A Five-Night Flow

12.31.2010 (George Estreich)

When digesting a Holiday Run, one must step back and take in the whole ride rather than look at each show in a vacuum. This year, Phish sculpted an artistic musical contour over five nights that possessed a natural flow from Worcester’s kick-off through Madison Square Garden’s finale. Highlighting divergent styles on different nights, and peaking the run with two of the most successful sets of the “year,” Phish not only played four out of five outstanding, individual shows, they crafted an unparallelled five-night adventure to ring in 2011.

Amidst outlandish blizzard conditions, fans fought their way to the DCU Center in Worcester, Massachusetts for an early start to 2010’s New Year’s Run on December 27th. After braving treacherous traffic and road conditions, and navigating clogged-up, east coast airports, the initial show felt like a reward for the efforts expended by all fans to reach the promise land. Worcester’s first set started off more fully invigorated than most opening sets, featuring surprise, jammed-out versions of “Cool It Down” and “Roggae,” as well as a string of inspired singles. The second set initiated the run with a smoking “Mike’s Groove” that favored a heavily-improvised “Weekapaug.” An emotive “Farmhouse” set the table for one of the pieces of the entire run — an enchanting sleigh ride through a sublime “Seven Below.” As patiently glowing, open interplay led into a mind-numbing mash-up with “What’s the Use?” this excursion quickly jumped onto the top-shelf of 2010 Phish jams. The band eased out of this defining piece into “Twenty Years Later” and an elegant rendition of “Velvet Sea,” before finishing with a triumvirate of classics — including the run’s first “Bowie.” Kicking off their their holiday celebration with a well-rounded shot of musical adrenaline, Phish welcomed everyone to the end of the year showcase.

12.28.2010 (James Reed)

The following night in Worcester was the tale of two sets — the first was strewn with upbeat improvisation and spurts of shining psychedelia, while the second became a coherent frame of delicate introspection. The opening set carried the energy from the first night in dynamic explorations of “Wolfman’s” and “Stash,” while also featuring “She Caught the Katy” and the catchy debut of Anastasio and Marshall’s newest effort, “Pigtail.” After “Carini” opened the second set with a surprisingly contained jaunt, the band ventured into more meticulous jamming around mellower, emotionally-driven selections for most of the set. In “Back On the Train > Limb,” Phish wove together two sharp, contained pieces with a seamless segue and a sense of understated eloquence. Following a notably well-played “Frankie Says > Albuquerque,” in which individual notes and the space between them were given equally attentive care, Phish dropped into — in my opinion — the jam of the entire run in “Harry Hood.” United by a selfless ethos, Phish fused precise rhythmic interplay into a blissful and futuristic collaborative canvas, resulting in a life-affirming tale of experimental triumph. Using this masterpiece to peak the set’s stylistic theme with perfection, the band then came down from the stratosphere with a scorching and extended version of “Bug.” Highlighting intricate and quiet interplay all set long, Phish created a beautiful calm before the oncoming, big-city storm.

12.30.2010 G.Lucas)

Madison Square Garden provided a stark change of scenery from snow-covered New England landscape, and Phish responded to the high-key environs by playing a largely energy-based show that also featured some, classic, 30th-style exploration in “Tweezer > Light.” Taking two of the year’s most successful songs, Phish went for it, first coming up with a fierce peak in “Tweezer” before drifting into engaging (if not totally locked-in) bass-led, atmospheric jamming during the piece’s second half. “Light,” a song that hadn’t delivered a lackluster version all year long, notched its first with an aimless exploration that never gained liftoff. On a night that traditionally enters darker realms before an upbeat party on New Year’s Eve, Phish certainly followed that vibe on the 30th, but for whatever reason, didn’t play with the same fire and fury that displayed throughout the following two nights. When “Tweezer > Light” didn’t necessarily reach the places it might have, the band took the course of energy anthems for the rest of the night in the only underwhelming show of the run. Sandwiched in the first set, however, was the show’s certain high-point in a smashing “Bathtub Gin,” followed by Little Feat’s “Fat Man In a Bathtub,” and “Timber Ho!” Thus, while the overall musical achievement didn’t reach the level of the four surrounding shows, the 30th, nonetheless, provided the darker, exploratory experience to fit the overall, five-night contour.

12.31.2010 (George Estreich)

When Phish came out on New Year’s Eve, they immediately sounded more dialed in than the night before. Even through a relatively uneventful first set, their playing was clean, crisp and refreshing. But when they came out for the second set, the New Year’s party got quite serious. Launching off the arena rock vigor of “Wilson” and “46 Days,” Phish dropped a peak version of “Sand,” and an all-time version of “Ghost” that has become an instant classic. With Trey at the top of his game for the final set of the 2010, the band showcased how far their improvisational skills have come within two years as they annihilated the peak of the show — “Disease > Ghost, YEMTeca.” Combining assassin-like precision, Phishy humor laced with musicianship, and a “Ghost” that will bring a grown man to tears, Phish peaked the entire four nights with this holiday sequence. (But the fifth was yet to come!)

12.27.2010 (A.Hill)

The third set of New Year’s Eve brought the well-documented, feel-good event of the year in the Global Meatstick Extravaganza. Following the theatrics with with a series of succinct rock songs that kept the party moving, Phish chilled briefly in a serene “Waste” before climaxing the night with”Slave.” Traditionally, this celebratory evening capped the Holiday Run with noisemakers, silly glasses and relatively innocuous third sets. But this time, we had another show! And one didn’t have to be a rocket scientist to sense that it would be the most complete effort of the run.

Building off New Year’s celebration, Phish doused their audience with two frames of musical focus, including a second, airtight set of creative interplay that went unrivaled by any other of the run. After a linear “Crosseyed” jam got the blood coursing through people’s veins, the rest of the set was chock full of original musical exchanges. “Twist” brought a meticulous conversation between all four band members that pushed the limits of “contained” jamming, while “Simple” broke into the transcendent realm, melting hearts with original improv drenched in spirIT. Never letting up within this entire set of adventure, Phish kept the pedal to the metal with a swanky “Sneakin’ Sally,” a dubbed-out “Makisupa,” and one final, magnificent “David Bowie” to end a season that featured so many incredible versions. Taking this Holiday Tour to another level with a fifth night, Phish peaked the run with its most cohesive show by a long shot, ending — and starting — the year on an incredibly high note.

But January 1st’s peak was but one part of a five-night ride that started in a winter wonderland and ended in a concrete jungle. And along the way, Phish sculpted their shows and jams with parallel direction. Starting with a spark, the band turned to the emotional and intricate side before greeting New York with energy and exploratory intent on opening night. Then, blowing out The Garden with their two finest efforts of the week, the last two nights peaked the run with notably different shows. I’m sure everyone has their favorite night and favorite jam, but when looking at 2010’s Holiday Run from a macro-perspective, it contained an organic path from beginning to end — and plenty of great music in between.

1.1.2011 (Chris La Jaunie)

Here are some recommendations:

12/27: Must Hear: Seven Below > What’s the Use, Weekapaug // Other Highlights: Cool It Down, Roggae, Mike’s, David Bowie

12/28: Must Hear: Harry Hood, Stash, Wolfman’s // Other Highlights: Kill Devil Falls, Pigtail, Back on the Train > Limb, Bug

12/30: Must Hear: Bathtub Gin, Tweezer // Other Highlights: Maze, Fat Man In a Bathtub, Timber, Boogie > 2001

12/31: Must Hear: Sand, Disease > Ghost > YemTeca // Other Highlights: Ocelot, 46 Days, Slave

1/1: Must Hear: Twist > Simple, Sally // Other Highlights: Tube, Walk Away, Jibboo, Reba, Crosseyed, Makisupa, Bowie


Jam of the Day:

Seven Below > What’s the Use?” 12.27 II

The central sequence in Worcester’s opening night, and one of the most impressive jams of the year.




12.27.2010 DCU Center, Worcester, Massachusetts

FLAC (via etree), Mp3 Torrent, Megaupload < Links

Official Worcester Print

I: Sample in a Jar, Funky Bitch, Cool it Down, Roggae, Heavy Things, What Things Seem, Roses are Free, It’s Ice, Mountains in the Mist, Julius

II: Mike’s Song > Mound, Weekapaug, Farmhouse, Seven Below > What’s the Use > Twenty Years Later, Wading in the Velvet Sea, Possum, Cavern, David Bowie

E: Loving Cup

Source: (FOB) Schoeps mk5> KC5> M222> NT222> Aeta PSP-3> SD 744t (@24bit/96kHz) – (taper: taylorc)

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711 Responses to “A Five-Night Flow”

  1. EL Duderino Says:

    let me clarify when I say back then… ’99 – ’04

  2. poop goblin Says:

    yeah el dude

    have spun this 1/1 though through a few times

    shit is pretty fucking sick

    just sounds great on tape.

    for me the new years run was real up and down

  3. poop goblin Says:

    I do agree though the slop was mainly the small amount of shows and the time off

    next time they tour it should be more consistent than the new years run

    I mean the 1st set on 12/31 was boring as shit until the RnR

    and then the set II blew my mind

    kind of all over the place

  4. phoammhead Says:

    i agree that the boyz, mostly trza, is directing when, where and how the band delivers their jamz

  5. EL Duderino Says:

    I’m ready for a TAB show or two IMO…

    I just want to change up the Trey dealy for a bit. I’m a little burnt on Phish @ the moment, although I do love my AV dvd 🙂

  6. phoammhead Says:

    i would add that the band is playin’ like a band and there are a lot of great moments coming out of the interplay . . . in an organic kind of way

  7. Mr.Miner Says:

    i think they are fully able to do whatever they want, just wish they chose to take more open-ended jamming…it seems like that has decreased since leg II of summer, no? Weird trend IMO…

    just hope the band isn’t starting to settle into type I rippers..but honestly, if they drop a -7, hood, a ghost, or simple per show, its hard to complain.

    (12/28 I) Worcester Katy, Wolfmans, Stash and Pugtail is better than 12.30 I by themselves

  8. Mr. Palmer Says:

    Poop, digging that Can. Tago Mago more so that Monster Movie, do far. That dub rec, Pablo something is great as well.

    Dude- see ABB added 5 mote dates ? Further is at Radio City as well, the last weekend in March.

  9. Mr. Palmer Says:

    I liked Burn that Bridge more than Pigtail.

  10. butter Says:

    Camel Walk from 12.30 > 12.28 set I by itself

  11. Mr. Palmer Says:

    Count me in on the 12/30 side of debate. Show blindness perhaps , but i felt the same way on playback earlier today.

  12. phoammhead Says:

    plus, the boyz are playin’ at a high level individually

    so, this all sets up for some really good showz

    we’re getting what they want to give

  13. butter Says:

    12.28 has no answer for

    Bathtub>Bathtub, Timber

  14. butter Says:

    ^12.28 I

  15. butter Says:

    i agree they can do what they want, regarding jamming

  16. jdub Says:

    Wolfman’s = Gin, Katy=Fatman, Stash = Timber. Kind of a preference thing, no?

    Today was one of of those days on the BB where I read back a page, was sucked in and read another, and another. Good stuff today.

  17. poop goblin Says:

    when I hear 1/1 I’m with C

    I hear insanely high level jamming going on

    it’s more subtle at times but times not. just great conversation going on throughout

    I think they displayed at MSG 12/31 II they are comfortable going hard shred, medium shred, funk, groove, psychedelia

    pretty much whatever they feel. that’s why I love that set. represents several feels and styles.

  18. phoammhead Says:

    i’m with you, Miner, on the wish for more exploratory jamz and i also find it hard to complain about what’s been going down

    the phlow of the year – good topic for another day, Miner

  19. poop goblin Says:

    yeah Palmer Monster Movie is more hip cuz it’s from the late 60’s

    compared to other stuff going on it’s pretty cool

    Tago Mago is more go to Can. considered there masterpiece

    I pretty much love everything they did through the mid 70’s

    groundbreaking stuff

  20. poop goblin Says:

    Augustus Pablo man

    shit is dope

  21. butter Says:

    1.1.11 love when they dim the lights on the Jibboo and give it the gentle treatment, sweet talk it and let it grow back into full Jibboo again

    i always thought 1.1.11 was more your style of show, Poop….

  22. phoammhead Says:

    quick reflection back on the year and i say yes – it really has been a great year for Phish and therefore all of us!

  23. albert walker Says:

    it’s an amazing set Butter

    my other 3 favorite sets would be 12/29/09 II, Greek 3 II, and AV II

    all those I can find faults in

    Scent at Alpine
    hate the wilson 2nd set openers like at Greek

    but that 1/1 just swings first song to last

    great tempo as they say

  24. Mr. Palmer Says:

    Pretty certain I haven’t seen one person hate on 1/1 yet. That tells you how hot it was. Not very many dissenting opinions on that show. Has Zz done a review yet?

  25. butter Says:

    C’mon Palmer

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