Let’s spotlight three more highlights from Fall Tour to take us into the holiday weekend. Enjoy the turkey, family, and football, and we’ll catch up on Monday!
“Slave To The Traffic Light” – 10.10.10 II Broomfield, CO
Concluding a choppy but eventful second set of tour, Phish pulled everything together to close with a spectacular “Slave to the Traffic Light.” Bringing a sense of calm and exaltation over the room while preparing the audience for the next two nights, the band slowly ascended from a beat-less induction to a dizzying climax. As the jam dropped, the band took plenty of time to move from their initial sea of tranquility into music with a sense of forward motion. Riding a patient trip through terraces of hanging melodies, Trey led the band with transcendent phrasing – a sparkling thread sewing the piece together. The band locked together with Trey as he followed his heart to a fanning peak and beyond, sprouting divine melodies in a never-ending cascade of glory. Phish played a lot of awesome “Slaves” this year, and this version is certainly in the upper echelon.
Opening Broomfield’s second night’s second set with this threesome, Phish revived a one-time cover, thrashed through fall’s first “Piper” and made one of the slicker, most spontaneous transitions of tour. With Trey’s opening rhythm licks, the band brought the one-time cover of TV On the Radio’s “Golden Age.” The dancy interpretation of the indie pop-tronica track translated far more smoothly than Albany’s debut of ’09, super-charging the second half of the show. Taking the cathartic, groove-based jam for a legitimate ride, Phish provided a soulfully cleansing dance session to initiate the frame. Far smoother and more coherent that Albany’s version, “Golden Age” provided a show highlight while getting into slamming, piano led funk outside the song’s theme. Oozing to an ambient conclusion, Trey continued the up-tempo feel of the set’s beginning as he strummed the opening to “Piper.” Blasting their way through a furious passage, Phish introduced “Piper to Fall 2o1o with all four members locked in a space-aged chase. Growling through the outer rings of the solar system, the band settled into a sparser texture as many “Pipers” do. But instead of exploring this plane, Trey wove “Camel Walk’s” opening guitar lick into the high-speed play, and within seconds the band hopped on board, transforming the textures into gooey funk on the fly.
This combination at the end of Atlantic City’s first set got the party started for real. A rather uneventful show up to this point, Phish migrated from a powerful groove into dissonant guitar heroics. Instead of the robotic power-funk of The Greek “Cities,” the band crafted a more subtle and nuanced groove. Trey used delicate, accented licks to build out of the jam as Mike bounced bass-note basketballs around Boardwalk Hall. Exiting the composed progression, the band drifted into a more abstract feel, stretching the music outwards while Fishman held a divergent semblance of groove. Behind a psychedelic pattern far from “Cities,” Page built a wall of synthesized effects as Trey painted the drone canvas with short brushstrokes. Amidst this darkening palette, Trey kicked into “46 Days,” ending the frame with a fierce dose of super-sized arena rock.
Jam of the Day:
“Crosseyed and Painless” 10.16.10 II
This multi-tiered jam provided one of several highlights on a smoking night in South Carolina.
Tags: 2010, Fall '10, Jams