A Showcase of Songs

12.30.09 - Miami (Photo: Wendy Rogell)

The diversity of Phish is one of their greatest assets, and a huge reason behind their overwhelming appeal to so many people. Beyond varying their setlists, Phish effortlessly swoops between musical genres, altering the focus of their shows, while composing vastly different orbits each and every night. And when the band plays as well as they did in Miami, any direction usually works just fine. A night after Phish played a show underlined by giant grooves and copious improv, the band returned on December 30th with a song-based show that still held the door open for some quintessential second set psychedelia. Focused on elusive pieces of their catalog for much of the night, the band tore through many seldom played selections with surprising proficiency, while still carving out one of 2009’s elite jams. Though the band’s musicianship stood at the top of their game, this show contained a choppy, yet fun, vibe, with no real flow to either set. Yet, when examining each piece individually, Phish absolutely nailed everything they touched on this night.

12.30.09 (W.Rogell)

If bust-outs tickle one’s fancy, then they were laughing all the way through this first set in which eight of twelve songs appeared for the first time this year, including two debuts. The party got started with the first “Soul Shakedown” of this era, igniting the crowd and setting the tone of the evening right away. Following a short but sweet “Runaway Jim,” and woven around “Stealing Time,” the bust outs just kept rolling – “Jesus Just Left Chicago,” Hank William’s “Dixie Cannonball,” “Corrina,” “What’s the Use?,” Tela,” the debut of “Gone,” and “RockyTop.” In a veritable buffet of Phish rarities, one of the unquestionable highlights of the sequence was “Corrina.” Ten years to the day that they broke out the song in Big Cypress’ opening set, Phish played a highly emotive version evoking memories of the Everglades with graceful solos from both Page and Trey. “Tela” brought the most “significant” bust-out, with eleven years coming between its last performance in New Haven, CT on November 24, 1998. Practiced and polished, Phish gave the integral piece to the Gamehendge saga the full treatment, bringing the composition to a gentle peak. Throughout all of these songs, Phish sounded spot on, both musically and lyrically, making these appearances all the more special. Sure, squeezing “What’s The Use?” between “Corrina” and “Tela” does nothing for context or flow, but the band is clearly now comfortable with the widest array of their material since the mid -’90s. Finally digging deeper into Party Time, Phish debuted “Gone,” a reflective Trey piece with a strong melodic leads and potential for expansion come summertime. “Rocky Top” finished the eccentric part of the set, leaving way for Phish to loosen up their chops in the final segment.

12.30.09 (W.Rogell)

After crushing “Chalkdust,” the musical energy in the room palpably increased, setting the table for the improvisational high point of the first half, “David Bowie.” Through many versions of “Bowie” this year, the band hadn’t often been able to channel the maniacal energy that defined the song’s history. Playing quasi-generic renditions more often than not, few “Bowies” stood out as unique. But Miami’s version jumped off the stage with a creative aggression unseen most of the year, all without moving far outside the box. Possessing that furious, yet precise, energy that characterized “Bowies” of legend, Phish applied their newly-found, effortless bravado the jam, and came out with one of its most successful, densely packed affairs of the year. Peaking with unique, full-band fury, “Bowie” ended the first half with a bang. Having picked up improvisational steam at the end of the set, and following the night before, who knew what to expect in act two?

12.30.09 (W.Rogell)

Opening the second set, Phish continued the Big Cypress allusions by dusting off the second “Sand” of 2009, evoking memories of the forty-plus minute epic in the early hours of the decade. This version followed a more classic contour than Camden’s of early summer, focusing primarily on Trey’s guitar leads over a driving groove, and less on full-band interplay. Trey, however, brought enough fire to carry this version on his own. Starting with sparse phrasings, he soon built into flowing melodies that solely directed the course of the song. Supported by a tightly woven groove, Trey lines surfed atop the musical wave provided by his mates throughout this excursion. Dominating the second half with effect-driven, “retro-milennial” sound-sculpting, Big Red brought the piece to a gnarling peak only a stones throw away from the site of its seminal outing a decade ago.

12.30.09 (W.Rogell)

A fiery beginning to the second half gave way to a cerebral segment of “Curtain (With)” > “Lifeboy.” In complete contrast to the linear dance patterns that opened the frame, Phish entered one of their exquisite compositions with notable precision and energy, and when “With” dropped, the band’s soul took over. Completely at home with the piece that once symbolized the debacle of Coventry, Phish culminated the many versions of the year with one of their best. Played with meticulous passion, “With” felt like a emotional cleansing on the brink of a new decade, while simultaneously, a celebration of 2009 – the year that everything came back together. With undeniable majesty, the band engaged in one of the most alluring passages of the run, featuring interplay both subtle and supreme.

Dripping from the stirring rendition of “With” into the first “Lifeboy” of the year, Phish crafted an elegant combination of introspective hymns. Performed immaculately, the song’s dreamy soundscapes backed its wistful lyrics in the type of delicate display absent from the 2.0 era. But this time around, every note matters, hence the band’s patient and steady progress throughout the year, and “Lifeboy” vividly illustrates this renewed philosophy.

When Phish continued with “Back On the Train” as a centerpiece of the second set, it really seemed as though the 30th would go down as light on musical exploration, but little did anyone know that one of the year’s top jams was about to unfold. Stemming from the back-country funk of “Back On the Train,” Phish would grow one of their most exciting excursions from the least likely of places. Gradually stretching out the song’s form, Mike, once again, led the way out the door, as he was the first to bring unique ideas to the table. As Mike coaxed Trey into some rhythm playing, the band took off on a musical tangent, everyone picking up new on each others’ ideas, and almost instantaneously, transforming the piece into an ambient blanket of shimmering sound.

12.30.09 (W.Rogell)

From there, the band took a multi-dimensional musical expedition, beginning in a quieter, bass-led brew. Latching onto Mike’s patterns, Trey, and Page joined in, forming a sublime, sonic waterfall. Phish had traveled way out there quite quickly – a musical hit of DMT – and soon, the delicate canvas became increasingly dark as the band built the force behind their wall of sound. A kick drum joined Fish’s shimmering cymbal textures, as Trey’s began to scream out over Page’s drone effects and piano patterns. And out of an ambient escapade, Phish built a fierce, all-out high speed musical getaway. A distinct moment transpired where the whole band hit full stride in a galaxy far, far away, and, collectively, took off out of sight. Even Kuroda got in on the act, masterfully speckling the arena with dots of white light to match the musical intensity. In order to return to earth, the band slowed into a polyrhythmic segment, resembling the cadence of a “Limb” jam, as Trey and Page gushed emotion through the final rolling peak. A true journey into the unknown, most didn’t know what had hit them as the band drifted softly into “Velvet Sea.” But we had just witnessed one of the year’s most successful jams; the yin to “Tweezer’s” yang; the other best side of Phish.

"Fish and Rich" (W.Rogell)

“Velvet Sea” provided a lush cushion for the band’s interstellar exploits, a perfect place to descend upon from such gargantuan heights. But once this surreal segment came to a close, Fishman came front and center for his late-second set exploits that are often hard to believe still take place in 2009. This act took a turn for the comical, however, as the band chose “Rich” from the crowd to come up and guest on vacuum since Trey had promised this that Fish’s “I Didn’t Know” solo on the 28th would be his last of the decade. At the time this all seemed innocent enough, but in reality, the band was laying groundwork for their New Year’s prank. (More on that tomorrow.) But “Rich” held his own, and got the arena rocking far more than Fishman could have, in comedic episode that pumped up the audience for the set’s final section.

12.30.09 (W.Rogell)

12.30.09 (W.Rogell)

Following another generic “Free,” a song the band should expand or shelve at this point, they kicked into a late-set “Boogie On,” taking the song-based theme through the very end of the show. But after a short funk groove, Trey slowly integrated the beginning of “Antelope,” blending one song into the other. Throughout the intro – in which the full band joined in, within the full-on jam, and in the outro, Trey precisely and playfully teased the main melody from “Boogie On.” Each time firing up the audience a bit more, by the end of the song, Trey had the arena eating from the palm of his hand as he brought the vicious jam to a close with an combination “Boogie On” / “Antelope” lick. This smoking, high-energy conclusion will forever be remembered as “Boogie Like an Antelope.”

When looking at a New Years Run, one must consider the four-night whole rather than each show on its own. Designed to be a four-night experience, interpreting a New Year’s Run in any other way would be missing the point. This show complemented the 29th’s groove-centric exploration, while the 31st created the feel-good party of the year. People will favor one of these shows over another because of their personal preferences, not because Phish played any better or worse on these three nights. After the 28th’s uncharacteristic warm-up, the band blasted into their best playing of the year, with each show designed for a different purpose. This night provided a showcase of rare songs, and we still managed to get in a jam of the year. Not bad, I’d say. Not bad at all.

I: Soul Shakedown Party, Runaway Jim, Jesus Just Left Chicago, Dixie Cannonball*, Stealing Time From The Faulty Plan, Corrina, What’s the Use?, Tela, Gone*, Rocky Top, Chalkdust Torture, David Bowie

II: Sand, The Curtain With > Lifeboy, Back On The Train > Wading in the Velvet Sea, HYHU > Love You > HYHU, Free, Boogie On Reggae Woman > Run Like An Antelope

E: Frankenstein

12.30.09 (Photo: Wendy Rogell)


Jam of the Day:

Back on the Train > Velvet Sea” 12.30 II


Who would have thunk it?



12.30.09 American Airlines Arena, Miami, FL < Torrent

12.30.09 American Airlines Arena, Miami, FL < Megaupload

12.30.09 (W.Rogell)

I: Soul Shakedown Party, Runaway Jim, Jesus Just Left Chicago, Dixie Cannonball*, Stealing Time From The Faulty Plan, Corrina, What’s the Use?, Tela, Gone*, Rocky Top, Chalkdust Torture, David Bowie

II: Sand, The Curtain With > Lifeboy, Back On The Train > Wading in the Velvet Sea, HYHU > Love You > HYHU, Free, Boogie On Reggae Woman > Run Like An Antelope

E: Frankenstein


Source: Sennheiser MD441U > Edirol R4Pro (Oade preamp mod) @ 24/88.2 (Taper – padelimike)

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1,066 Responses to “A Showcase of Songs”

  1. Leo Weaver Says:

    @aw…you also got a mighty fine park in chicago…Millenium Park…quite a showplace and work of art for us park designers…can’t wait to see it in person

    @chef…music suggestions, seems like you mentioned a day or two ago that you like reggae but don’t know where to go past Bob…well here are some suggestions…hit up Selector J and maybe AW for more

    Blackboard Jungle- Lee “Scratch” Perry and The Upsetters
    Dance Hall Style- Horace Andy
    Jesus Dread- Yabby You
    African Dub All Mighty Chapter 1-4 – Joe Gibbs and The Professionals

    Loving the art discussions, wish I could comment more but work has been screaming lately. I will say, when in Amsterdam, you MUST MUST MUST go to Rijksmuseum for Rembrandt and the VanGogh Museum…both are simply incredible and those artists’ works must be seen in person to fully appreciate.

  2. Mr. Completely Says:

    I see what you’re getting at I think

    surrealism is recontextualizing psychological imagery?

    cubism is just fucking with the actual act of perception

  3. SillyWilly Says:

    I would never say Dali was not awesome and I completely agree that theres way more to Surrealism than my short statement.

    What I meant is that the GD and Phish combine the good parts of surrealism into a more constructive cooperation between bandmates and a focused creativity that is at times anti-rational like surrealism.

    I just think we’ve passed surrealism and improved. Post-modernism, of course, has roots in surrealism but it builds on surrealism.

    The part I dont like about surrealism is the way it can be too open-ended. It depicts anti-egoism and anti-rationalism, but then sometimes it fails to point to a solution.

    in this way it is nihilistic. and i am willing to say that i do disagree with nihilism.

    just my opinion. we can stop talking about this if its a drag. my bad.

  4. pagesidehighschool Says:

    Awesome shit in Rock Scully’s book “Living with the Dead” about dali meeting the dead. Phil says to Dali “people do drugs at our shows” Dali replies “I am Drugs!” awesome book worth the read if you can find it

  5. Mr. Completely Says:

    Dali, Picasso, Van Gogh, Monet, Rembrandt – of the artists I have seen, those are the ones that must be seen in person – they are absolutely nothing like the poster versions, either for reasons of scale or technique

  6. DaNcInG fOoL Says:

    @completely, that seems to make sense – and then from there its meaning is subjective

  7. Mr. Completely Says:

    FWIW Rock Scully is a notorious liar and asshole

    not trying to be a dick and that book is a fun if over the top read, as long as you don’t mind a focus on the depraved

    but he wrote that to try to shift blame off himself after being Jerry’s prime enabler for years

  8. DaNcInG fOoL Says:

    all paintings really need to be seen in person though – otherwise if you’re just looking at a photograph you’re essentially looking at another medium altogether

  9. Mr. Completely Says:

    @Silly I liked the digression and think your perspective makes a lot of sense, no reason to back off it

  10. Mr. Completely Says:

    excellent point f0ol

    those are the ones that truly just stunned me when I saw them, how totally I had been missing the point

    Monet most of all

  11. SillyWilly Says:

    my favorite painter is Bram van Velde.

    moves me to my absolute core.

  12. SillyWilly Says:

    Thanks, Mr. C. youre always down for some philosophy speak and i really appreciate it.

    i cant be a fan of something if i dont agree with the theory behind it first. that being said phish is my favorite band because they embody the kind of philosophy i subscribe to.

  13. Leo Weaver Says:

    yeah on seeing Picasso in person as well…so when you’re in Barcelona you MUST MUST MUST go to the Picasso museum. Love the early pencil sketches.

    Very good point fool re: photos…

  14. Mr. Completely Says:

    Picasso is #1 for me

    the essence of genius, those spare later images, the “light paintings” done in camera, the way he turned everything inside out just by looking at things differently…

  15. Leo Weaver Says:

    I’m with you Silly on the theory…it’s all about understaning the “how and why”. I try to explain this to my employees (we deal a lot with site construction systems and zoning ordinances)…you can’t design something to properly fuction without first understanding how and why it functions. And you can’t design within or around ordinances without understanding their intent, i.e. how and why. I just don’t read enough to get into the philosophy, though I know I’d absolutely love it if I did. I’m a visual guy…

  16. Leo Weaver Says:

    Yeah, Picasso then VanGogh for me…just incredible visual interpretations of the worlds they lived in and experienced.

  17. SillyWilly Says:

    I saw my first Picasso this summer at the Chicago Art Institute…the day before I saw Phish at Toyota Park….

    The Old man with the Guitar (im not sure what its called, but its one of his “blue phase”) absolutely stunned me. I looked at it for 45 minutes trying to memorize it.

    wow. chills thinking about it.

  18. Mr. Completely Says:

    for the most part I agree

    but there are things that are beyond theory or rational understanding

  19. SillyWilly Says:


    People ask me my hobby I say: philosophy. But theres a lot of philosophy thats not books. I believe the “how and why” is all philosophy really is.

  20. SillyWilly Says:

    Thats true, Mr. C.

    some things you just have to feel.

    im not a logical person. very emotional and moody. up and down. so the rational always attracts me.

  21. DaNcInG fOoL Says:

    why are you attracted to the rational if you’re not logical?

  22. Selector J Says:

    re: Karl Hungus

    Nihilists! @#$% me. I mean, say what you like about the tenets of National Socialism, Dude, at least it’s an ethos.

  23. Mr. Completely Says:

    I have both sides

    kind of annoys me that I’m a Gemini since I don’t believe in astrology but fit the steretype in many ways

    I know that science is the key to understanding and I study it as much as I have the time and brainpower for

    But at the same time I have direct personal experiences all the time that cannot be explained by current science

    So I strive for a Zen approach of acceptance and hope that understanding will come in time

  24. Mr. Completely Says:

    people are often attracted to their opposites, fo0l

    especially those who seek self improvement

  25. DaNcInG fOoL Says:

    word, wasn’t sure if it was a typo

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