The Power of Songs

The Acoustic Set (G. Lucas)

The Acoustic Set (G. Lucas)

Take away the psychedelic improv, monstrous dance grooves, countless effect pedals, digital delay loops, multiple keyboards, envelope filters, and all of the accoutrements of a full-on Phish show, and the songs remain. Lyrics, melodies, and rhythms, stripped down to their naked core; vulnerable souls of their electric kin. Phish has never been known for their pure songwriting prowess, and they have rarely tapped into this energy in their career. Hence, the band surprised everyone when they announced the inclusion of a full-length acoustic set at Festival 8. It would be a first at a Phish festival, and showed a willingness explore a new side of their music.

As we walked to sun-drenched concert field at the crack of noon, few knew what to expect from the band who had played exactly two full acoustic sets in their career. Would they play songs we had never heard before? Would they eliminate favorites from the night time festivities by playing acoustic versions? Would they play Gamehendge like it was story time? It was anyone’s guess. With an iced coffee in one hand and a spliff in the other, I sat down on a blanket to enjoy the show. Having never sat for a moment of Phish in memory – less one “Scent of a Mule” (when I was wholly overwhelmed by the speedy bluegrass and had to sit right there on the arena floor amidst knee-slapping dancers) – I actually looked forward to kicking back and listening to what the band had in store. Certainly the peak of the Festival 8’s mellow vibe, many would return to camp unexpectedly touched by their afternoon experience.

The Acoustic Set (W.Rogell)

The Acoustic Set (W.Rogell)

For the first time in my life, I didn’t stand up when the band hit the stage. Others did, but I decided to fully embrace the experience. The show started with a whisper, opening Sunday morning with a gentle rendition of “Water In the Sky.” As the band meticulously played through many of their mellower songs, it became abundantly clear that the band – and particularly Trey – had practiced unplugged. Not known for his acoustic playing, Trey sounded crisper than any other time in his career; a far cry from his sing-alongs on his solo tours. The band’s vocals, which sounded so strong all weekend long, was another key facet to this set’s success. An obvious reflection of their healthier lifestyle, Trey and Page, especially, sounded more dynamic – and controlled – than ever before.

Between the heartfelt playing and poignant vocals, the power of Phish’s songs emerged. There was no jamming, there were no antics or trickery, just the aural fabric of Phish music. The patience and soul that Phish showcased on this afternoon (and in The Exile Set) illustrated a musical maturity that many never imagined from Phish; an ability to access our deepest emotions not by blowing our minds, but by warming our hearts. Over the course of two hours, the band melted their audience with ballads – “Strange Design,” Mountains In the Mist,” “Let Me Lie,” and “Talk;” Phish favorites – “Bouncin’,” “Curtain (With), “Wilson,” and “McGrupp;” and a couple debuts – “Invisible” and “Sleep Again.”

The Acoustic Set (G. Lucas)

The Acoustic Set (G. Lucas)

But the most powerful moment of the set may have been the last. As the third song of their encore, the band played the post-hiatus ballad, “Secret Smile.” This ardent composition appeared only six times in Phish’s second chapter, and never more bittersweet than in Vegas ’04. Appearing late in the first of three shows that allowed everyone to see the band unraveling, Trey’s voice sounded more strained as ever, as his guitar seemed to cry in desperation through his dripping solo. A month later, Phish announced their retirement. So when Phish brought out “Secret Smile” for the first time since Vegas ’04, it carried a profound emotional weight. Translating differently than before, the song likened hymn of happiness and redemption. As the band extended its delicate ending, one could hear a pin drop on the grass field as the eloquent energy captivated everyone. Many of us became flooded with emotion – an appreciation of being back where we belonged. No funk licks, triumphant jams, or psychedelic experiments were necessary to deliver this message. As we sat there, immersed in the soul of Phish, we could feel it undeniably. And it was good.

Water in the Sky, Back on the Train, Brian and Robert, Invisible*,Strange Design, Mountains in the Mist The Curtain (With), Army of One, Sleep Again*, My Sweet One, Let Me Lie, Bouncing Around the Room, Train Song, Wilson, McGrupp and the Watchful Hosemasters

E: Driver, Talk, Secret Smile



Jams of the Day:  11.1 – The Acoustic Set

Secret Smile


Mountains In the Mist


The Curtain (With)




header-miami-2009Yesterday, with an announcement that amounted to a mere formality, Phish unveiled their four-night New Years Run at American Airline Arena in Miami, FL. Though the community has known this for months, and it was confirmed, in jest, in Festival 8’s Phishbill, it’s always fun to get the official word. This will be the band’s first New Years Run since Miami 2003. Anyone who was there in ’03 can tell you there is nary a better place to spend New Years than on the beach with the Phish. Sunshine by day and psychedelia by night – the situation can not be beat!

The ticket lottery is currently underway and ends this Sunday, November 15th at 11.59 pm. See you there!



11.12.95 O’Connell Center, Gainesville, FL < Torrent

11.12.95 O’Connell Center, Gainesville, FL < Megaupload

Fall Tour '95 T-Shirt

Fall Tour '95 T-Shirt

This is the next show after Atlanta’s Fox Theatre run that kicked off the second half of Fall ’95. The first of four consecutive Florida shows, Phish continued to fire on all cylinders during their 54-show romp, building historic momentum throughout November and December, peaking their style of play.

I: My Friend, My Friend, Llama, Bouncing Around the Room, Guelah Papyrus, Reba, I Didn’t Know, Taste That Surrounds, If I Could, Split Open and Melt, Hello My Baby

II: The Curtain > Tweezer > Keyboard Army, Sample in a Jar, Slave to the Traffic Light, Hold Your Head Up > Cracklin’ Rosie > Hold Your Head Up, Possum, Tweezer Reprise

E: Fire

Source: Unknown

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664 Responses to “The Power of Songs”

  1. Robear Says:

    I have a friend on the coast with a huge catalog of GD on disc. I can pick some out some new listening with your list as a guide.

  2. Mr. Completely Says:

    @KWL – your summation is absolutely 100% accurate

    out for an hour or so

  3. KWL Says:

    dense stuff, Mr C. Appreciate the response.

    Unlike many folks I know, I tend to pick out what I dislike immediately, and it takes me a while to get through this to dig out what I can find of value. Others can get what they like first, and need that 2nd read to find the problems. Sometimes I think I would enjoy reading widely much more if I fell into this second camp, but alas, I am uber-critical to the core.

    Send headies.

  4. KWL Says:

    ‘Indeed, this irony of a totalizing conceptual system attacking other thought systems for being totalizing is in fact the basis of his (imo terminally devastating) critique of postmodernist Critical Theory.’

    don’t totally follow here.

    ‘it actually seems like his argument is with an older and now less academically relevant generation of feminist academics ‘


  5. Mr. Completely Says:

    ===== sorry to everyone else for the big fat nerd posts, here’s one more ====

    re: picking out what you dislike immediately – in another irony, Wilber does the same thing. He tends to start by attacking, or at least deconstructing, which is usually perceived as attack by those under critique. He would say “recontextualizing” maybe. His intended point is usually to situate a given theory or practice in what he sees as its appropriate context.

    This aggressive approach means he is widely disliked within many academic disciplines of course. Usually their return critiques have to do with disagreements with his interpretations of their disciplines, rather than strong arguments against his larger points.

    re: critical theory – for instance one cultural value of critical theory (which he acknowledges) is that it allows us to deconstruct modes of thought which reinforce power structures – however critical theory itself a) has become a power structure within academia and b) is often applied by academics in situations outside its appropriate context, such as confusing the idea that meaning is linguistically or conceptually constructed (correct) with the notion that reality is similarly constructed (not so much). If you fall off a cliff, it doesn’t matter what words you use for fall or cliff, or what that symbolizes. Physics trumps interpretation.

    He’s pretty rough on Derrida for instance…the whole continental school. Brutal really.

  6. Mr. Completely Says:

    the point of the above is that critical theory is itself a totalizing theory

    but then so is his theory which he uses to attack crit theory

    ironic infinite regress, I suppose

  7. Mr. Completely Says:

    @Robear if we haven’t driven you off

    of course I also recommend the mixes in my mediafire but I’m sure you know that

    parts of all the shows I mentioned are scattered throughout

    plz add 5-11-72 Rotterdam and the parts of 8-27-72 which are reasonably in tune to the list (esp Bird Song and Dark Star)

    and any Dark Star show from late 1973 or 1974

    and a few other shows from ’74 for the second set jams (5-19, 6-18, 7-19)

    I’ll stop now sorry

  8. Mr.Miner Says:

    wow….who is wilber?

  9. neemor Says:

    You guys just geeked out all over this joint! Well done!

  10. neemor Says:

    Not that there’s too many here to debate at this point…
    But the idea of an acoustic set made me wonder if we as fans would be accepting if Phish decided to do an entire tour with first set acoustic.
    If every show’s first set was billed that way.
    Could we sit through it?
    Do they have the catalog to make that a possibility? Could they just switch their entire catalog to acoustic composition?
    What if they decreased the venue size to make it more intimate 600-1200 max crowd?
    Would the more intimate venues drive ticket sales?
    I know I would love it. I don’t know if I’d be driven to hit 10 shows on a twenty show tour, but maybe three or so.
    Am I just asking complete nonsense spawned by insomnia?
    Is this even a worthwhile line of questioning?
    Boy, I wish Fall Tour tickets would just come in the mail already….

  11. neemor Says:

    Alright, I get it….
    Good night.

  12. Mr.Miner Says:

    it would not be a popular idea.

  13. Mr.Miner Says:


  14. Robear Says:

    ‘Deep Thoughts’.

    Thx for the GD rec’s. Feight reminded me of photos I had seen from Veneta, 8/27/72. No ‘Sing me back home’ though.

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