“Twist > 2001 > Moma”

3.7.09 (S.Wiltse)

3.7.09 (S.Wiltse)

One of the tightest musical segments of Hampton, and certainly one of the most exciting, was the “Twist > 2001 > Moma” late on night three.  Combining three of the last remaining songs in their eighty tune
repertoire for the weekend, Phish put together the run’s biggest musical climax.  In a show that featured the most precise and highest-energy playing from the band, these jams fit right in.  This crowd pleasing knockout punch featured some of the biggest outright dance grooves of a weekend that focused more on composition and abstract jamming.

3.8.09 (J. DiGiuseppe)

3.8.09 (J.DiGiuseppe)

Trey growled out of the composed section of “Twist,” speaking through his raunchiest, uncompressed tone, and Mike shot laser beam bass lines, similar to several ambient ’03 “Twists.”   Their interplay to start the jam stood out; Mike taking the lead melody as Trey spat distorted, yet expressive, licks with his guitar.  Page chimed in with some electro-sounds, adding a completely new sonic element to the puzzle.  This music represented some supremely different electro-Phish, as all three non-drummers used unique and over the top tones.  The band morphed into a dark psychedelic milieu before the music slowed down quite a bit.  Turning blissfully ambient, Phish used their “amoeba-like jamming” to create surreal textures.  But minutes into this deepening musical path, the band subtly- on the drop of a dime- slipped out of the sonic stew into the beginning of “2001!”  Trey led the way with a beautiful descending melody, carrying everyone into outer space as Mike revved up the bass-heavy groove.

In one of the slyest transitions of the weekend, Phish transformed

3.7.08 (S.Wiltse)

3.7.08 (S.Wiltse)

Hampton Coliseum into “The Mothership,” and the venue careened through the corridors of outer space.  With slammin’ funk grooves, the band initiated a short, but oh-so-sweet, dance session that brought the highest energy of the night.  An old-school version, this “2001” was simple, chunky, and ripping.  Like candy for the mind, the rhythmic patterns dusted off a part of our soul that had lay dormant for five years.  As the band quickly reached the second peak of the song, what would they launch into?  What did they have left?

3.8.09 (J. DiGiuseppe)

3.8.09 (J.DiGiuseppe)

As Phish sustained the climax of the song for seconds after the last note, they collectively made the hugest drop of the weekend into the tar-thick funk of “Moma Dance.”  It was virtually a joke how well this setlist was written, forcing everyone to dig deep into their reserves of energy- but no one had any trouble finding them.  A song with a bit of Hampton history, this performance gave a raucous nod to 1997’s epic “Tweezer > Black-Eyed Katy.”  Page absolutely tore up the clav all over this song, much like every other song over the weekend with one keyboard or another. With the smoothest lounge-funk, Phish completed what was the tightest and most energetic excursion of the run.

Phish saved some of their most spectacular playing for late in their three-day magic show.  Leaving the audience with the best music of the run throughout the last set, the band left people jonesing for more.  Blowing up one of the standout musical stanzas of all three shows right near the end, Phish left many a fan with the question, “Is it June yet?”



3.7.09 Hampton Coliseum < LINK

3.7.09 Hampton Coliseum < TORRENT LINK

I: Get Back On The Train, Runaway Jim, Brian and Robert, Split Open and Melt, Heavy Things, Punch You in the Eye, Gumbo, Reba > Mexican Cousin, It’s Ice, Halley’s Comet, Beauty of a Broken Heart, Guelah Papyrus, Lawn Boy, Run Like An Antelope

II: Rock and Roll > Limb By Limb, Ghost > Piper > Birds of a Feather, Wolfman’s Brother, Prince Caspian, Mike’s Song > I am Hydrogen > Weekapaug Groove, Character Zero
E: A Day in the Life

Source:  (FOB) Schoeps mk22 > kc5 > cmc6xt > Audiomagic Hyperconductors > Grace Design Lunatec V2 > Darktrain Custom Cables > Sound Devices 744t (@ 24 bit / 48 kHz)

Transferred by: Jason Sobel; A Team BTG Production brought to you by:Dave F, Scott G, baustin, Greg L, Mikey K, Carrington C, Matthew, Rick, Eliot, Oliver, Foxy, Steve F, Tara, Jimbo, BHadella, Jenny, Jerryfreak, and more…



“3.6.09 Encore” Photo by Jeff Kravitz @ insidecelebpics.com

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144 Responses to ““Twist > 2001 > Moma””

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  1. Mutha_Ohks Says:

    It was as if the five years my age had gained were erased during this part of the weekend. Feeling the effects of continuous 2 hour sets, I thought to myself at setbreak how it felt good to be “dance sore” again, and maybe this set I could take it easy, enjoy the lights and sort of reflect on the weekend. The boys obviously had other ideas as the mothership turned in to an all out dance party. Perfectly executed setlist- perfectly timed. This was the most fun I had all weekend.

  2. c0wfunk Says:

    page was tearing up that clavinet all weekend long … seemed to be his jam keyboard of choice, almost as much as the piano….

    Page’s setup seemed to have trimmed down a bit from years past ..

    he had the piano with the clav on top, the organ with the hammond on top, the rhodes behind him, and one other keyboard that I couldn’t quite see (and I’m not sure he played) completing the square. I know Trey’s rig is well documented, but has anyone ever seen a map of Page’s keyboard corner? He used to have a polyphonic synth of some sort up there that I didn’t see this time around (replaced with the phatty I guess!)

    I”ve learned so much about keyboard technology since 2004, I didn’t know what was what back then.. anyone have any insight to page’s old rig?

  3. axillalot Says:

    Great write up. I would imagine you’ll be writing about the piper > birds transition? you can hear trey bringin in birds about a mile away!

  4. c0wfunk Says:

    I think someone mentioned this rumor yesterday –> page and trey did indeed sit in with the allman brothers last night at the beacon. Setlist:

    Allman Brothers Band
    Beacon Theater

    Set 1
    Little Martha>
    Trouble No More
    Leave My Blues At Home
    Who’s Been Talkin
    Black Hearted Woman>
    Other One Jam (6 minute)>
    Cant Lose WHat You Have NEver Had
    Sky Is Cryin w/ Buddy Guy
    You Dont Love Me w/Buddy Guy
    SouthBound w/Trey, Paige, and Buddy!!!

    Set 2
    Know You Rider w/Trey and Page
    Liz Reed w/ Trey and Page
    Jessica> Jam with Derek, Oteil and percusssion>


    Statesboro Bluez>
    Blues is Alright>
    Statesboro Blues

  5. Rosin Says:

    I keep hearing from people that Twist > 2001 > Mama was so great. I disagree, I really don’t think they were the highlight of the weekend. Those are three songs that benefit from their jams, which didn’t happen. I think the best part of the weekend – aside from Fluffhead – was Rock n’ Roll > Limb By Limb Ghost > Piper > Birds of a Feather, Wolfman’s Brother.

  6. Matso Says:

    Ok, just a couple of random Hampton-inspired thoughts (I’ve had to start limiting my time on this site during the week – I work in an open-plan office and things are feeling a bit tense on the job-security front at the moment!)

    FWIW, I’m not as enamoured with the Twist->2001>Moma as other parts of the weekend, but I’m sure if I’d been there, it would have been a great sequence.

    Ok here are the randoms:

    1. Page was on fire – yes, but how much of this awesomeness was due to the much better live mix (where you can hear everyone really well)? I’m sure there are a lot of older shows where Page was showing off serious Jedi-skills but we didn’t quite appreciate the true extent of his mastery because he was too low in the mix.

    2. AC/DC Bag – short, but wow! I know it’s been cited as being great already, but alongside the LxL, this is my pick for ass-kickingest short version of a song. On the SBDs you can hear someone, I think Trey, say ‘Ya!’ when Fish kicks the rhythm into high gear and Trey locks in with him.

    3. Trey’s playing – in addition to the very focused nature of a lot of his solos, I wanted to mention two new characteristics of his playing, both of which were displayed on the Northern Exposure, but used to even greater effect at Hampton:

    i) he uses some effect during various jams now which just ever-so-slightly bends the notes. It’s a bit like the old ’99-era howl effect, but much cleaner (almost like a whammy-bar kind of bend). Perhaps one of the electric guitar players or people who were can enlighten us as to whether this is a pedal or pure technique? It sounds like a pedal to me. See the Hood jam, Ghost jam, WMGGW and various others for examples. I thought it worked especially well at one point in the Hood jam just before it peaks and during the Ghost jam he uses it in a more abstract way as the jam starts to build. I like it a lot and I think it gives his playing an even greater emotional texture.

    ii) there is a staccato phrase that he played all over the place on night 1 which he also played with Classic TAB. I can’t reproduce it here onomatopoeicly, but it sounds a bit like a car skidding around a corner if that makes any sense.

    4. I felt a bit depressed after watching the Fluffhead footage on YouTube. It was really bittersweet for me: I could imagine the emotion going through everyone there, and enjoyed that, but I could feel only a fraction of it. It was the realisation of how much infinitely greater the ectasy of being there would have been that made me feel low and bummed out. I wish I was at Hampton more now than I ever did before the shows actually happened. (I’m also perhaps the one person not excited about west coast dates being announced, again for the selfish reason that I know I won’t be going to any of those shows. I now pray to Jah every night that they announce either a Europe tour (with a four night stand at the Brixton Academy!) or 3/4 consecutive nights somewhere on the east coast in the fall, which is likely to be my best chance to get over on a phishing trip).

    5. No Spoilers, single mp3 sets, is the only way to listen to Phish shows for the first time. I sometimes wondered if the faster and faster availability of recordings accelerated the critical dissection of the band’s music in a way that contributed to a lot of the jadedness of certain fans in 99/00 and then 2.0. No Spoilers addresses those issues brilliantly because you’re forced to go along with the flow of a show with no critical preconceptions. Even if you peak at the setlist, listening to a show through without the easy ability to skip to the tracks reproduces a lot of the benefits of listening to shows on tape (discussed at length already on this site, eg. more intimate familiarity with whole song book, better appreciation for ebb and flow of shows, etc).

    6. Kuroda – is it just me or was his work even better, more subtle and more original than before? I have to admit that at IT and Coventry (the only 2.0 shows I made it to), I wasn’t really that inspired by the lighting. From about 95 to 99, CK5 constantly impressed me with original designs at every show I attended, and the way he imaged the jams was often very dramatic and daring. In 2.0, my impression – and this is to some extent borne out by the photos which Miner has used over the months on this site – the designs became a bit staid and predictable. This is not to say that he didn’t do a great job, but it felt less creative and more like a series of templates. From the pictures I’ve seen, he’s as rejuvenated now as the Chairman of the Boards and produced some very special designs indeed.

    Sorry for the brain-dump. I needed to share.

  7. Chalkdustin Says:

    Nice review, Miner. The excitement flowing through my body when they went into 2001 was insane. I was jumping around and slamming into everyone around me (apologies to anyone who was next to me). Then when they started Moma- man, I lost it. The funk rolling through the crowd was in high doses, everyone getting their boogie on.

  8. AbePhroman Says:

    Sunday imo, was easily the best night of the 3. I LOVE SPACE PHUNK!

  9. nonoyolker Says:

    Dude, trey, page, AND buddy guy sit in with the Allman’s?!?!?!? I NEED to hear that. The Bros. can still shred. The Bros + 1/2 phish + guitar GOD = UNREAL…

  10. c0wfunk Says:

    This section was def the dance party of the weekend- loved it

  11. vtsnowboarder802 Says:

    -matso. re #4,5 – 100%. Watching the clips on youtube did not make me feel betterer.

  12. Chalkdustin Says:

    @ Matso, I though CK was off the hook too. The giant balloons on the ceiling and different patterns he used on them was sweet. Yesterday (I think) somebody mentioned the rainbows he used- I don’t ever recall seeing that specific pattern used before, but I’m not a 200+ show vet nor do I remember the lighting to every show. I have mixed feelings about the rainbow pattern. Has it been used before?

  13. c0wfunk Says:

    Loved the rainbows.. Pretty sure it was new too. It seemed the whole light show was a slightly different palette, a little deeper in some places, a little brighter in others..

  14. Billy Breathes Says:

    love listening to the soundboards now….man are these shows hot hot hot.

    some really EPIC versions.

    90% of the 88 songs they played in 3 nights are so well composed and articulately played.

    mind blowing.

    welcome back boyz!

  15. Frankie Says:

    See you Halloween weekend in Albany my friend! 😀

  16. SOAM Says:

    Rosin-Twist was sick. Guitar lead pealing
    2001-first time in 5 yrs.
    Moma-Everyone looked at each other with the “oh yeah-it’s on.. bring some Funk to my skull”

  17. AintNoTele Says:

    Mr Minor,
    I just read your reviews from the fall 2000 tour and you mentioned the ’98 and ’99 Merriweather shows, can you post them as a download of the day sometime? I would love to have the Mikes>Twist from 99! Actually, it all looks good

  18. harry_hood Says:

    I’ve heard the Albany Halloween rumor as well. Pretty much a home town show. Getting a ticket to this Halloween, regardless of where it is, will be insane.

  19. buffalo bill Says:

    Twist was sick. The dark pedal used in the psych jam was great.
    2001 was short and funky fitting perfectly in the vibe of the set.
    Segue into Moma was a surprising fit.

    This section of the set was not played perfeclty but you really began to feel the band beginning to flow.
    Was not the tightest Moma ever but I believe the Twist was actually one of the tighter played songs. You could sense that the jamming was beginning to flow more organically at this point of the run.

  20. wall05 Says:

    anyone think they will be at Rothbury?

  21. hawkinbj Says:


    The effect you’re referring to is made with a pedal called the Digitech Whammy II. The pedal has multiple settings and has previously been responsible for the siren-dive-bomb-loops, high octave sounds, and harmonizing and is now used for both the effect you’re describing – the slight bends – and also the “raunchy uncompressed” deep/dirty tone Miner ever so loves 😛

    He’s very dramatic when he’s on the effect as he sways his whole body into it; you can’t miss it as it’s his go-to effect atm

  22. SOAM Says:


  23. contact420 Says:

    The best way to describe the Whammy II is it’s just like the whammy bar you see on guitars, back n the day Trey’s blonde Langueduc had a whammy bar. Trey seems to be in love with the frickin’ thing, it’s almost like the boomerang pedal that came out in ’97 and we all know how annoying that became.

  24. Baxter Says:

    Nice pix from Allman’s last night with Trey, Page & Buddy Guy:




  25. tyler Says:




    (repeat indefinitely)

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