Phish’s playing has always been influenced by their surroundings. Whether comparing indoor and outdoor shows, amphitheatre and festival gigs, or east coast and west coast shows, the differences in their musical style are striking. Without judging the bands’ different styles, one can certainly hear the difference in a Gorge show versus an MSG show- and if you can’t, well, you’re just not listening. This past tour was distinctly divided by region, with seven western shows, one in the Midwest, and four in the Northeast, and when perusing the musical highlights of each, stylistic differences certainly emerge.
Opening at Red Rocks, the band entered a surreal, open-air atmosphere filled with very few extraneous fans who didn’t care about the show. Between the stunning geography and the band’s ability to play to the stars, Phish blew up the wide-open, energetic and focused environments with jams of the same qualities. As soon as Phish stepped on stage at Red Rocks, we heard a different in style from June- more relaxed, more patient, and more exploratory. While this shift certainly had to do with the band’s enhanced comfort level after their first tour, there is no doubt that the laid-back environment lent its influence to the many amazing jams throughout tour’s first four nights. Allowing more space in the music for their notes to breathe, the band’s musical characteristics of the weekend were illustrated in jams such as”Ghost > Wolfman’s,” Drowned > Crosseyed,” “Tweezer,” “Antelope,” and “Disease,” to name a few. Make no bones about it, things changed over the five weeks off, but Red Rocks had a lot to do with the musical theatrics we witnessed over the four nights.
The scene shifted to the Bay Area for one night- the birthplace of the psychedelic revolution. Busting out Hendrix, Velvet Underground, Taking Heads, and Los Lobos covers, Phish used Bill Graham’s classic amphitheatre to give a nod to many of their musical predecessors, regardless of their regional roots. Featuring a multi-faceted and exploratory “Down With Disease,” Phish donated their own nugget of psychedelia to the historic shed. Capping the show with intense excursions through “Maze” and “Mike’s,” you could tell we were no longer out in nature.
As we moved up to The Gorge, Phish settled in for two nights at the glorious venue; a site where they have historically played differently. Featuring slower tempos and less notes, Phish has always allowed their music to bellow over the majestic and open-air surroundings; so much so, you can pick a Gorge tape out of an audio lineup. The natural awe of the venue often gets soaked right into the band’s music, resulting in patient, other-worldly jams. This summer’s first show in George, WA. was a perfect example of a “Gorge Show.” Featuring patiently cosmic improv all the way through, this show sounded like a Gorge fantasy, with more than one of the tour’s best jams coming during night one. The “Sneakin’ Sally”- which might just take the cake for jam of the summer, the “Bathtub Gin”- which isn’t far behind, a exploratory-turned-calypso “Light,” a first set monster “Stash,” arguably the most soulful “Hood” of the summer and a soothing “Slave” encore- this one is hard to hold a candle to. But it wasn’t just that the jams were amazing, they were distinctly wide-open “Gorge-type jams,” and if you’ve listened to the band’s history at this venue, you understand what I mean. These aforementioned jams would never happen at a tightly packed east coast shed- they are of a completely different vibe. (And vice-versa, the Chiacgo “Carini” or the Darien “Drowned” wouldn’t ever happen at The Gorge.) “Wolfman’s,” “Antelope,” and “YEM” brought this style the next night in a distinctly less-Gorgey, but excellent, Saturday night show. Interestingly, but consistently, Phish plays to different vibes in different parts of the country.
When the band jumped ship from the west coast, we all experienced a bit of culture shock, landing in the gritty surroundings of Toyota Park on the South Side of Chicago. A far cry from the beauty of the west, the venue was large and sprawling like the city itself, creating an incredibly impersonal feel. The stage was massive and removed from the crowd, and the crowd was once again infiltrated with frat boys and dirt-surfing hangers-on that plague mid-west and east tours. After a week pure bliss, the band and the people on tour had to adjust to the urban jungle, and not surprisingly, Phish’s show wasn’t the most cohesive. Feeding off the over-sized soccer stadium, the band played some standout jams, but the artistry of the setlist left something to be desired. Dropping the biggest “Number Line” up to that point, a bombastic “Carini,” a spirited “Jibboo,” a solid “2001 > Chalk Dust,” and an impressionistic “Hood,” the music was all there, but the songs just didn’t fit together well and the set was discombobulated- much like the venue itslef. We were all glad to hop into more familiar surroundings as we made our way to Darien Lake.
During the last four shows of tour, Phish swam back into their Northeast zone of comfort, hitting up four amphitheatres they had played many times before. And as the music began to flow, there was an increased urgency and force behind in most of the jams, a noticeable difference from the wide-open textures of the west coast. The standout improv was still there, but in a completely different vein. Listen to the Darien “Drowned” and “Antelope,” the Hartford “Birds,” “Disease,” “Piper,” and “Ghost > Psycho Killer,” the Merriweather “46 Days” or the SPAC “Numberline” and “Rock and Roll,” and you will notice a more driving intensity behind the music giving it a more full-on feel. Just comparing the Red Rocks and Hartford “Ghosts” illustrates my point quite well. By no means am I saying one style is any better than the other- I love it all- but I am noting a musical pattern that is consistent for Phish.
Trust me, if you offered me a night at MSG or a night at The Gorge, I would defer the decision to someone else, because each are separate but equal monsters. While this geographic pattern of musical styles has always held true for the band, the differences in playing were accentuated this past tour as we hopped from region to region with no “connecting” shows in between. In any tour that touches different corners of the country, one will hear different incarnations of Phish’s sound, as they adapt to their physical surroundings along the way. People will always have opinions and preferences about each style, but you can’t have the yin without the yang, and therein lies the beauty of Phish tour.
“Makisupa Switch-Up” – The Gorge 8.8.09 (Photo: Eric Battuello)
Tags: 2009, Culture, Summer '09