise control with the run of “Winterqueen,” “Theme,” “Mike’s Song” and “The Wedge.” But just as the “Wedge” was set to end, the band modulated into a surprise jam! Phish took a couple minutes to find its way in this jam, as they hadn’t truly hooked up all night. But after some searching, things fell into place as Trey happened upon the chord progression shared by Guns N Roses’ “Paradise City” and REO Speedwagon’s “Keep It Rolling,” and the jam absolutely took off! (Seeing that Trey was in his 23 when “Paradise City” dropped in 1987, I have little doubt as to which song he was playing, but nobody can truly know without confirmation as the songs are nearly identical.) The band must have gained some confidence through this soaring sequence, because when “The Wedge” ended, they dropped into “Ghost.”

7.20 Official (Millward)

7.20 Official (Millward)

One of the notable things about 2014’s standout jams has been their utter originality in sound and direction, and Chicago’s “Ghost” fell in line with this pattern. Within a moment of entering the jam, Mike and Fish charted a coarse with a drone, repetitive pocket that pulled the jam into a completely fresh, psych-based sound. Trey never played lead in this jam—another trend of the Chicago shows—and as a result its vibe leans towards an art rock sound sculpture rather than a traditional Phish jam. As Trey focused on tonal color and sound effects during this “Ghost,” Page stepped up and offered lead piano lines over the dissonant canvas. This jam stood out immediately for its diversion from the norm and its eclectic sound, and it certainly represents one of the top few pieces from Northerly Island. A fiery, tease-ridden “Weekapaug” closed out another show-salvaging sequence.

Some Bad Points

Second Set Openers—Over the first weeks of tour, Phish front-loaded the second set with centerpiece jams and jam pairings that made for powerful and extended chunks of improvisation. In Chicago, however, the band threw down three fairly standard second set openers that hurt the flow to the second sets right off the bat. Friday’s “Golden Age” was the most impressive second set opener of the run, but even so, it never progressed into something more than a funk jam and the band deflated their own momentum with a “Mango Song” in the second slot. Saturday’s “Carini” seemed primed to explode, but the band couldn’t hook up once they reached open waters and Trey pulled the string for “Waves” before anything truly developed. The band went on to play standard versions of “Waves” and “Fuego,” leaving us half way through the second set before they took an upward turn with “Twist.” Phish gave it a solid effort with Sunday night’s “Disease,” hitting some cool groove textures within the jam, but they were never able to find that one idea to develop and give the jam a direction. Although it featured some cool interplay in the erstwhile, this “Disease,” though serviceable, was largely unsuccessful and easily the fourth out of the four version played this summer. Trey determined that they weren’t finding anything worthwhile and moved on “Winterqueen” in a place where something heavier-hitting would have been more appropriate.

7.16.14 (J.Herzog)

7.16.14 (J.Herzog)

Choppiness and TreyDD—One of the glaring lacks of the Chicago show was natural, set-long flow. Part of this had to do with the aforementioned lack of beefy improv at the front of the second sets, but another part of it seemed to do with Trey’s jumpiness and lack of focus. Both “Carini” and “Disease” could have pushed beyond their transitional junctures, but Trey’s patience and willingness to maintain through adversity just wasn’t there. Perhaps he didn’t feel anything would develop, and that call is resepectable, but there is no arguing that the moves into “Waves” and “Winterqueen” were moments of deflation.

On each night, Trey made the call to follow up set-opening jams with compositions instead of assembling strong and more customary 1-2 combos. This created an up and down contour to sets and the solid 30 to 40 minute improvisational sequences that kicked off most east coast sets were sorely missed. On Friday night, Trey pulled a harsh ripcord in the middle of “Sand” that brought the band into “Piper,” but certainly jarred the crowd and the set’s flow. “Piper” then segued smoothly into “Halley’s Comet.” At this point, Phish had the crowd in the palm of their hands as the audience anticipated the first “Halley’s” jam in three years. This slowed down version was primed for a second-set explosion, but as the piece reached the beginning of the jam, the band all but stopped playing and Trey bailed out with an awkward transition into “Wombat.” Ouch—that was like a punch in the nuts.

7.16/14 (J.Herzog)

7.16/14 (J.Herzog)

Saturday’s second set simply had nothing going on until a mid-set “Twist,” a dynamic not dissimilar to Sunday’s show that struggled until “The Wedge.” In each of these sets, the band just kept the songs rolling until they felt comfortable to take one out. (In all fairness, they tried with “Disease,” but it just didn’t get there.) And with the type of first sets that the band has been playing these days—tasteful but largely uneventful—these voids left us with almost two and a half hours until something truly popped off on either of the last two nights. And that’s just too long. Perhaps it took the band that long to connect in both these shows, but the flow and contour of each had been irreparably damaged in each case. Though two stellar late set jams can save a performance, it’s tough to pull that off two days in a row.

All in all,

Phish’s run at Northerly Island contained several highlight jams, but the shows never transcended and became more than the sum of their individual parts. If these Chicago shows happened the weekend before the east coast shows, they would have made a lot more sense, but after Phish set the bar incredibly high during the first two weeks of tour, they have struggled to play an entire show, and more specifically, an entire second set with the focus and artistry they displayed early on. Now, as the band looks to the second half of tour, they have eight shows in which to correct their course and to ultimately determine the legacy of Summer Tour 2014.

I: 555, Kill Devil Falls, Bouncing Around the Room, Reba, Waiting All Night, Birds of a Feather, Halfway to the Moon, Sparkle, Sample in a Jar, A Song I Heard the Ocean Sing, Stash, The Squirming Coil

II: Golden Age > The Mango Song, Sand > Piper -> Halley’s Comet > Wombat > Chalk Dust Torture, Slave to the Traffic Light

E: Julius

***

I: The Moma Dance, Wolfman’s Brother, Devotion To a Dream, 46 Days, Yarmouth Road, Brian and Robert, Wingsuit, Tube, Free, Roggae, Heavy Things, Run Like an Antelope

II: Carini > Waves > Fuego, Twist > Light > Twenty Years Later, Harry Hood, Cavern

E: Grind, Bug, Suzy Greenberg

***

I: Gumbo, Runaway Jim, Tela, The Line, Scent of a MuleBathtub Gin, Silent in the Morning, Maze, Ocelot, Walls of the Cave

II: Down with Disease > Winterqueen, Theme From the Bottom, Mike’s Song > The Wedge, Ghost -> Weekapaug Groove, First Tube

E: Character Zero

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Two Meh’d-Week Affairs

Posted in Uncategorized with the tags , on July 17th, 2014 by Mr.Miner
7.12.14, Randall's (Chris LaJaunie)

7.12.14, Randall’s (Chris LaJaunie)

After Phish nailed eight straight shows between SPAC, Mann and Randall’s Island, fans were salivating to see what the band had in store as they stepped away from the east coast for the first time this summer. Back in the day, these more remote, smaller market shows brought a welcome respite from the higher profile nights of the northeast. In the past, Phish often threw down spectacular shows in these more out of the way performances. This created a dynamic where fans would not want to miss these hard-to-get-to shows. However, in the modern era, these smaller shows have become something totally different. While the dynamic of less pressure remains the same, the resulting concert often crumbles into an array of jamless greatest hits for a localized fan base. The “skip” shows on tour are no longer the ones fans must quest after, but rather less focused affairs whose moniker is quite appropriate.

Canandaigua Official (J.Soto)

Canandaigua Official (J.Soto)

Needless to say, both Canandaigua and Detroit’s mid-week shows succumbed to this modern trend and the band on stage on Tuesday and Wednesday nights might as well have been understudies for the maestros on stage last weekend in New York City. If Randall’s Island was the culmination of a fortnight that was characterized by artistry and patience, these two mid-week, small market shows were exactly the opposite, crude and rushed. This is not to say there weren’t individual highlights in these shows—there absolutely were, but the overall feel of the shows were far from the refined and cerebral affairs that dotted the east coast, but mildly entertaining rock concerts in which the band seemed more concerned with how many songs they could get through than what any individual piece contained. To put it bluntly, while Trey graced the east coast with his timeless brilliance, Troy brought his ripcord and ADD to Canandaigua and Detroit, crafting more trainwrecks than memories.

Detroit Official (S. Serigraph)

Detroit Official (S. Serigraph)

The highest point of Canandaigua came in a twisting, long form “Down With Disease” that kicked down the doors of the second set with a fury. This jam was certainly on the level of tour’s first stretch, and it seemed like we were in for another set-long journey. But nothing of improvisational significance developed after that and a great “Disease” was hung out to dry. Striking first set renditions of “Wingsuit” and “Wombat” also provided takeaways from CMAC, as the former kept the more whole-band improvisational feel debuted at Randall’s, and the latter got into the dirtiest, loopiest funk jam of its short life. DTE’s lone improvisational highlight came in “Ghost > Caspian” though the “Ghost” jam seemed to have plenty of legs when Trey switched gears. Additionally, the band took “Weekapaug” for an out-of-character spin into abstraction and really had something significant building when the jam was cut inexplicably cut for “Cavern.” And that, folks, is about it for the mid-week highlight reel. On the “Not Top 10” list, Phish played two consecutive late-second-set “Fuegos” in Canandaigua and Detroit, while touching neither with a single improvisational brushstroke. At this point, “Fuego” has appeared far more times without a jam than with one. Interesting. An unsuspected development to say the least.

When it comes down to it, perhaps it’s not the size of the market, the distance from the east coast, the age of the band or the lack of hardcore fans in the audience—perhaps it’s the combined effect of all these elements. And alas, Phish is human. Call me presumptuous, but in Canandaigua and Detroit, the band just wasn’t putting in the same level of effort and focus that was on display for two weeks straight on the eastern seaboard. And when you don’t put in the same effort, you don’t get the same results. Thus, it is not surprising that these midweek shows paled in comparison to the musical events that took place on the in Saratoga Springs, Philadelphia and New York. The band needed an exhalation from an intense two weeks, and they took it in the form of two jukebox shows over the past couple nights. Have no fear, however, the Phish we know and love will be back in Chicago and tell a largely different story. Why? You tell me…

7.12.14 Randall's Island (Chris Lajaunie)

7.12.14 Randall’s Island (Chris LaJaunie)

7/16 Canandaigua—I. Buried Alive > Twist, Heavy Things, 555, Halley’s Comet > Bathtub Gin, Wingsuit, Divided Sky, Wombat, David Bowie

II: Down with Disease > Back on the Train > NICU, Gotta Jibboo, Theme From the Bottom, Meatstick, Fuego > The Wedge, Run Like an Antelope

E: Character Zero

*****

7/17 Detroit—IWolfman’s Brother, Devotion To a Dream, Wilson, Poor Heart, The Moma Dance, Stealing Time From the Faulty Plan, Lawn Boy, Yarmouth Road, Rift, The Line, It’s Ice, 46 Days

II: Mike’s Song > Ghost > Prince Caspian > Backwards Down the Number Line, Weekapaug Groove > Cavern, Piper > Waiting All Night, Tweezer > Fuego > Tweezer Reprise

E: Also Sprach Zarathustra > Possum

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Randall’s Reprise

Posted in Uncategorized with the tags , on July 16th, 2014 by Mr.Miner
Randall's Island (Andrea Nusinov)

Randall’s Island (Andrea Nusinov)

Phish’s three-night stand at Randall’s Island was a perfect litmus test of where they are as a band right now in their 31st year of existence. While most bands their age are playing greatest hits on reunion tours, Phish is neck deep in one of their most creative phases of their career. Through Randall’s Island, Phish had nailed seven of its past second sets in full—and when is the last time that could be said of the aging superheroes of the 3.0 era? Playing tour’s two most impressive second sets on consecutive nights in front of a New York metro audience, Phish plunged depths in their improvisations that were informed by both patience and persistence. Phish has owned these qualities thus far this summer, allowing jams to develop far beyond a single theme, and often stretching into several. Very often it has been the later sections of jams that have gotten the most outlandish—see New York’s “Bathtub Gin,” “Disease” “Carini,” “Ghost,” “Chalk Dust,” and “Tweezer” as prime examples. The band has been patient in an individual sense, allowed all members to offer up ideas and guide improvisations, but they have also been very patient with the group as a whole, providing space for whole-band searching where necessary, and usually not giving up until something is found. And therein lied the biggest juxtaposition between Friday’s Randall’s show and the next two—how easily they bailed on jams.

On Friday night, Phish had several second-set selections teed up and ready for liftoff, only to turn the other way and keep the setlist moving. This is usually a tactic employed when the band isn’t feeling the flow, but on Friday night, they most certainly felt it in spots as they dropped elite versions of “Bathtub Gin” and “Down with Disease” and a smoking “Stash.” But when “Steam” opened the second set, primed to get the full treatment for the first time in its life, the band got a tad discombobulated as the jam was seeming to open up, and Trey reeled everything awkwardly back. Then in “Golden Age,” the guys seemed to be moving in an ambient direction when they decided to skirt a college try once again. The make or break moment for the show, however, came in a late set “Fuego.” On the heels of Philly’s epic, fans were salivating upon the opening piano chords. But instead of following up the song’s two seminal versions with a third, they decided that they would head into “David Bowie” instead. This show felt like one from years ago with two standout jams and a bunch of aborted attempts. But damn if those two jams weren’t astounding and a foreshadowing of what was to come.

Randall's Island (Andrea Nusinov)

Randall’s Island (Andrea Nusinov)

The next two nights told a very different story­, the type of story of that unfolds when Phish is focused and artistically concerned. Scripting two flawless second sets on Saturday and Sunday night, the band worked over every piece they touched with jams that were so unique. The music within the pairing of “Carini” and“Ghost” spanned the spectrum from psychedelic abstraction to wide open bliss, and covered all sorts of ground in between. So far this summer, “Carini” has been a vehicle to reach ethereal textures and soundscapes rather than the thematic, multi-staged epics that we heard last year. “Ghost” provided the central highlight of night two, as the band pushed beyond a quasi-conventional bliss peak into several more creative sections of interplay.

Two other macrocosmic takeaways from Saturday night’s affair were “Wingsuit” and “Harry Hood.” The former seemed to be settling into the repertoire as a cool down song, and that is the placement they gave it at Randall’s. But everything changed in the final section, as Fishman altered his backing rhythms and transformed the end jam into a whole-band, “Curtain With”-esque piece of improvisation. I didn’t love the first, guitar-solo based versions of the song, as they felt very static. But when “Wingsuit” drops from now on, it may in fact be still represent an exhale from a monstrous jam, but it now has improvisational intrigue all its own. Secondly, I’ve been waiting my whole life for “Harry Hood” to become an open jam, and this summer Phish has played three, deeply improvised versions in a row. This transformation of “Hood” into a cosmic springboard is the most profound development from the opening weeks of Summer Tour. And what an exclamation point the impeccable Randall’s version put on an airtight set of Phish. Composed too perfection, the frame had six songs, all in place and all performed with maximum gusto.

And then came Sunday. Played with a vigor through and through, we will be talking about Sunday at Randall’s for years to come. It was just that good—dense, top shelf jamming laced with nuance and innovative currents around every turn. Page and Fish stood out the most to me over the three-day weekend. Each altered the courses of several jams, while Trey’s biggest attribute this summer is his willingness to be one of four and take his place amidst a band that now has all but four musical leaders. The way they have fed off of each other’s ideas and made them into their own—a sort of quadruple helix—was the hallmark of the Randall’s jams and the thus far, the summer at large.

Randall's Island (Andrea Nusinov)

Randall’s Island (Andrea Nusinov)

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A Speechless Sunday

Posted in Uncategorized with the tags , , on July 15th, 2014 by Mr.Miner
Randall's Island (Andrea Nusinov)

Randall’s Island (Andrea Nusinov)

Well that escalated quickly! Amidst one of the best tours of their career, Phish absolutely annihilated Randall’s Island in New York City this last weekend. Weighted heavily towards the second two shows, the three-night stand shattered even the loftiest musical expectations and set the bar inconceivably high for the rest of Summer Tour. The band is improvising with a level of patience an audacity unseen in this era, and the results have been staggering. Not only is Phish weaving individual excursions into the infinite, but they are finally crafting flowing, contoured second sets on a consistent basis. Their willingness to take long form risks and to push through sections where, in recent years they would have moved on, has paid off in droves. Jams are reaching depths we haven’t seen in this era and covering ludicrous amounts of musical ground. Though enjoyable as it was to watch Phish recreate themselves over their first five years back, there always seemed to be a sense of nostalgia involved. To many, this era seemed to be a way to relive the glory days. But now more than ever, any thoughts of the past have been wiped away by a Summer onslaught on original and innovative music. It’s 2014 and Phish is peaking again.

7.13 Official (J.Flames)

7.13 Official (J.Flames)

But let’s cut through the chase—Sunday’s show was something special. The weekend built upon itself, one night after another, and peaked with the best two-set Phish show in quite some time. Each frame featured shrewd song selections, impeccable flow, and absolute lock-step jamming from “Sand” to “Slave.” And in between we heard some of the most complex improvisation the band has churned out in a hot minute, and most often the catalyst was Jon Fishman. With a stripped down kit this summer, Fish has been an absolute maestro on the skins, and there is no better illustration that Sunday’s second set. Listen to the morphing feels of “Chalk Dust” as he guides the band through a far out excursion in astral jazz. Playing with a cymbal-heavy feel, and a sense of light, airy syncopation, Fish pushed the music into a jazz-like abstraction. Though his work shone throughout the jam (and set), things get really interesting in the piece’s final section which moves into a festival, middle-of-the-night type ambiance. The journey to get to this place, however, is nothing short of mind numbing. After a glorious, early peak to this jam, the band just continued moving outwards, section by section, but contrary to the Mann’s version, the ideas in Randall’s “Chalk Dust” jams were fully explored and themes were developed rather than touched upon. This was a magnificent Phish jam of the most virtuoso degree—almost a half-hour of dense, original improvisation. This was the absolute business. And when Phish is feeling IT like this, you knew there was more magic just around the corner.

Taking this momentum and diving into “Light,” the band was clearly enjoying the wide-open musical space and chose another springboard from which to get there. And once again, the guys spun a wove an original tale that landed in an intricate Mind Left Body jam. The astounding thing about Phish right now is just how diverse their jamming is. In eras past, they have been stylistically focused by tour, but in right now their jams differ so much from one to another that its incredible the same band is playing them. But they are, and Phish concerts are now reaching places we’ve dreamt they’d get to since the band’s return.

When Phish is locked in a zone like Sunday, they can do no wrong, so following a unique peak to “Light,” Trey swung for the fences with a mid-set “Tweezer” and the band hit it straight out of sight. Once again favoring variation, the band deviated from the norm in this jam and came up with a profound take on their classic that follows the song’s improvisational boon of 2013. Trey progressed the jam out of the dance realm and brought it, the set and the show to a monumentally cathartic peak, completing the most powerful trifecta we’ve heard from the band in years—“Chalk Light Tweeze.”

The guys capped the night with a patient version of “Slave to the Traffic Light,” but the story of this show was hardly limited to the second set. Phish came out firing on Sunday night, riding undeniable momentum from a stellar Saturday performance. How ‘bout “Sand,” “Winterqueen,” and a “Reba” with extra mustard to start the show, a grinding “Runaway Jim” and a totally bent “Split” all before setbreak? It all happened and was surrounded by tight, punchy renditions of other Phish classics. This was an exquisite two-set performance that never relented for a moment and reminded us that, in fact, the best is yet to come.

I: Sand, Winterqueen, Reba, Birds of a Feather, Water in the Sky, Possum, Runaway Jim, Bouncing Around the Room, Maze, Split Open and Melt

II: Chalk Dust Torture > Light > Tweezer, Wading in the Velvet Sea, Sing Monica, Slave to the Traffic Light

E: Backwards Down the Number Line > Tweezer Reprise

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Boy, Mann.

Posted in Uncategorized with the tags , on July 10th, 2014 by Mr.Miner
The Mann '14 (Andrea Nusinov)

The Mann ’14 (Andrea Nusinov)

Phish continued their summer onslaught with two very different second sets at the Mann on Tuesday and Wednesday nights in Philadelphia. Tuesday’s showcase was chock full of creative improv, including the unquestionable jam of the tour thus far in a stunning, long-form rendition of “Fuego.” Wednesday night’s second set was highlighted by another in the recent line of exploratory, wide-open “Chalk Dust” jams, but was played in more straight forward fashion following the top-shelf opener. Instead of analyzing the shows as individual performances, let’s look at the overall musical takeaways from Phish’s stand the the City of Brotherly Love.

Mann Poster (LandLand)

Mann Poster (LandLand)

Any discussion of Mann highlights must start with “Fuego.” Phish drastically matured their newest springboard from its first to its second outing, unfurling one of their elite modern jams out of the brand new piece. Phish’s late-career musical re-development has led them to this type of wide-open, thematic excursion. The band demonstrated ultimate on-stage comfort as they calmly navigated this deeply exploratory adventure. The music was orchestral in nature and carried a very free, yet refined vibe. Trey carved out gorgeous melodies—delicate portals to heaven—as the band engaged in a jam that could only have been played in 2014. No rush, total comfort, and flowing as single course from start to finish while fluidly rolling through distinct improvisational ideas. “Fuego” is not only Phish’s newest jam, it is a launch pad to a new type of jam—patient, sprawling, free form journeys that move between developed themes. These are the jams that many of us dreamt of when we thought about Phish playing as the guys neared age 50. Each band member led different parts of this excursion, all with utmost nuance and subtly, forming a wholly collaborative endeavor. And just as one thought Phish would bring this jam to a huge crescendo like SPAC’s version, Trey led the troops out the back door and into the most intricate groove throwdown we’ve heard this tour. The Mann’s “Fuego” was pure, long form Phish genius, and all signs point to more stunning journeys from Phish’s newest monster.

Phish delved into a late set-run in Tuesday night’s show—“Ghost > 2001 > Harry Hood”—that absolutely demolished. Though Trey fought tooth and nail to get the band out of a “Tweezer” jam and into “Ghost,” once he got them there the band gained liftoff. Trey has been playing with revitalized dexterity this tour, featuring clean, multi-note runs that sound especially awesome in juxtaposition to his extensive whammy experimentation last year. Additionally, Trey has drenched his playing in original melodic phrasing has provided a powerful lead of so many Summer jams. The Mann “Ghost” combined both of these trends into a soaring piece of music that served as the night’s most profound peak. Any thoughts of a lopped off “Tweezer” vanished in this dizzying, highlight-reel “Ghost,” a second keeper from the Mann’s opening night.

The Mann (Andrea Nusinov)

The Mann (Andrea Nusinov)

And “Harry Hood” was the third. The second, deeply improvisational version in as many performances this tour punctuated a stellar set of Phish. And the beauty of this “Hood” was its absolute tenderness—a total juxtaposition to the flowing psych rock of Mansfield’s standout rendition. The Mann “Hood” saw the band delve into an immersive conversation within a stunningly delicate milieu, and they came up with yet another nugget of improvisational gold to end a very impressive frame of music. After an extensive rain delay pushed the start of the second set beyond 11 pm, the band made sure that the entire night was worth any inconvenience that people had been through.

The Mann (A.Nusinov)

The Mann (A.Nusinov)

Wednesday’s night’s second set kicked off with another top-shelf jam—something we have come to expect from the band on a nightly basis— in “Chalk Dust Torture.” Following in the footsteps of Dick’s 13’s and MSG 13’s versions, the Mann “Chalk Dust” featured many different segments of improv, however this one was notably more fluid as it morphed between feels. This jam carried an uptempo rhythm throughout, and the band seemed to surf a musical wave in whatever direction it would take them without truly developing any single section for too long. This type of protean jam has become a modern trend with “Chalk Dust,” and provides a stylistic contrast the band’s more singularly focused improvisations. (Note: They certainly have taken “Chalk Dust” in the mono-thematic direction such as Dick’s 12, but more often than not its jams fit this description.) Spanning several feels, Mann’s version’s provided a tasting menu of Phish sounds, all connected with a single thread.

Several other jams provided sub-highlights of the run. “Twist’s” tight rendition featured mini flourishes in different directions, but each time returned to structure, much like a jazz take on the song. “Mike’s Song,” though not extensive, featured more active interplay between Trey and Page, and didn’t simply default to a guitar solo. Could this be a sign of things to come? One can only hope. Each show saw one significant first set highlight each night—Tuesday, “Tube” and Wednesday, “Wolfman’s Brother.” Both pieces featured a developed jam that moved beyond convention and gave a burst of energy to otherwise routine frames of music.

All in all, the Mann was a very solid two-night stand. Whether you favor the more adventurous first show or the cleaner, more rocking second show largely depends on your stylistic preference. But whichever path Phish has chosen in each show of this short tour, whether jamming or rocking, they have executing it to near perfection. When looked at together, the two Philly shows demonstrated the yin and yang of live Phish.

7.5.14 SPAC (Chris LaJaunie)

7.5.14 SPAC (Chris LaJaunie)

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A Quick Start to Summer

Posted in Uncategorized with the tags , on July 6th, 2014 by Mr.Miner
SPAC 14 (Andrea Nusinov)

SPAC 14 (Andrea Nusinov)

Showcasing new songs, original jams and a clear exuberance to be onstage again, Phish kicked off Summer Tour 2014 in style with four shows last week. Polished, practiced and ready to roll, the guys hit the ground running, requiring exactly zero time to warm up and dropping timeless jams from night one. Armed with a new material and playing with unbridled creativity and confidence, Phish seems poised to play a tour for the record books.

Following a sharp show in Mansfield that heated up in its final sequence of “Ghost” -> “Weekapaug, “Harry Hood,” the band unleashed three flowing second sets in Saratoga Springs that illustrate their continued re-commitment to show craftsmanship that we saw blossom last fall. Frustrating trends that have plagued the modern era—aborted jams, random song calls and fizzling second sets—have all but vanished, and the artistic Phish of old has re-emerged. Crafting contoured frames of music, the band has brought narrative arcs back to their second sets—the journey of a Phish show has fully returned. Wide open jams, smooth transitions, and shrewd song placement colored all three of SPAC’s main events. Highlight segments that illustrated these themes include “Bathtub Gin > Limb by Limb > Winterqueen,” “Fuego > Disease > Twist > Light” and “Carini > Waves > Wingsuit > Piper.” Each second set adopted a unique vibe—7/3 was explosive and energetic, 7/4 took on a far more cerebral feel, and 7/5 possessed lighter, dreamy strand throughout. When three consecutive shows provide three unique and completely different musical experiences, it is a surefire sign that Phish is in a very special place.

Reading '13 (A.Nusinov)

10.29.13 (A.Nusinov)

The band flipped an improvisational switch during Mansfield’s “Ghost” and has not looked back. Offering totally fresh takes on their jams nightly, Phish seems to be consciously improvising in new and different directions. Examples of this include the masterful and unforced exploration of “Harry Hood in Mansfield, the spacious dance grooves of “Bathtub Gin, the swinging rhythmic filth of “Limb By Limb,” an intricate, deconstructivist “Disease” jam, the meditative jazz fusion of “Twist > Light,” an ethereal “Carini,” “You Enjoy Myself” featuring a Mike and Trey prompted funk jam, and of course the first free-form “Fuego.” (Though “Piper” had a stellar Trey peak, I can’t say that it was a totally original rendition.) Throughout all of their jams of week one, however, Phish’s communication has been notably tight and responsive, having seemingly reached mid-tour form rather quickly this go round. And there are eighteen shows to go.

Setlists have seen an expected infiltration of Fuego material, and most often with positive results. First and foremost, “Fuego” has ascended to the center of the Phish universe with the monumental debut of its jam. There’s nothing quite like it when Phish premieres a brand new jam, and “Fuego’s” introduction was as grand an entry as any ever. A dramatic, 20-minute trek that peaked into the heavens with a stunning crescendo sent a clear message to their fan base of Phish’s intent with their new title track—”Set the controls for the heart of the sun.” This is clearly the new school jump off. Aside from “Fuego,” however, the only other new song that seamlessly wove itself way into the live show was “Winterqueen.” Employed as a landing pad for the other-worldly sequence of “Bathtub Gin > Limb by Limb,” “Winterqueen” sounded like Phish had been playing it for years. The unexpected twist was the opening of its final solo, a hint of what could possibly come from the song. All other Fuego tunes, though sounding quite good in the live setting, are still searching for their comfortable place in the setlist.

10.31.13 (J.Silco)

10.31.13 (J.Silco)

From a macro perspective, the band sounds incredibly comfortable on stage together. Their improv has been characterized by a looseness that allows for all sorts of exploration, but, at the same time, a tightness of purpose that allows the band to explode into jams and reach experimental planes without several minutes of meandering. The way they are stringing together these jams and crafting larger segments of music, and ultimately sets and shows, however, is what is setting the band apart from their recent former selves. This comfort level will only increase as the tour moves on, and one should expect to see more well-crafted sets as we look towards Philadelphia.

And from a more micro perspective, how about that July 4th show? Hot damn! Talk about a fresh sounding set of music in which the faucet was turned on for the duration! As majestic as “Fuego” was, the most complex music of the night was yet to come in the next three selections of “Disease,” “Twist,” and “Light.” All in all, this four-song sequence totaled 55 minutes of creative, top-shelf interplay that left just about every jaw on the ground. Each jam was unconventional and each jam was unique. This was the type of innovative set of which we dream, and had the band finished strong with a significant closer instead of moving into “Theme,” “Number Line” and “First Tube,” we’d be looking at a legitimate all-time set of Phish. Even so, 7/4 was a signature performance that deserves recognition among the band’s best in years. And 7/3 wasn’t far behind, containing the most accomplished sequence of the weekend in “Bathtub Gin > Limb By Limb > Winterqueen,” and a thick, groovy “Tweezer.”

And this is only the tip of the iceberg. If this is what Phish had to offer in their first week of Summer shows, one can only imagine what is to come over the next three. Inspired, loaded with new material and dropping awe-inspiring jams left and right, Phish has their fan base on the edge of their seats once again, salivating to live the next chapter of the band’s storied history.

Week One Picks:

Best Show: 7/4

Best Set: 7/4 II

Best Jams: Mansfield “Harry Hood” and SPAC “Limb by Limb”

Best Moment: “Fuego” peak

SPAC '14 (Andrea Nusinov)

SPAC ’14 (Andrea Nusinov)

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On Fuego

Posted in Uncategorized with the tags , on June 26th, 2014 by Mr.Miner

fuego_custom-e4db94af0938af438397d4147bf82958ba2fb334-s6-c30As Phish started leaking their album track by track on the Internet, I heard a lot of production. In fact, when I listened to those “Waiting All Night” and “The Line” from NPR, the production was just about all I heard. My thoughts totally transformed today, however, when I spun Fuego on vinyl for the first time on my home system. The music completely opened up, gaining a richness and depth that NPR’s mp3s could never translate. And above all else, I could hear and appreciate Bob Ezrin’s production as it was meant to be heard. As opposed to adding a glossy layer to the music that dilutes the band’s interactions, Ezrin’s work enhances the playing of Phish, adding dreamy layers that provide just enough aural cushion to support the music and make it pop. But the core of the Fuego’s sound is live Phish. In choosing to record live takes with all band members in the same room playing together, Ezrin retained thePhish’s sound capturing a vivid canvas with which to work. He then stepped to the plate as the temporary fifth member of the band, whose influence is felt on Fuego as much as the other fours’.

Ezrin’s greatest success on Fuego is taking a stylistically diverse set of songs and making them into a cohesive whole. The album possesses a flow from beginning to end, and more particularly, retains a sound throughout that is anchored in its retro, psych-pop production. Musically, Fuego contains a certain dreaminess that comes through in waves on tracks like “Halfway to the Moon,” “Winterqueen,” “Waiting All Night,” “Wingsuit” and the title track, itself. This musical thread provides a cerebral narrative to the album, one that touches on themes of loss, hope and, ultimately, redemption.

artworks-000080207042-wz0gbp-t500x500Though Fuego’s story is told in chapters via one well-executed track after another, its two gems are undoubtedly its bookends, “Fuego” and “Wingsuit.” In fact, these two tracks may just be the pinnacle of Phish’s studio repertoire. Both contain unparalleled work from Ezrin, leaving “Fuego” sounding like a medieval adventure, and “Wingsuit” like a lucid dream. Each possess a strong emotional quality that will undoubtedly translate to the live stage. Though Phish has recorded plenty of great songs over the course of their career, “Fuego” and “Wingsuit” represent legitimate studio tracks that can stand up against the work of other great artists.

Interspersed in the album’s surreal narrative are the upbeat selections “The Line,” “Devotion to a Dream” and “Sing Monica.” “The Line” provides an excellent sonic juxtaposition to “Fuego,” and flows impeccably from the title track. “Devotion to a Dream,” sounds quite good on the album and fits in with the album’s thematic narrative congruently. The overlapping chorus of this one really shines with the Ezrin’s assistance, though “Devotion’s” bluesy, Allmans-esque  palette is one of Fuego’s furthest stylistic stretches. “Monica” is another, and this one barely rounds into place. Its brevity, however, makes it only a speed bump and not a true obstacle to flow. Rounding out Fuego are “555” and “Wombat.” Gordon’s writing contribution to the album, “555″ came out as one of its highlights, as the horns and backing singers further the bluesy grit of the song. Upon listening to the album as a whole, “Wombat” didn’t strike me as so out of place. Silly? Sure. With its placement between “Waiting All Night” and “Wingsuit,” it likens one of those tripped out dream interludes make any sense in the morning. But the inclusion of “Wombat” and “Monica” suggest the only place where Phish might have dropped the ball on this album—leaving off “Steam.” Not only is it a more-than-worthy track that could supplant both shorter ones, it absolutely fits the fantasy-like theme of Fuego. But who am I to blow against the wind.

10345776_10152015825926290_960017832947971992_nFuego succeeds where so many Phish albums fall have fallen short, its whole amounts to more than the sum of its parts. Though it is not a perfect record, its sonic cohesion and thematic narrative and outstanding production bump it right up to the top shelf of Phish’s twelve. I am not here to argue that it is their best record, for that is purely subjective, however I will nominate it as their best produced effort, and one that deserves recognition among the band’s strongest recordings. It’s been a while since Phish emerged from the studio with an album that they could hold up not only to their fan base, but to the industry at large and garner acclaim. Fuego is such a record, and the band should be proud.

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Looking Towards Summer Tour

Posted in Uncategorized with the tags , on June 23rd, 2014 by Mr.Miner

With all the excitement in the land of Phish these days—Fuego, Letterman, Live Bait X and an upcoming tour, one might forget that Phish left us with some pretty great shows at MSG last December. Coming off a Fall Tour that seems to have has gained a consensus in the community as the best of the era, the band delivered three out of four standout performances to end the year. Now, on the brink of Summer Tour 2014, Phish looks to continue the upward arc of their Golden Age as they step into the Fuego era.

Fuego Live

fuego_custom-e4db94af0938af438397d4147bf82958ba2fb334-s6-c30The most integral aspect of successful shows—from a fan’s perspective—is the band’s excitement, engagement and energy. Based on what we’ve been hearing through media outlets, the guys are excited as ever with their new album and are eager to work the material into their live shows. Trey even went as far as to say that Phish would play less covers this summer, as they want to focus on their originals. As covers usually comprise a significant percentage of open jam platforms, one would conclude that some new ones will take their place. But out of Fuego’s songs, which ones will they be?

I believe that “Fuego” will be one of the bands central jam vehicles this summer. I see it opening—and/or being centered in the wheelhouse of—second sets throughout tour, and extending into diverse improvisations. I foresee the jam coming out of the end of the song—as previewed on New Year’s Eve—and I predict that it will be a completely open-ended affair (much like “Light” has been for the past five years). They changed the title of the album and put the title track first for a reason—“Fuego” is the new school Phish scene and will expand as soon as it is played.

12.28.13 (J.Silco)

12.28.13 (J.Silco)

Additionally, I see “Wingsuit” becoming a significant piece in the band’s live repertoire. Whether the jam opens up at first or debuts as a guitar-solo based piece is the biggest question in my mind right now. Regardless of how it starts out, I bet we see the jam open up a couple times before tour’s end. Though “Wombat” is the clear stylistic outlier on an otherwise cohesive album, I foresee it’s funk jam growing legs this summer. The song has the feel of a first-setter, possibly replacing “Moma Dance” with something a more open-ended. But if ever they decide to place “Wombat” in the second set, the band could take the silly piece for a ride.

The other track that has a possibility of developing a jam is Mike’s “555.” But every time I say that I balk, because when is the last time a contribution from Gordon has blown up. Keep thinking…”Simple” perhaps? It’s been a while. Just saying, I’d give “555” about a less than 50% chance eclipsing guitar solo status. But I’m pulling for more out of this song, because its dark and funky feel give it all sorts of potential. Perhaps this is the one! On a similar note, will Trey finally release lift the shackles from “Halfway to the Moon” from its status as first set filler? Talk about potential! Ever since its debut at SPAC 2010 I have wished it open up, but its inclusion on an album won’t likely change it’s live placement.

The other tracks from Fuego won’t likely be more than solid first-set songs or late-second-set ballads. Maybe, just maybe, Phish will play a one-off jam out of “The Line” or “Waiting All Night,” but seeing as they rarely play one-off jams out of anything these days, this seems a tad unlikely. Jams aside, however, expect a serious influx of fresh music into the rotation, as Phish has never been shy to push their new material!

Trey and the Echoplex

The Echoplex

The Echoplex

For the last four shows of the year, Trey brought an Echoplex on stage with him, and used it extensively in jams throughout the Holiday Run. The Echoplex is an analog tape delay unit created in 1959, that creates many of the effects that Trey’s pedals have digitally mimicked over the years. Remember the final stage of the Carini jam on 12/29, the one where Trey was rocking the Garden and improvising off his own licks with massively dissonant delay? That was the Echoplex. My sincere wish is that Trey brings this unit with him on tour this summer. It brought tremendous nuance and creativity to several jams over the holidays, and with a month on the road, I can see Trey getting even more controlled and inventive with the unit.

Two Sets

Everyone’s eternal hope is that Phish brings more to the table in first sets than a series of singles. Even “Stashes” “Gins” and “Antelopes” have been far to innocuous to truly add any spice to opening frames when they do appear, so in what lies the answer? I am not sure. But as everyone knows, when the band truly delivers two sets of smoking music—think 11/1/13 Atlantic City or 8/31/12 Denver—shows become far more elevated affairs. I guess it boils down to predictability. If the patterns of first sets become utterly formulaic, how does the band want the fan to approach them? The new material should help, but some good ol’ creative jamming—whether of the type-I or type-II variety—would do a whole lot more.

Sail On, Sail On

MSG 2013 (A.Nusinov)

MSG 2013 (A.Nusinov)

Phish has hit a legitimate stride over the past two years. 2012 and 2013 provided the payoff for the three rebuilding years that preceded them, years that have plentiful highlights in their own right. Summer 2013 brought a flood of creativity from the band, as they approached some old jams differently, and generally infused fresh sounds and directions into their open jamming without relying on many conventions of old. It truly felt that every show brought “new” music to our ears, in a way that even 2012 did not. This trend continued over Fall Tour, when virtually every second contained a cohesive narrative, something that had been still missing from several summer shows. Phish’s set-craftsmanship came to a modern peak over Fall ’13, featuring such flowing second frames as 10/20 Hampton, 10/26 Worcester, 10/27 Hartford, and 10/29 Reading. This trend continued over the Holiday Run, as all second (and third) sets flowed well after the night one’s choppy affair.

My overarching point here is that Phish need not tweak to much in their live show. They are doing just fine. If their continuous evolution of 3.0 continues, we are looking at what should be one of the band’s best tours of the modern era. And there is no reason that anything should slow them down.

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A Change of Pace

Posted in Uncategorized with the on June 23rd, 2014 by Mr.Miner

With tour a week away, I wanted to write a note about some changes this summer. I have loved being a one-man newsreel for five years, cranking out pieces before going to sleep each and every night. I have loved the feedback from all Phish fans and I have always enjoyed the conversations that my reviews have sparked. However, I find this Summer Tour to be a good point of transition. As the band enters a new chapter in their 31st year, armed with an album of fresh material, I am going to step away from my at-all-costs commitment to reviewing every show.

This is not to say that I won’t be writing during tour, I almost certainly will. Maybe I’ll write on the off days, maybe I’ll write after some shows—I really don’t know. Because people have come to expect my reviews every day, I just wanted to put it out there before tour that I am not going to hold myself to writing after every show. Perhaps I’ll get bored without writing and I’ll switch back to my old routine. I just don’t know. I am also not positive that I will be at every show. I’m kind of playing this summer by ear. As always, thanks for reading along and I’ll see you out there.