A Southern Scorcher

6.20.12 (Michael Stein)

In stark contrast to their first show in Portsmouth, Virginia, on Wednesday night Phish threw down a heavy hitting, two-set affair with jams aplenty, several bustouts and a pair of well crafted sets. The ominous tone of the music provided balance to lighter feel of the first night, providing the yang to the latter’s yin. And where night one was light on improv, night two provided a coherent musical journey. Boasting flow from the beginning of the show the through the end, last night sits among the most robust overall performances of this young tour. Let’s take it from the top!

Unofficial Portsmouth Print (Masthay)

When the band stepped on stage to start the show, they immediately rolled out six 2012 debuts, including sought after bustouts, “Ha Ha Ha” and a sign-induced “Dog Log.” The fresh setlist gave the show an energetic jump-start without needing a lick of jamming. Also included in this sequence was a mid-set rendition of “Divided Sky,” a song that provided far more of a treat with its diminished role in the rotation. But when the summer debuts ended, the band kicked into high gear with “Mike’s Groove.” A slowed pace and thunderous groove of “Mike’s” rattled the undersized environs and the show was off and running. “Weekapaug” provided the the first glimpse of the outstanding, full-band communication we’d see from all night as Trey tore off continuous melodies over a popping groove that was anchored by Fishman’s smooth work on the skins. The first set wound to a close with a four song run that included another two 2012 premieres in “Ya Mar” and “Bold As Love.” Trey wove the “Ya Mar” lick quite smoothly, albeit a bit early, into the liquid textures of “Cities” and the band switched into the summer favorite. When “Bold As Love” seemed like it would close an extended first set, the band punctuated the frame with a nuanced “Juluis,” a jam that Fish and Mike framed to perfection with a shuffle beat pocket. With such a pronounced first set, the second was sure to bring huge things. And it did.

6.20.12 (M.Stein)

Taking both “Rock and Roll” and “Tweezer” off the shelf for the first time since Bonnaroo, Phish combined the two crowd favorites in a fantasy sequence to spark the second half. Forging through “Rock and Roll’s” composed jam with notable rigor, the band was clearly locked and loaded for a big set. The progressed out of song structure with a slick, Trey-led, slowdown and passed quickly into an ethereal spacescape. Trey favored loops and effects amidst this elegant sonic mystery. Hinting at a Digital Delay Loop Jam, this segment painted a portrait of the universe’s outer realms before Trey slinked into the “Tweezer” for which so many on tour had been jonesing. Playing through the actual song with all sorts of bells and whistles, Phish revved their collective motor and prepared to enter freezer.

From the onset of the jam, Page assumed leadership, pacing the quartet with his piano chords and assuming the melodic lead as Trey remained in the background. Coiled like a viper behind the groove, Trey alternately raised his head and struck with accented licks, effected layers of sound, rhythm chops, and outright leads. All the while, Mike and Fish remained locked in urgent and powerful dance rhythms. Page hopped to his clavinet and brought the “Tweezer” into Crunchville with a filthy tangent, and the crowd responded to the change of texture with roars of delight. Snapping into “Tweezer’s” traditional build, Red brought the house down with a soaring final peak before the guys slid through an outro groove and smoothly into “Free.”

6.20.12 (M.Stein)

Used as a landing pad for the past three years, it seemed that is exactly what was happening last night. But, momentarily, things got very interesting. As the band seeped out of Mike’s bass solo, Trey began to slice and dice the jam like he hasn’t in years, including a short plinko line that seemed to be pushing the band into the first “Free” jam of 3.0! But he forgot to tell his bandmates. Having been programmed since 2009 to go right to the song’s final chord changes out of the bass solo, that is exactly what the rest of the band did. Trey’s attempt was in vain, but perhaps this illustrates a willingness to stretch out one of the band’s long lost jams of the modern era.

The unquestionable highlight of the night, however, had still yet to be played. The stylistically opposing “Guyute” and “Birds of a Feather” provided a mid-set buffer before the guys jumped of the deep end into a profound “Harry Hood.” Once again, Trey laid way back as the band joined forces, allowing Page and Mike to set an ambient tone to things from the jump. Trey merged with this idea, offering minimalist “Hood” licks to the collective, and then layering his own psychedelic offerings into to a thickening dreamscape. Utterly awing in every sense, the band built an abstract take on an old tale, captivating the crowd with their originality. This excursion reached planes that “Hood” rarely, if ever, touches, and provided a welcome improvisational diversion. And when things reached their most abstract, Trey coyly laid in the melody of “What’s the Use?!” The band all took heed and adjusted within measures, sculpting another staggering summer segue.

6.20.12 (M.Stein)

The Siket Disc instrumental blanketed the pavilion with its post-apocalyptic sound, though the band—not rushed at all—moved through the piece with a bit more tempo that usual. As “What’s the Use?” came to an end, Fishman made the obvious decision and moved directly back into “Hood’s” cadence—it seemed that the band would complete their early classic. But as Page took over with a piano solo leading away from the song, the band missed a golden opportunity for another magnificent transition. Page’s hijack took the set into “Velvet Sea,” which, given the larger musical circumstances, wasn’t altogether inappropriate. The stage seemed set for a monster “YEM,” but—for whatever reason—the band is holding back their seminal piece this summer and, instead, turned to “Possum” to close the second set.

The Final "Tuck" (M. Stein)

The encore provided thematic closure on nTelos Pavilion’s two-night stand as Trey came out and quietly played the Star Wars theme before the band launched into a final tucking” episode in “Sleeping Monkey.” During the song, Trey put his guitar down and serenaded Fishman, finally asking him to come out for one last “tuck.” And as you might guess, Fishman was more than happy to oblige. Torching the venue aflame with “Tweezer Reprise,” Trey stomped like a madman around the stage, pushing the 6,500 person crowd into a frenzy. And when the guys took their final bow of the night, everything seemed back on track in Phishland as they prepare to invade the Midwest.

I: Sparkle, Ha Ha Ha, AC/DC Bag, Divided Sky, Dog Log, Undermind, Mike’s Song > I Am Hydrogen >Weekapaug Groove, Cities -> Ya Mar, Bold As Love, Julius

II: Rock and Roll > Tweezer > Free, Guyute, Birds of a Feather, Harry Hood -> What’s the Use? > Wading in the Velvet Sea, Possum

E: Sleeping Monkey > Tweezer Reprise

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754 Responses to “A Southern Scorcher”

  1. Lycanthropist Says:

    ill have to listen again @df

    but i know that the Yamar intro was jarring as fuck

    same with the end of undermind… what the hell happened there, Page and Mike had just established a deep bottom groove and then they just stopped and looked around like they didnt know what happened.

  2. poop goblin Says:

    5 minute = undermind

    that songs a beast and should be treated with respect

    especially last version being UIC Waves > Undermind

  3. MrCompletely Says:

    Hood > WTU I thought was A+ but leaving hood unresolved again was IMO a poor decision. pivot point for the set IMO

    give him credit, Fish was ready to get that one done

  4. Robear Says:

    save your time Lycan. Df had a different stream in Canada. with a jammed out Undermind, and smooth segues

  5. MrCompletely Says:

    was it just me or did Trey simply not solo on Undermind?

  6. Lycanthropist Says:

    yeh Fish did not want to move to WTU

    he held on to Hood until Trey forced that one in for sure.

  7. poop goblin Says:

    Ya Mar Too Mr C

    not even a note

  8. marcoesq Says:

    My Soul is the “Shit’s bout to get real, yo” fluffer tune

  9. DaNcInG fOoL Says:

    “but i know that the Yamar intro was jarring as fuck”

    fish’s fault. he felt the need to play the beginning to ya mar like he always does instead of just playing it as part of a smooth segue, if that makes sense. i heard ya mar from trey year’s before though.

  10. Lycanthropist Says:

    you are right @robear

    generally i spout wasted breath on here anyway 😉

  11. MrCompletely Says:

    no Lycan I mean Fish was ready to move from the end of WTU back into Hood but Page cockblocked him

  12. DaNcInG fOoL Says:

    my stream almost had smooth segues

  13. Lycanthropist Says:


    well that too!

  14. MrCompletely Says:

    ah k @aw thx

    as you mentioned my attention was not exactly undivided for most of the show, 80 degrees out in the yard etc, I was only really focused for a few parts, RnR > Tweez and the Hood segment

  15. Type III Jamming Personality Disorder Says:

    it really has a pretty stellar track record, marco.
    show openers especially, but some phan could probably do a thesis paper detailing the relative fluffiness of sets that include my soul

  16. GhostPhunk Says:

    @poop didn’t you just say pages ago that Trey didn’t want to go on BOTT? Get your shit straight homie.

  17. voopa Says:

    Everyone was waiting for WTU->Hood, but that’s why they didn’t do it, right?

  18. poop goblin Says:

    dude I was so upside down in AC I have no fuckin clue. haven’t really dug in on the respins.

    I just remember holy fuck this groove is sick and then nothing.

    can’t really remember whose fault it is

    but as ya’ll now I’m always quick to throw prancer under the bus. cat is so fucking annoying. that little jumpy red headed douche.

  19. Lycanthropist Says:

    I actually said when they started Hood…

    “This is going to make or break the set”

  20. MiA Says:

    Page cockblocked everyone all weekend.

    Glad someone else noticed that. Page totally changed Gin, etc.

    Page taking his hands off the keyboards, gets Fishman to quit playing. And they peter out.

    It’s a bullshit way to end. I’m not happy with Page actually. I think he’s f’n up the jams more than anyone. He really has lost his ability to come up with new melodies, leaving Trey dangling at times.

  21. GhostPhunk Says:

    Hood can’t “make” a set, it can cap a set, but not make it. …. I totally stole that from Alf in some variation but I’ve always agreed with it.

  22. MrCompletely Says:

    sometimes the obvious thing to do is also the right thing to do

    being a contrarian all the time just for fuck’s sake is as predictable as anything else

    didn’t bum me out and just for the record I think this is just usual midtour stuff. Been seeing the same dynamic play out in different ways since 1985. Band plays great, band plays meh, tour kids see it one way, other people see it another, it’s really all ok

    band is playing well and there have been some really good shows by any criteria

  23. GhostPhunk Says:

    band is playing… is all that was needed C.

  24. Robear Says:

    this place is so funny.

    i can’t get out of my damn house.

    I blame AC 1 set II for that.

  25. Little Buddy Says:

    I haven’t been around the bb in ages, but things have finally slowed down at work so I thought I’d check in for a minute this afternoon. I see everyone is on AC1, so I will just add to the fluff.

    AC1 was a sick ass show. Great first set and as soon as My Soul started the second I knew it was on. Me, the wife and my four year old (safely perched on my shoulders) were in the front row on Fish’s side for My Soul and Birds. Pretty awesome. Little man got tired and we went back to the blanket for the rest of the show. He stayed up for the whole thing, though. The Billy Breathes was very tasteful. I love that tune.

    Funny little story. When the band left Page alone on stage during Coil at AC my son asked me if Page was sad that he was alone.

    Story 2: When he saw Mike and Trey do there little mambo dance during Stash the boy asked me why they were dancing like Victor Cruz (Palmer will like that one).

    I hope everyone is well. Take care now. Peace.

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