What A Run!

Posted in Uncategorized with the tags , on July 15th, 2012 by Mr.Miner

7.4.2012 (George Estreich)

The Phish from Vermont have arrived—again. If 2009 and 2010 provided building blocks for this era, and 2011 was the year the band began to forge new ground again, 2012 is the year they have hit full stride. Each and every night of Leg One, Phish came to play with a polished musical consistency that all fans have longingly sought since 2009. Practiced and adventurous, the band left a wake of fire across the eastern US over June, addressing almost all of their fan base’s grovels while crafting timeless jams with the effortless nature of lore.

The band’s collective patience that popped up in certain jams of 2011, quickly became the hallmark of 2012. Beginning with Worcester’s opening-night bomb and carrying right through SPAC, Phish—especially Trey—displayed a willingness to let the music breathe. This patience gave all jams a far more dynamic quality right off the bat, and the resulting interplay left us with hordes of highlights to debrief throughout the next month.

Throughout summer’s opening leg, Phish certainly righted several issues that had plagued their shows in the modern era. Trey’s infamous “ripcord,” though not gone completely, didn’t play a large role in disrupting summer shows. In fact—in quite the opposite direction—the band dropped handfuls of stunningly seamless segues of the like we hadn’t heard in years! In addition to a wide array of bust-outs this summer, including one we thought we’d never see in “Skin It Back,” the band diversified their central jam vehicles to include “Ghost” and “Twist”—two songs that were in desperate need of revival, “Golden Age”—used primarily as a single last year, and “Back on the Train.” The band also included noteworthy one-off jams on “Roses Are Free,” “Birds of a Feather,” “Fee,” “Skin It Back,” and two-off jams on “Light Up or Leave Me Alone” and “Sneakin’ Sally.”  Notably absent from setlists were long-form compositions, as “Divided Sky” and “Guyute” made only one appearance each, though “Fluffhead,” a veritable 3.0 anthem,  still dotted several sets.

7.4.2012 (George Estreich)

The guys’ musicianship shone all month, but none more brightly than Jon Fishman’s. Arguably, one of the last band members to fully get up to speed in 3.0, Henrietta-turned-Friar-Tuck absolutely owned his kit this past tour. Fishman’s next-level beat science drove the band all June and became the defining facet of so many tour highlights. Creatively steering so many jams this summer, Fish’s leadership has been crucial to the band’s enhanced communication. And when The Greasy Troll is on fire, the backbone of the band—Trey and Fish—becomes far more daring. Though Phish is unquestionably a four-minded monster, the symbiotic relationship that has always existed between Trey and Fish blossomed in 3.0-style this summer, pushing the band further and further into new territory. When reviewing your favorite sequences from this run, be sure to hone in on how tour MVP, Jonny B. Fishman, kicked them up a notch.

And the highlights! Oh, the highlights! Far to many to list in a summary piece like this, suffice it to say that we will have plenty to talk about for this month and beyond. Almost every single night of tour, Phish dropped at least a sequence, if not several, of to-die-for jamming. Taking the concept of “musical density” to a whole new level, the band covered staggering amounts of ground within single jams, moving fluidly through many diverse feels.

If 3.0 is the “The Golden Age” of Phish, 2012 sure seems like the start of “The Rennaissance.” Reaching levels not approached in the past three calendars, the band has melded their modern foci of enchanting sound-sculptures and “plinkofied” rhythmic bliss with the rest of their musical repertoire, forming a refined style that encompasses their entire career. Using this wide musical palette, Phish painted different styles of shows over summer’s first act, ranging from from dark and improvisational to playful and song-based, speaking to everyone in their audience. And if the contour of the past few years stays true in 2012, we are in for one hell of a second leg!

7.4.2012 (George Estreich)


Jam of the Day:

Sneakin’ Sally > Ghost” 7.6.12 II, SPAC

One of 2012’s most engaging sequences.

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SPACkled With Adventure

Posted in Uncategorized with the tags , on July 9th, 2012 by Mr.Miner

7.8.2012 (Ryan MacNeil)

Phish closed the book on the first leg of Summer 2012 at SPAC Sunday night with a patchwork show centered on a pair of profound journeys in “Light” and “Piper.” Though not exactly the most cohesive frame of music, the second set packed an improvisational wallop with these two jams, totaling almost 30 minutes of unbridled adventure. Capped with a classic trifecta of “Hood > Cavern,” and “Bowie,” and signed on the dotted line with a “You Enjoy Myself” encore, the band gave a little something to all sectors of their audience in the tour’s final frame.

SPAC Print (Masthay)

“Axilla” burst open the doors of the second set with 1000 cc’s of adrenaline before Trey cranked into the highly anticipated final “Light” of leg one. No jam has been as consistently groundbreaking and original this summer has the modern-era vehicle, with the only competition coming from “Ghost.” Each time out—in AC, Star Lake and Alpine—the band crafted divergent, innovative and brilliant jams from “Light,” and we were in for one more ride. Launching from the song into an unconventional guitar lead, Trey soon segued into short rhythm chops, signifying the band’s entry into open waters. And immediately the guys locked ideas and began to plunge the deep. A four-piece sonic puzzle merged as one, while Fishman’s beats really dictated the feel of the jam. Building in intensity though slowing down, the band morphed into an ethereal section that evoked the deep melodic interplay of the Greek’s historic version. Fish’s ever-changing rhythms steered the music, and as he moved into a more percussive texture, the band moved with him into blissful territory. As they hit a noticeable chord progression, many fans will think this jam sounds quite familiar. That is because it almost a note-for-note take of the now-famous Gorge “Sneakin’ Sally” jam from 2009! This throwback sequence provided the peak of the jam, and upon its finale of this sequence, the guys slipped through an ambient portal into “Twist.”

This time serving as a landing pad instead of a centerpiece, “Twist” still got some special treatment. Page stepped up at the onset of this jam while Trey adjusted his tone and came in with a distorted, uncompressed offerings. These unconventional brushstrokes from Red urged the band into a more eccentric conversation, and soon they were stretching the boundaries of the song. Getting dirtier than usual with Page all over his clav, the band seemed like they were on the brink of breaking through to the other side before Trey tastefully wrapped things up. And here’s where things got a bit strange.

7.8.12 (R.MacNeil)

Making a series of odd selections amidst tour’s final set, Trey called for “Kill Devil Falls,” “My Friend,” and “Swept Away -> Steep”—a sequence that threw a left-handed monkey wrench into the set, despite a brief bliss jam that emerged out of the end of “KDF.” Killing the musical continuity of the main event, the band, however, recovered with a sprawling, multi-tiered odyssey in “Piper.” Moving at a frenetic pace for the onset of the jam, the band settled into a melodic movement that slowed things into a transcendent place. Snapping into stunning interplay, the guys broke into free-form improvisation. Exploring several feels within this momentum-building sequence, when the guys landed on the next musical plateau, they found themselves reprising the “Light” / Gorge “Sally” jam within the rhythmic context of “Piper!” Uniting the two main jams of the night, the band tore through music that sounded as if it had built directly from the end of “Light”—very cool indeed! And upon finishing this part of “Piper,” the guys moved right into another. With the leadership of Fishman, the band built a driving groove and pushed the piece into sonic tangent. Moving into a drone soundscape to end the piece Phish forged, at least, the fifth different chunk of this epic. Layered with a chant—and plenty of loops—from Trey, the guitarist ended the piece by easing the opening chords of “Free” into the mix.

7.8.12 (R.MacNeil)

After having fun with his delay pedal during “Free,” Trey led band into the randomly placed, spoken-word piece “Kung.” It felt like they might be building to something unexpected, but instead, they band rolled into “Harry Hood.” A pristine and creative version shone as a late set arrival, though not as brightly as it might have, were in not in the shadows of Jones Beach’s standout. Closing the set with “David Bowie,” and using the now elusive “You Enjoy Myself” as a tour encore, everyone went home in smiles at the current state of Phish.

This tour has certainly been a musical revelation for the band and will take some time and thought to sift through and process. Without question the most creative and consistent tour since the return, Leg One of Summer 2012 has paved the way for a historic year of Phish. With plenty of down time to get into the nitty-gritty, the next five weeks will be filled with all sorts of fun from the aural buffet the band has left us over the past month. Filled with an abundance of riches, our iPods will now be our best buddies as we can go back and relive what happened in a flash from Worcester to SPAC. Much like life, Phish Tour moves pretty fast. If you don’t stop and look around once in a while, you could miss it.

Set One Notes: A wholly generic and haphazard first set came together—for me at least—with a spine-tingling version of “If I Could” followed by a gnarly “Split.” “Split” was one of those abstract mind-fucks that is difficult to fully digest in the live setting, and it took me a re-listen to confirm its sickness. This lockstep psychedelia was, again, anchored by Fishman’s rhythmic ebb and flow. The only other piece of note in the first half was the set closing performance of ZZ Top’s “La Grange,” the first live rendition since 9.22.99 in Las Cruces, New Mexico.

I: AC/DC Bag, My Soul, Camel Walk, Sample in a Jar, Wilson, Party Time, Gumbo, Nellie Kane, Driver, Foam, If I Could, Split Open and Melt, La Grange

II: Axilla, Light > Twist, Kill Devil Falls > My Friend, My Friend, Swept Away > Steep > Piper > Free, Kung > Harry Hood > Cavern, David Bowie

E: You Enjoy Myself

7.8.2012 (Ryan MacNeil)

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Blister in the SPAC

Posted in Uncategorized with the tags , on July 8th, 2012 by Mr.Miner

Official SPAC Print (Kelly)

A night after Phish showcased their sinister and creative side, the came out Saturday with a far more playful affair, weaving Violent Femme’s “Blister in the Sun” throughout a second set that lacked back-end flow—a problem that has plagued more than a few shows this tour. Despite the momentum-stalling, mid-set selections of “Number Line” and “Scent of a Mule,” the band never allowed any second-half jam to breathe other than the opening “Disease.” With a far more fun than serious night of music, the band has left quite a bit hanging for their tour finale.

While crafting a smoking opening frame, Phish largely left the bust out stone unturned in favor of a modern-shaped setlist. Though the guys sounded tight from the jump, the set picked up considerable steam as with the drop into “Cities.” Steering the piece into Plinksville, the band let things grow for the first time of the night as the liquid grooves enveloped the pavilion. Seamlessly moving into a maniacal “Maze,” Page destroyed the place with his organ solo, bringing the audience to its most energetic point thus far by leaps and bounds.

The second standout pairing of the set began with the second appearance of Zappa’s “Peaches En Regalia” this summer. Using the short instrumental to launch into “Bathtub Gin,” here would come the undeniable highlight of the opening frame. Within the slow cadence of the jam’s onset, Trey took hold of the jam and never let go. Spouting one creative melody after another, he led the band and audience on a super-charged joyride. Though the guys supported his soulful outpouring with proficiency, there was no question who the spotlight was on in this jam. And to finalize the set, Trey picked another song that would showcase his chops with a rare first-set appearance of “Good Time, Bad Times.”

7.7.2012 (Dan Lewis)

When a second half opens with “Disease” it always feels that the band could be on the precipice of writing an epic set-long tale, as so many have started with the improvisational go-to. But this set would follow a different path. Weaving the melody of “Blister in the Sun” early into the “Disease” jam, the entire band hopped on the idea and segued smoothly into the timeless song for the first time since Barcelona ’98. Moving just as smoothly back into the “Disease” jam it seemed that this was but a fun stop along the way, but little did we know it would soon turn into the theme of the set. Within the dark and groovy “Disease” jam, if I’m not mistaken, the guys toyed around with the “Moby Dick” theme, referencing their classic Deer Creek show in 2000 where every jam wound up in the Led Zeppelin cover—some tongue-in-cheek foreshadowing as to what was coming? Playing this heavy  jaunt—and highlight of the night—to its natural conclusion, Mike introduced the envelope filter, and within measures made the switch into “Boogie On.” Trey added some engaging loops behind the latter part of the jam, and it seemed that the band was going to bring the cover into uncharted waters. But, instead, Red kept the setlist moving with “Golden Age.”

One had to think that tour’s final “Golden Age—a song that has been an improvisational revelation this summer—placed in the middle of the second set at SPAC was primed for take off. But before the jam got a chance to sprout baby wings, the band bailed out into “2001.” The funk instrumental set up was certainly setting up the rest of the set, and what came out of its peak would determine quite about bit the show’s contour. And Troy chose “Number Line.” With this set-deflating move, the guys moved into a conventional jam in which they would weave in teases of “Blister in the Sun.” And that was the script for the rest of the night—except for “Prince Caspian.”

7.7.2012 (D.Lewis)

Floating through the jam of the mellow anthem, the guys created something wholly beautiful out of “Caspian.” Coming together in a stunning three-part conversation, Page, Mike, and Trey sculpted a minimalist and cerebral musical portrait that evoked the sound of the Grateful Dead. Easily one of the highlights of the night, Trey laid back amidst the band’s rolling textures, playing with a soulful sensibility. But what happened next was a bit confusing. As the guys bled into a tranquil soundscape, Trey hinted at the beginning of “Piper,” and everyone I’ve talked to since the show ended was sure that’s where we were headed. But when Trey countered his own idea with “Scent of a Mule,” the word “deflating” would be a colossal understatement. Killing any sense of set flow or coherency, even his own band members—according to friends in the front row—looked perplexed at the call.

Deer Creek (Crowe Light Photography)

The invigorated speed-grass passed through another verse of “Blister in the Sun” within a more engaging than usual “Muel Duel.” And when the band cranked up “Mike’s Song,” everyone knew how the show would end. Lacing teases of “Blister” into both “Mike’s” and “Weekapaug” the guys concluded one of the those sets that many will look back on fondly, and others, not so much. And that’s just the nature of the beast.

Always best when viewed as a whole, the middle night of SPAC’s three-pack provided light hearted entertainment with three quality excursions in “Gin,” “Disease,” and “Caspian.” And when the band balances the scales with an in-depth journey to end their tour tonight, all will feel right in the world of Phish. But that’s another story for another time.

I: Grind, Possum > Golgi Apparatus, The Moma Dance, Torn and Frayed, Rift, Cities -> Maze, Lawn Boy,Peaches en Regalia > Bathtub Gin, Good Times Bad Times

II: Down with Disease -> Blister in the Sun -> Down with Disease > Boogie On Reggae Woman > Golden Age -> Also Sprach Zarathustra > Backwards Down the Number Line*, Prince Caspian -> Scent of a Mule -> Blister in the Sun > Scent of a Mule, Mike’s Song* > Contact > Weekapaug Groove*

E: Sabotage

* w/ “Blister in the Sun” teases

7.7.2012 (Dan Lewis)

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Posted in Uncategorized with the tags , on July 7th, 2012 by Mr.Miner

7.6.2012 (Dan Lewis)

In a power-packed performance with nary a lull in either set, Phish greeted SPAC with a show that immediately leaped into contention for the best of summer. Shedding the added pressures of the holiday and a web-casted audience, the band burst out of the gates with a jam laced first set, and a second that just blew the roof off the place. Both central jam sequences of the second set—“Carini > Sand” and “Sneaking Sally -> Ghost—stand out as immediate gems of tour, with the latter totaling 25 minutes of free-form glory. Bookended with scalding versions of “Chalk Dust” and “Antelope,” the second set flowed quite well, while showcasing dynamic interplay throughout. Starting from note one of “Runaway Jim,” Phish was ready for business last night, opening their tour-ending run in sensational fashion.

Playing everything with extra zest and crafting several highlights along the way, the band tore through an opening frame that flowed far better than most this summer, and one that packed more of a punch than any, with the first night of Deer Creek and Cincy being the only competition. Without getting out of the box, “Ocelot” contained an extra juicy jam, as did “Back on the Train”—a song that has been re-birthed this tour. But after a rousing “Funky Bitch,” one of the choice nuggets of the opening frame unfolded. Possibly responding to a sign in the front row, Trey led the band in a transition from “Tube” into the first performance of “Psycho Killer” since Hartford ’09! Seamlessly blending the funk jam into the Talking Head’s classic, and also back into “Tube,” Phish had the pavilion freaking hard early on in the evening.

7.6.12 (D.Lewis)

In the past few shows, the band has integrated Fishman appearances into the first set, a slot that works particularly well for the humor based episodes. Last night, Fish brought his cymbals with him to the center of the stage which could only mean one thing—“Cracklin’ Rosie.” But the comedy didn’t last too long, as after Friar Tuck did his shtick, the guys dropped into a serious version of “Stash.” With such spicy setlists in this summer’s opening sets, we have only seen the regulars, like “Stash,” a couple times, thus increasing their impact. And last night “Stash” hit hard. Delicate full-band interplay was backed with a similarly meticulous beat, and together the guys climbed a musical vine of tension. Trey only played as necessary, not dominating the conversation in anyway, and allowing plenty of room for Page and Mike to increase the drama. The poorly ventilated pavilion had many dripping in sweat after this smoking excursion, as Phish exhaled with a perfectly-placed “Bouncin.”

The final couplet of the set—“Corrina” and “Light Up and Leave Me Alone”—had plenty more than bust out value to them. Trey poured himself into his “Corrina” solo—a tranquil moment amidst so much action—and the guys absolutely lit up an extended rendition of “Light Up,” transforming the cover into the unquestionable jewel of a first set with passion and fury. But all that said, the second half would be where dreams unfolded.

Sparking set two with a stretched out “Chalk Dust” that, for a few moments, sounded as though it might blossom into a far larger jam, the band followed Trey’s cue as he reigned them in and dropped into one of this summer’s show-stopper’s, “Carini.” Starting in Worcester, each time the band has taken this song into unknown waters, they have come up with very different—and always golden—results. And last night continued this trend and then some. Instead of turning for a guitar solo, Trey stepped back and joined the band in a seething soundtrack to a dirty Phish fantasy. Immediately turning to his murky, uncompressed growls, Trey influenced the band into a slowed tempo as Mike stepped to the forefront of the jam and let things loose. Crystallizing the post-hiatus sound in a very modern musical context, “Carini” morphed into a menacing piece of psych-rock of the sorts of which I dream. With the airtight communication of 2012, this prowling groove remained patient throughout as the band seeped into its guitar-led, second movement. As the band maintained a palpable patience, Trey turned for blissful realms and the band followed right along into a stunning denouement, and a subsequent move into “Sand.”

7.6.2012 (Dan Lewis)

The band combined several of their central 2012 launch pads in this drool-worthy second set, the second of which came with the summer’s rhythmic juggernaut, “Sand.” Filling in a role “Tweezer” once held, “Sand” is now—unquestionably—the band’s preeminent vehicle of groove. Punctuating an opening leg of consistently jaw-dropping versions with another monstrous dance excursion, the band tossed ideas around like a hot potato, responding to each with inhuman immediacy. Trey progressed from rhythm comps into a swaggering solo that grew quickly in scope and sound, while the band moved right beyond the jam’s traditional ending point. The guys wanted no part in stopping as they continued to demolish the groove with increasing effects and abstractions. Trey finally brought the band back to earth with the song’s ending after a white-hot opening sequence of “Chalk Dust,” Carini > Sand.”

7.6.12 (D.Lewis)

When the band revved up “Roses Are Free” in the middle of the second set, it certainly felt primed to explode, especially as the energy of the entire audience was behind every single note. Thus when Trey bailed for “Punch,” even Mike looked miffed. And as an adrenalized “Punch” came to a head, the band drew out the ending into a distorted mystery. This juncture was going to be a huge turning point in the show—might Red go into “Trey Songz” mode or would he keep things moving strong? As the pause became dramatically long, it was like rooting against Whammies on an extended spin of “Press Your Luck.” And when Trey finally hit the plunger, he came up with “$5000 plus a spin” in the form of “Sneakin’ Sally!”

As the band moved in and out of “Sally’s” vocal improv, the jam was, clearly, only beginning. But few—if any—could have possibly predicted where it would go. Laying into the funk only briefly, the guys quickly injected the music with a more harrowing quality. Then, at the point where Trey might have ripped the cord on another night, he stopped on a dime and, with Fishman, led the guys into battle. Changing directions 180 degrees, though doing it without disrupting the jam, the band shot itself into an up-tempo chase through a hard-edged, psychedelic playground. Fishman and Trey worked particularly well through this maddening sequence, collectively setting the pace of the music, as the guys converged like pack of wild hyenas devouring anything in their maniacal paths. Developing into a mind-numbing sequence to which I’ve only had the pleasure of re-listening once, just put on some headphones on and listen to this jam—and might as well keep ‘em on for the “Ghost!”

7.6.12 (D.Lewis)

Segueing into the new-school jump off, the band once again used “Ghost” to forge totally atypical paths of rhythm and wonder. Never for a moment falling back on musical clichés, the band stepped to the plate and knocked another version out of the park. Like so many modern-era success stories, Mike stepped forth to lead this jam as Trey laid back and played tastefully around his bandmates offerings. When in the depths of “Ghost,” Fishman—easily the summer MVP—persistently added and took away the down beat, creating a peculiar and engaging ebb and flow to the music before landing in a driving groove. Growing more collaborative and abstract with each passing moment, this jam gained notable momentum. And seizing that momentum, Trey unveiled a gorgeous melodic lead that brought the piece into a completely different realm. Live without a net, Phish was letting things progress where they may, clearly not over-thinking things, while weaving a striking sonic tapestry. The band allowed the music to the trickle down the mountain into a single drone tone before Trey kept the energy sky high with “Suzie Greenberg.” Every song can hit home if placed well in a show, and after 25 minutes of wide open jamming, this slot seemed to work just fine. Juicing the crowd considerably with their quirky single, the band set up another summer 2012 staple, the set-two ending “Antelope.” Though not as creative as Jones Beach’s standout version, “Antelope,” nonetheless, finalized the frame with an improvisational bang, featuring Tom Marshall and The Dude of Life on vocals, taboot.

This one will take a few more spins before it really sinks in, but it’s easily up there with any show of 2012. Taking Saratoga Springs by storm with a start-to-finish scorcher, the band set quite the high bar for the last two nights of tour. But with the limitless possibilities of Phish at this moment, who knows what tonight will bring? And that is why we go.

I: Runaway Jim, Ocelot, Heavy Things, Back on the Train, Funky Bitch, Tube -> Psycho Killer -> Tube, Hold Your Head Up > Cracklin’ Rosie > Hold Your Head Up, Stash, Bouncing Around the Room, Paul and Silas, Horn, Corinna, Light Up Or Leave Me Alone

II: Chalk Dust Torture > Carini > Sand, Roses Are Free > Punch You In the Eye > Sneakin’ Sally Through the Alley -> Ghost > Suzy Greenberg, Run Like an Antelope*

E: Loving Cup

*w/ Tom Marshall and The Dude of Life on lyrics

7.6.2012 (Dan Lewis)

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Shots From the Beach

Posted in Uncategorized with the tags , on July 5th, 2012 by Mr.Miner

Jones Beach 2012 (George Estreich)


Jones Beach 2012 (George Estreich)


Jones Beach 2012 (George Estreich)


Jones Beach 2012 (George Estreich)


Jones Beach 2012 (George Estreich)


Miner in the Media:

Phish Thoughts: The Book

> Check out this SPAC preview interview I did with The Daily Gazette of Schenectady, New York.

By Brian McElhiney

Phish are really on a roll this summer. In fact, the shows the Vermont-based jam band has performed so far represent the best of the now four-year reunion era, according to San Francisco-based journalist, Dave Calarco. “They came out this summer really with a purpose, it seems,” Calarco said from Phish’s recent tour stop in Carmel, Ind. “The last time they played, which was the New Years’ run at MSG [Madison Square Garden in New York City], the shows seemed somewhat lackluster…” READ ON!

> Here’s a book review of Phish Thoughts in Nug Magazine.

By Marco Alvarez 

I first heard the American rock band Phish back in ‘03 through my college roommate who studied music and played the sax. There would often be music playing in our apartment being that he was a saxophonist, and my other roommate, a guitarist. I never learned to play an instrument myself, but I always appreciated hearing the sound of my friends jamming out or the sound of their favorite artists blanketing over the place with their charm. We all just shared what we liked…READ ON!


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Where Were The Fireworks?

Posted in Uncategorized with the tags , on July 5th, 2012 by Mr.Miner

7.4.2012 (Dan Lewis)

Traditionally a band who steps up to big occasions and knocks it out of the park, Phish, instead, plowed through 33 songs, most in painfully standard fashion, in what amounted to one long first set for the 4th of July. A centerpiece sequence of “Tweezer -> Twist” provided the single chunk of undeniably timeless music for the night, but other than a scorching jam out of “Susskind Hotel” in the first set and a few notable bust outs, there was little meat to a show that looked primed to blow up on a holiday known for explosives. When I saw signs on the highway that declared “No fireworks display at Jones Beach” driving in, I didn’t realize they were referring to the concert too. Though everything was played with energy and all that, in comparison to the many shows of summer, Phish’s holiday installment couldn’t hold a candle.

A marathon opening set contained yet another Velvet Undergound cut off Loaded—the fifth in six shows—this time “Head Held High.” Unplayed since Vegas ’98, the references to the band’s illustrious Halloween legacy continued with an enthusiastic take on the upbeat tune. Then, a real treat came in a clean version of the incredibly rare “Man Who Stepped Into Yesterday -> Avenu Malkenu -> TMWSIY.” A quality “Bowie” felt like the set closer, but the band still had a while to go, including the jam of the first half in Mike’s “Susskind Hotel.” Bursting into a chugging groove, the band redefined the possibilities for the piece with a torrid conversation that popped from the stage. The band brought out The Greasy Troll for an early-show slot, taking “Purple Rain” off the shelf complete with “tucking” antics to the delight of most fans. Closing the 18-song opening half with the “Star Spangled Banner” the band has set the stage for a more improvisationaly based second set—but it never happened.

7.4.2012 (D.Lewis)

To Phish’s credit, they really had something going through “Taste,” but the set really just fell to shambles after that. To say it fizzled would be a gargantuan understatement. But first, let’s get to the centerpiece of the show—“Tweezer > Twist.” Upon splashdown in “Tweezer’s” jam, Trey stepped right into a guitar solo, leading the band through a fairly generic build, and it looked like we might get hit with a straight rocker. After peaking the build, however, the band settled into a darkening, minimalist soundscape. Trey unleashed growls behind Page’s laser synths and a delicate, ethereal pocket. Trey then began to drop the sounds of the universe behind this experiment, as Page comped this witches brew with juxtaposed keyboard melodies of beauty. Transforming into a storage-esque sequence, the band seemed primed to go deeper when Trey turned into “Twist.” And here would unfold the true gem of the show.

7.4.2012 (D.Lewis)

If the demonic “Twist” from Riverbend had an angelic, twin brother, this jam would most definitely be his other half. Diametrically different than Cincinnati;s descent into Hades, this jam would liken an ascent into heaven. Blending into a four-headed melodic mind-meld, the band spun a stunning tale of majesty. Defining an “amoeba” jam, where nobody is necessarily leading but all are collectively pushing the music, this “Twist” reached hugely cathartic realms of sound and harmony, spinning the audience—gently—into far off galaxies. This music felt like it could have continued with its own motion for an eternity, but at some point Trey decided to move on to “Taste.” Using the polyrhythmic composition as a landing pad for the “Tweezer > Twist,” “Taste” was a fine rendition in its own right, and I was right there with them at this juncture of the set. But when Trey decided to next play “Quinn the Eskimo” in the middle of frame, it wasn’t a good sign.

The following hour plus of music would contain only several interesting minutes in “Harry Hood,” where a delicate and thrilling take on the song passed through the calypso chord progression of the famous Gorge “Light” of ’09.  But sandwiched in the midst a bunch of standard—not to mention unthinkably mellow—songs, the effect of a gorgeous “Hood” was somewhat lost in the fray. After straightforward takes on “Julius” and “Rock and Roll,” the band seemed to be recording a Phish lullaby album.  As the band strung together “Horse -> Silent,” “Hood,” Shine a Light,” “Show of Life,” and “Slave,” watching the three teenage kids next to me try to stay awake through the show was just as entertaining as any of its music. Honestly, I’m not sure what the band was thinking by combining four mellow set closers in a row, because each of them became less and less powerful as they unfolded to the point where it felt like a bad Phish-based SNL skit.

7.4.2012 (D.Lewis)

The encore of “Sleeping Monkey > Reprise” is the quintessential encore to follow a mind-expanding set of music, but when the band rolled into their classic pairing, it seemed wholly out of place last night. Interestingly, most of my friends really liked this show, and after listening back, I’m still trying to figure out what, exactly, I missed. “Tweezer -> Twist” and “Susskind” were certainly on the level, but everything else, less “Hood,” was completely standard in every way, and in a three plus hour show, that’s a lot of dead time. Diff’rent strokes for diff’rent folks, I guess.

In the context of a spectacular tour, these past two Jones Beach shows felt a bit underwhelming. Coming off seven Midwest shows of magic, of which only two trailed off significantly, these spotty shows on Long Island didn’t feel up to snuff. When playing 30 songs, there is only so much room to jam, and while Phish definitely took advantage of a couple opportunities, the show felt incredibly thin, especially considering the occasion. As we head up to SPAC for the final three shows of Leg One, I’d expect a bit more to go down in the woods of Saratoga than we saw on the beach of Long Island.

I: Alumni Blues* > Letter to Jimmy Page > Alumni Blues, Head Held High, The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday, Kill Devil Falls, Bittersweet Motel, The Moma Dance, Gumbo, David Bowie, Alaska, Susskind Hotel, Hold Your Head Up > Purple Rain > Hold Your Head Up, The Star Spangled Banner

II: Boogie On Reggae Woman, Tweezer > Twist > Taste, Quinn the Eskimo,  Julius, Rock and Roll > The Horse > Silent in the Morning, Harry Hood, Shine a Light, Show of Life, Slave to the Traffic Light

E: Sleeping Monkey > Tweezer Reprise

* w/ Dave’s Energy Guide tease to open the show
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Back To The Beach

Posted in Uncategorized with the tags , on July 4th, 2012 by Mr.Miner

7.1.12 (Jenni Brennison)

Losing no momentum as they hit the East Coast, Phish rumbled into New York last night with a highlight-strewn two-setter centered around “Sand -> Golden Age,” another standout jam sequence we’ll be listening to for quite some time. And though the second set didn’t flow as well as some we’ve seen this tour, instead of trotting to the finish line, the guys punctuated the night with the best “Antelope” we’ve heard since Utica. With a couple serious bust-outs in the first set, and clean playing throughout, Tuesday night at Jones Beach provided a quality kick off to Phish’s two-day Long Island stand.

Official Jones Beach Print (Tong)

The excitement started right away as Phish opened the show with a groove that sounded to many like the return of Little Feat’s “Spanish Moon.” But given a moment to develop, it was evident that we were witnessing the first performance of “Skin It Back” since 1988! Instead of simply playing the song like so many of their rarities this season, they chose to give the old school Little Feat cover the treatment. Jamming the piece that Mike once hand picked to give the band some grit, the guys took off into a show-opening dance excursion that set the night afire. For most fans, this seventies groove took us right back to Boardwalk Hall’s memorable Halloween performance of Waiting For Columbus, an album to which “Skin in Back” was added in subsequent releases. Digging into the blues-laced funk texture with a laid back solo, Trey led the band out of the gates with a left hook that nobody saw coming! Peaking the surprise jam—one the night’s standout segments—Phish had thrown down the most spectacular opener of summer tour.

Three songs later, Phish made another nod to Hallowen’s past with the first performance of The White Album’s “Happiness is a Warm Gun” since Glen Falls ’94. A personal favorite off the classic double record, this bust out was a special treat for me, as I’m sure it was for countless others. The way the Phab Four so accurately covered the Fab Four, right down to the vocal harmonies, was eerie. This spectacular bust out, coupled with “Skin It Back,” provided a setbreak buzz all by themselves. “Mike’s Groove”—a musical suite that has dominated a couple second sets this tour—came out in its concise, first set format, tough “Weekapaug” still managed to pack a punch.

6.15.12 (M.Stein)

After the early fireworks, the band settled into a string of standards to finish the set, less another bust out cover in “ZZ Top’s” Jesus Just Left Chicago” and a season-appropriate “Ya Mar” in which Trey graced us with his usual guitar solo unlike the truncated Portsmouth version. The nicest weather of tour came in off the water as a cool setbreak underlined the seismic weather shift from the sweltering heat of the Midwest. And as the lights dropped for set two, we were off into the comfortable summer night.

A rousing “Chalk Dust” sparked the second half before Phish dropped into the central jam sequence of the night, beginning with “Sand.” Serving a multi-course meal of groove and beyond, the band morphed between several distinct sections of connected jamming ranging from the jazzy to the abstract. Beginning with snaking solo that withered in and around his band mates snapping groove, Trey led the troops through the regular jam, but when it came to wrap it up, the band just kept right on going. At this juncture, Trey stepped into the background, allowing Page to step up on Rhodes. Trey alternated rhythm comps with palm-muted notes before he stepped even further out of the spotlight with space-aged loops, leaving Mike and Page to drive the machine. Coming to a quieter section, Trey revved up what has become a 2012 staple jam, “Golden Age.” Each time out the band seems to go further and further with the song’s improv, and last night they went all the way. Taking the groove-based cover deep into lands of transcendence, there would be no transition out of this version, instead, the guys played until the last natural note fell into silence, drawing a massive ovation from the metro area crowd.

6.30.12 (K.Harris)

Moving away from the funk that has defined the jam almost immediately, Trey favored a type of rhythmic playing that pushed the whole band away their comfort zone. Soon immersed in percussive quicksand, the band sunk through these collaborative layers of music and into the abstract, and this is where the greatest of moments of the show were spawned. Transforming piece into ambient psych-rock, Phish showcased their current affection for sound sculpting. With nobody leading, the band delved into some of the coolest music we’ve heard this summer. Likening a hybrid of Phish and Floyd, this final segment made this jam absolute gold. Stretching out the spacey ending the band allowed the music to fall like a feather to the ground, coming to a perfect rest.

And then—finally—a second set “Wolfman’s!” Instead of vamping over funk chords at the onset of the jam, Trey came right of the gate with his uncompressed growl, taking the band in a divergent and dirty direction. As the jam built, the guys seemed good to go deep as they passed in and out of a scat session. Coming out of a change, however, Trey picked a spot an initiated a move into “Walk Away,” a maneuver that, if responded to by Fishman, could have spelled another turn-on-a-dime, seamless segue. Despite the less-than-smooth transition, however, the band switched gears and annihilated the ending sequence of “Walk Away.” Following a mid-set “Bug,” the slot seemed ripe for a heavy-hitter, but instead, the band went for the ubiquitous second-set “Fluffhead.” Never good for set flow or second-set minutes, the guys, however, played their early-era piece quite well and used “The Wedge” to bridge to a set-closing “Antelope.”

6.19.12 (M.Stein)

Continuously placing “Antelope” in the second set this summer has certainly caused Phish to shine a brighter spotlight on its jam, forming several quality versions. But this one would break the mold altogether. Navigating a ferocious jam with several tangential diversions, Phish closed the show like they are capable of, one aspect of last night that was incredibly encouraging. With “Skin It Back” and “Sand -> Golden Age,” “Antelope” provided the third no-brainer highlight of the show, and a version that every fan should hear.

Although last night was, unquestionably, a quality Phish show, something tells me that we’ll be leaving Jones Beach with a different, more complete feel after tonight’s holiday performance. Though Tuesday night’s performance shone in many instances, it also possessed a discernible lull in each set and was missing that flow that makes an outstanding show greater than the sum of its parts. But last night did, indeed, have amazing parts!

I: Skin It Back, Possum, Tube, Happiness Is a Warm Gun, Mike’s Song > I Am Hydrogen > Weekapaug Groove, Halley’s Comet > Axilla, Ya Mar, Joy, Jesus Just Left Chicago, Backwards Down the Number Line > Golgi Apparatus

II: Chalk Dust Torture, Sand -> Golden Age, Wolfman’s Brother -> Walk Away, Bug, Fluffhead, The Wedge, Run Like an Antelope

E: Character Zero


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Exploratory Excursions

Posted in Uncategorized with the tags , on July 2nd, 2012 by Mr.Miner

7.1.2012 (Jenni Brennison)

To conclude their Midwestern visit, Phish balanced Saturday night’s explosive throwdown with a Sunday performance whose highlights focused on cerebral, nouveau improvisation. Despite an inability to close the second set with authority, the band had already flexed their improvisational muscle considerably during a 25 minute segment of “Light -> Ghost” and a first set “Fee” that stands up to any ever played. Although a spottier show overall, Phish still showcased the type of fresh ideas and experimental playing that has flooded this summer’s tour. Using these three vehicles, the guys scripted a triumvirate of indelible jams that will hang in the 2012’s Hall of Fame.

7.1.12 (J.Brennison)

During a first set consisting of all but two summer debuts, things got serious in an instant as the band slid through a wormhole out of “Fee.” Stepping through a door into the ether, the guys ascended into a spectral daydream. Elevating through patient cooperation, Page tickled the piece with “plinkofied” clav textures while Trey sprouted soul-tugging leads over a rolling pocket. Using a beatless interlude in the jam, the guys turned a corner with a series of with fresh ideas, this time snaking into even more heavenly places. A jam that only a mature Phish could pull off, the band pushed and pulled the music as a single-cell organism, discovering an exalting plain of ambient groove. Creating an alternate reality midway through the first set, Phish smashed down the walls of their bust-out jukebox with majestic and mysterious music. Supported by a slew of rarities in the first set, it sure seems that the band is taking their self-imposed, 200-song challenge to heart. Covers of “Soul Shakedown Party,” “Lonesome Cowboy Bill” and “Frankenstein” saw the stage for the first time this year, as well as Phish originals, “Vultures,” “A Song I Heard the Ocean Sing” and “Meat.” The difference with bust outs this year as opposed to the past couple, is that all songs have all been clearly practiced and performed cleanly, a facet that makes all the difference in the world when playing one-off pieces. A fun first half—with a profound swan dive into ambient adventure—set the table for some serious music come the second.

Alpine’s two-night onslaught of covers continued at the top of the main event as a fiery version of “Crosseyed and Painless” dissolved into the oft-teased Zeppelin epic, “No Quarter.” Played with particular poignancy last night, this version dripped popped with the psychedelic energy with it was birthed on “Houses of the Holy.” But when the band concluded playing the music of others and focused on two of their central launch pads of 2012, the show reached its most magnificent heights.

7.1.12 (J.Brennison)

Crashing into “Light” out of  “No Quarter’s” dissonant residue, the band strapped on their jamming shoes and put the pedal to the medal. Following two completely original versions of their modern era epic in AC and Star Lake, the band came right back with a third. In this incarnation of the jam, the band shied from groove and took off into long-form improvisation. Favoring a rolling and melodic ambient texture, all four guys played as one unit as dramatically as any time this summer. A meticulous exercise in multi-part harmonies and symbiotic, melodic interplay, “Light” blasted into totally new places last night with free-form improv. Mike teased the bass line of “Frankie Sez” midway in the jam, and—momentarily—it seemed as thought that is where we were headed—but not even close. Continuing to push the envelope with one-minded bliss, Phish allowed the jam to blossom into a lush garden of Rhodes-laced, avant-garde tapestry. Playing with such attentive ears, each member’s musical ego dissolved into a stunningly gorgeous conversation. As Fishman dropped his beat, the band drifted further outward, melding naturally into a synth-based final segment that artistically transformed into “Ghost.”

7.1.12 (J.Brennison)

Now we have spoken of the fresh ideas bubbling from Phish this summer, but this “Ghost” has taken that concept to new heights. Moving so far from conventions, the guys engaged in a jam that—at times—hardly sounds like Phish at all. Taking “Ghost” for its third joyride of summer, this one would, again, sound distinctly different. After the guys settled into the piece, they promptly popped out convention as Trey hit a faster lick. Fishman immediately caught on and made a change to a house beat that one might expect to hear from a “jamtronica” outfit. The entire band hopped on this out-of-character shift, and Phish took a brief foray into the type of music that legions of their one-time followers have made famous. As Fishman switched up the rhythm again, the music took another turn, this time for the abstract. Morphing smoothly into another original segment, this jam seemed to be guided by a greater force as the music spilled out as if scripted. Migrating from beauty into a menacing groove, this “Ghost” gave musical density a new meaning. Layering a slow vocal reprise of “Still Waiting” over this murky groove, the guys gradually built out of the jam with a seamless segue into “Back on the Train.” Serving as a groovy landing pad for an extended sequence of unique and transcendent jamming, “Train” centered the crowd for what was certainly shaping up to be one of the sets of the summer.

Alpine Valley Official Print

A minimalist take on “Farmhouse” shone as a mid-set breather, as the band’s the meticulous improvisation spilled into the millennial-era ballad. But once “Farmhouse” ended, the band, however, crushed their own musical momentum with a series of questionable song choices. Sputtering to the end of the show with a first-set-esque sequence of “46 Days,” “Heavy Things,” “Joy,” and “Julius,” a set that had flowed as well as any through “Farmhouse” took a nosedive and never recovered. I, honestly, think that the band shot their proverbial load on the otherworldly sequence of “Ghost -> Light,” and if they felt like they had to play songs for the rest of the set, then so be it. Sometimes when you have such strong centerpieces to a show—and “Fee,” “Light” and “Ghost” are all “type II” reveries—whatever falls around them is just gravy—too salty, or not.

When looking back on 2012’s return to Alpine Valley, many fans will rightfully recall the airtight, powerhouse second set of Saturday night. But when crafting any summer highlight reel, it will be a moral imperative to include Sunday night’s top-shelf trifecta. As the band moves beyond the Midwest and into the stretch run of Leg One, things are strong as ever in the world of Phish. Playing with a focused creativity unseen since the late-‘90s, the guys are mining musical gold on a nightly basis. Whether a set, an entire show, or—in the case of last night—a few timeless jams, one can be sure to leave any current Phish show with some form of improvisational treasure.

I: Soul Shakedown Party, Lonesome Cowboy Bill, Vultures, Gotta Jibboo, Dirt, A Song I Heard the Ocean Sing,Access Me, Meat, Frankenstein, Fee, Maze, The Squirming Coil

II: Crosseyed and Painless > No Quarter > Light -> Ghost -> Back on the Train, Farmhouse, 46 Days, Heavy Things, Joy, Julius

E: Meatstick

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The Joy Resounding

Posted in Uncategorized with the tags , on July 1st, 2012 by Mr.Miner

Alpine Valley Official Print

“That was a perfect set.” So I said to my buddy upon the finish of “Character Zero” last night. Phish had just thrown down a second half that flowed impeccably from start to finish, with every jam played to conclusion and leading naturally into the next. The non-stop stanza contained thrilling improvisation throughout as the band wove together one highlight after another. Forming a whole far greater than the sum of its standout parts, the second set carried us on true musical journey. Packing a punch—with both sets—Phish greeted Alpine Valley to one of the finest start-to-finish performances of the Summer 2012.

When Phish jumped from a standard “Number Line” opener into “Carini,” the first thematic sequence of the second set began. Beginning here, and for the entire first half of the frame, the band focused squarely on dance grooves—and it was glorious. Instead of launching into abstract or a major-key territory in “Carini,” the guys remained anchored to hard-edged groove morphing into a snarling, yet smooth texture that one might expect to hear from a “Tweezer.” Seeing this seething segment to fruition, the band had dissolved into the ether when Trey came in with the opening to “Wilson,” pairing the two dark tales. And it was but an instant upon “Wilson’s” ending that the band kicked it into overdrive for “Golden Age.”

6.30.2012 (Kevin Harris)

For the second time this tour, the guys centered “Golden Age” in the second set, a song that has taken on even more meaning in the midst of this summer’s modern-era musical renaissance. And this time comin’ round, Phish just destroyed the dance floor. Adopting his minimalist summer playing to the funk realm, Trey eased back and painted this beat-driven collage with rhythms licks that could make a grown man drool. Page stepped to his clav, and Mike stepped to the forefront of the jam with precise and eclectic bass lines. All the while Fish remained in lockstep with his bassist. It seemed that everyone took a more prominent leadership role in this jam than Trey, who slunk back like an alley cat, offering delectable comps that spiced up an already thickening groove. “Golden Age” got the pavilion pulsating as the band switched feels into an ultra-textured modern-era feel—an offshoot of the “plinko” sound. Page and Trey speckled the top layer of the groove as Mike and Fish remained in an intricate pocket. Blossoming like a time-lapse film, this jam just continued to get gnarlier by the second, and the guy’s rhythmic interplay got more nuanced and insane. Producing, by far, the most post-show buzz, this jam got real on a Saturday night.

6.30.2012 (Jenni Brennison)

Hitting a change the sounded like the onset of “2001” the band made a quick and ultra-fluid transition into their dance anthem. Exploding Alpine Valley with this laser-like maneuver, the band continued their theatrics by lacing the compact version with the rhythmic complexities of “Golden Age.” And at the climax of this to-die-for, groovalicious centerpiece, Phish blasted right into “Rock and Roll”—a move that kept the show’s energy dial—and level of musical engagement—cranked at 11. If the opening half of the set was dance-centric, the more exploratory second half kicked off with “Rock and Roll.” Transforming from a torrid rock jam to an ethereal masterpiece within a time frame one might think required the flux capacitor, the band dropped another profound jam. If one thing has truly stood out in the many jams of 2012 is the copious ground the band covers in a short period of time with stunning fluidity. Dare I say, there are not many bands out there that can play with such a dense musical spectrum. “Rock and Roll” first moved into percussive textures before Trey swooped in with a gripping guitar lead that directed the rest of the jam. Meeting their guitarist on the astral plane, the band quickly transformed the piece into a cathartic and melody-driven, four-piece collaboration. Tearing off descending licks, Trey continued to bring the band further and further into fantasy land, and, eventually, into an ambient denouement.

6.30.2012 (K.Harris)

And the relentless set just kept hitting as Trey subtly seeped into the long-awaited 2012 debut of “Steam.” Taking the concept of a “landing pad” to a whole new level, the band blanketed the over-sized amphitheatre with the song’s liquid groove. Laying down an infectious and bluesy solo, Trey led the guys through a brief extension of the theme, and bringing the slow groove to a head with a wash of sound and effect, one could feel “Piper” arise from within the music, signifying another choice song selection in a gift-wrapped set that kept on giving. Phish’s ever-protean, improvisational rocket ship took a high-octane journey on this night, forging some fast-paced psychedelia. Trey hit a powerful lead phrase early in the jam that became the theme of the piece, woven throughout the powerful excursion. Chugging as one, the band hit a stride in this jam in which the music seemed to roll effortlessly through them. Even when the band switched feels into a spacier milieu, the coalesced nicely as they peeled back the sonic layers, exposing a vulnerable, melodic core. As the jam trickled into nothing, Trey threw out a musical lasso to reign in the crowd in the form of “Quinn the Eskimo.” As the band concluded the rousing cover, they rolled into the increasingly rare “Harry Hood.”

Putting an effervescent stamp on the night, the band sculpted a standout version that some lost coherence at the very top, though it hardly tarnished the splendid ride to glory. Bursting out of the feel-good climax of the song, the guys dropped into “Character Zero.” Avoiding all distortion and effects, Trey just wailed out-school on this version, even adding a series of classic, late-90’s “Jean-Pierre” (Miles Davis) licks into his solo. And as the final note came crashing down, I was awed by the set’s seamless quality, not to mention top-notch jamming. There was never a single awkward moment in Saturday night’s main event, as the guys unveiled one of summer’s most outstanding efforts. Without space for breath, this airtight set will always underline Alpine’s Saturday night performance, but this whole shindig got started far earlier in the evening.

6.30.2012 (Kevin Harris)

Coming on stage into a humid Wisconsin evening, Phish crafted quite an engaging first set. Dropping an early rarity in “Daniel Saw the Stone,” the show got going in earnest with the third-song “AC/DC Bag.” The guys peppered this version with extra mustard, as they did with the subsequent versions of “Moma Dance” and “Runaway Jim.” But the most sublime couplet of the opening half followed with “Let It Loose” and “Reba.” Dripping the emotional Stones ballad into the mid-summer’s, the band immediately pulled in the attention of the Alpine’s monstrous audience, and then kept it locked right there with a lush and extended “Reba.”

6.30.2012 (K.Harris)

The meaty opening set continued with “Sloth,” and another spin-worthy “Ocelot.” Two more summer debuts—“Poor Heart” and “Circus”—provided a buffer before the true, late-set gem, “Timber.” Moving into some out-of-character, melody-driven harmonies for a part of this rendition, “Timber” immediately became a set break talking point upon its conclusion. A vigorous “Suzy Greenberg” drew a thunderous ovation from the crowd as the exclamation point of the opening half. And as we sat during setbreak and gazed into the purple sky of southern Wisconsin with a bright white waxing moon hung low in the sky, things couldn’t have been any better.

The first night of Alpine immediately jumps to the forefront of contenders for show of the summer. Not that a winner should be chosen, but last night was just that good. It is truly a blessing to bear witness to what is going down nightly on Phish tour these days. Playing with clear inspiration, the guys are—indisputably—throwing down their most creative run since their return. And the first night of Alpine stands tall in the forest of amazing summer shows. After all, it’s not every night the band plays a perfect set.

I: My Soul, Daniel Saw the Stone, AC/DC Bag, The Moma Dance, Runaway Jim, Let It Loose, Reba, Kill Devil Falls, The Sloth, Ocelot, Poor Heart, When the Circus Comes, Timber (Jerry) > The Oh Kee Pa Ceremony >Suzy Greenberg

II: Backwards Down the Number Line, Carini > Wilson > Golden Age -> Also Sprach Zarathustra > Rock and Roll > Steam -> Piper > Quinn the Eskimo, Harry Hood > Character Zero

E: Good Times Bad Times

6.30.2012 (Kevin Harris)

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