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

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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.

[audio:http://phishthoughts.com/wp-content/uploads/2011/01/ph2010-12-27t15.mp3,http://phishthoughts.com/wp-content/uploads/2011/01/ph2010-12-27t16.mp3]

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DOWNLOAD OF THE DAY:

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. Gavinsdad Says:

    Hot board today

    First puff post. Sitting with the Masta tonite. Cheers peeps.

    Bob Weir sat in with God Street on Jamcruise last nite. 3 tunes. My 2 dearly departed friends should have a smile on their faces with that news.

  2. sumodie Says:

    YEMteca was awesome again on replay. Love the Manteca/vocal jam mash up at the end. So glad YEM got the love it deserved at year’s end!

  3. She Divides Says:

    awesome to meet you briefly at rattle and hum Gavins! What a run!

  4. Gavinsdad Says:

    @sumo – listened to the yem on the way to work this am. That vox jam is money.

    @she div – you too. Glad u made it up. Sick shows.

  5. Mr. Completely Says:

    I always love YEM live but I do typically skip it on playback unless I know it’s an exceptional version

    I won’t be skipping that one

  6. ThePigSong Says:

    wow – Perian worked like a charm. So far I can’t find any skips/errors and it appears to be importing to iMovie just fine.

  7. DaNcInG fOoL Says:

    perian is the bomb

  8. DaNcInG fOoL Says:

    YEM composed section never gets old

  9. Mr. Completely Says:

    nice, handbrake has wasted hours and hours of my time over the last year

  10. Mr. Completely Says:

    yeah I love the composed section and I wouldn’t say it has gotten old for me

    really a lot of the time I listen to that part only, until the drop

  11. ThePigSong Says:

    Am I too selfish to wish I had a stream rip of the Wooster Hood?

  12. butter Says:

    the way they came back to the one, so cleanly, paused, then sang
    “crab in my shoemouth” repeatedly …was stunning actually

  13. sumodie Says:

    still waiting to hear of a BB’er who has converted the nye vid rips into a playable ipod format

    for now I remain ignorant on the whole topic (and happily distracted by oodles of phish audio)

  14. DaNcInG fOoL Says:

    same @C

  15. butter Says:

    that vocal jam touched me a bit, nowhere to run, nowhere to hide

    Trey was doin a lil monk chanting in-between shoe mouths

  16. sumodie Says:

    @mrC: hope you and yours have the greatest time in Maui!

  17. ThePigSong Says:

    @sumo – this program also allows you to export to iPod compatible videos, I’ll post when I transfer the mega jams to this format and upload them somewhere.

  18. Mr.Miner Says:

    yeah I love the composed section and I wouldn’t say it has gotten old for me
    really a lot of the time I listen to that part only, until the drop

    ^ I couldnt be more opposite..ffwd right to jam and cut out before vox jam (obv)

  19. Mr. Completely Says:

    if it’s an atypical YEM, Miner, or a hot classic one, then I’m all about the jam part

    I just mean the kinda typical ones

  20. Robear Says:

    C, you have that 8/10/97 Deer Creek show? Check out the ‘Split’

    Big ‘Split’ fan.

  21. Mr. Completely Says:

    I do, yeah…

    “Here, let me get that for you” http://i.imgur.com/tBqIB.jpg

  22. She Divides Says:

    the great expectations debate is very interesting…

    Prior to reading back today I would have described myself as a “no-expectations” show goer…because I go into a show very open to fully absorb the music–whatever they lay down. And while I have my favs, there are very few that I could even try to be disappointed in (part of this has to do with my first show being coventry)

    but I appreciate some of the perspectives today that “no expectations” is an expectation in itself, and that expecting greatness makes it sweeter when they exceed your expectations.

    I’m still mulling this, but I think the key to my philosophy is that any night with phish is better than almost any other night.

  23. Robear Says:

    lol^

  24. Robear Says:

    lol @ C’s link, not @ She Divides post

  25. sumodie Says:

    @pigsong: thanks -will look into that program shortly

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