The Feeling Returns

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Dick’s 2016 (Stephen Olker)

In the subjective medium of improvisational music, perfection is a loaded term, as beauty lies firmly in the ear of the beholder. But sometimes stars align and factors converge resulting in a performance whose excellence is both undeniable and universally accepted. Not often does Phish unveil a set of music that fully embodies their artistic prowess and is praised by all as exemplary of their musical acumen. When this happens, a feeling arises in the community—a group-wide understanding—a manifestation of the shared, unconditional love we all have for the Phish experience. These nights remind us of why are here, why we have come this far, and why we have such a limitless devotion to this band. Phish’s closing act in Colorado was one of these nights.

The final set at Dick’s was a fully realized set of music like Phish hadn’t played in quite some time. There weren’t highlights—the entire set was the highlight. There was not a single awkward moment, no random calls, no blips, no stumbles, no stutters. Songs were simply springboards into the universe as the band sculpted Phish art of the highest magnitude. This all-time caliber performance flowed from first note to last in a continuous musical thrill ride the likes of which we dream; a show that gripped one’s soul, held on tight and never let go, transforming fantasy into reality right before our eyes; a night of music that produced emotional memories as much as musical ones, feelings that are impossible to articulate yet understood by all. This was Phish in its purest form of creation, leaving a trail of treasure in the cool mountain air, dancing on the astral plane on a night that will live forever.

Dick's 2016 (Michael Stein)

Dick’s 2016 (Michael Stein)

The synergistic flow that defined the band’s playing on this night peaked over the course of the second set which centered on an hour plus of free-form improvisation. In a show where Phish could do no wrong, they unfurled three massive jams in “Crosseyed and Painless,” “Piper” and “Light,” and while these were all top-shelf endeavors, “Crosseyed” elevated to career-highlight status with a sublime plunge into infinite beauty. In an spell-binding excursion, the band gelled masterfully, surfing a colossal soundscape while climbing to one of the most dreamlike and extended peaks in memory. One of those jams with staggering one-minded communication, “Crosseyed” not only set a highly elevated tone for the set but delivered a surreal Phish adventure that belongs among the band’s most esteemed.

Following a very active composed jam, the band moved into a melodic preamble of “Crosseyed’s” open jam from which they blended into the central mind-melt of the night. A passage so fluid and open yet tight and connected, the following section of soul-drenched reverie truly defies description. Teeming with retro ’98 / ’99-esque wizardry, the quartet stepped into sacred stride and channeled music that will forever send tingles down one’s spine—real deal, best ever type stuff. Mike’s eclectic and heavy-handed rhythms, Fishman’s crashing cymbal textures, Page’s rolling intensity on grand piano, and Trey’s otherworldly emoting meshed in a cosmic ambrosia that stayed among the heavens for minutes that felt like a lifetime. Finally allowing the sonic fallout to settle, the band likewise brought the audience back to earth.

Dick's 9.4.16 (Calico Giecewicz)

Dick’s 9.4.16 (Calico Gicewicz)

But IT didn’t stop there. The band continued in a heightened flow state for the rest of the set, descending tastefully into “Steam” before melting into “Piper.” Launching into this jam with fierce passion, Phish rolled into a cathartic, guitar-led theme behind which the band entered full annihilation mode. Mike anchored the savagery with creative bass lines, a motif of the entire evening as well as the weekend. A shift into a sparser segment of jamming saw Mike step to the forefront and Trey back off, as the group never lost their airtight cohesion. They soon coalesced into a full band drum jam with Trey on marimba, a sequence that had potential to derail the set’s flow, but instead burst with a vigorous musicality often absent from such ventures. Slipping out the backside of this percussive fiesta into a knee deep, pornographic Phish groove, it was clear at this point that there would be no slowing down the four-headed monster on this night. Bouncing the stadium in series of slow motion, musical crossover dribbles, the band continued to demonstrate the vast stylistic diversity that laced this powerhouse set of music.

Without hesitation, they layered a brief “Crosseyed” lyrical reprise over the deep groove before segueing smoothly into “Light”—another piece that transformed into a virtuosic jam of high order. Upon the conclusion of the lyrics, Trey sidestepped an extended guitar solo as the band dropped into a minimalist texture from which they built. Reaching a place of near silence, the foursome displayed patience and a willingness to let things breathe before intricately collaborating on their next sound sculpture. Mike and Page soon locked in as Trey layered ideas over their foundation while Fishman offered an ever-changing and delicate rhythm. This piece built slowly into an intense wall of sound, and peaked with a fury far removed from its starting point, another episode of improvisational gymnastics.

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Dick’s 2016 (Stephen Olker)

The band had played amongst the stars for over an hour as they opened a portal to Gamehendge and coyly landed in “Lizards.” This move evoked a certain poignancy as Phish hearkened back to their earliest days, 30 years later, with one of their seminal compositions. And they didn’t just play it, they shredded it to bits with the same level purpose that had been on display all night long. As they moved through the uplifting piece and into Trey’s classic solo, everything was in its right place. Following a bumpy summer tour, the last night of the season brought things back into focus in a way nobody could have imagined. Amidst a prolific set of music, a sense of serenity whispered through the air as the band and audience basked in their bond. “First Tube” provided the energetic culmination—an exclamation point—on this special evening.

Rarely does a set of music come together like Sunday’s second. A night like this is immortal—a show that transcends a mere concert and becomes a life experience. They don’t come around very often, sets without a hiccup, sets that flow relentlessly with unparalleled music, sets that define Phish’s raison d’etre and embody the ethos of the community that loves this band with all of their being. Sunday night at Dick’s, however, was one of them. It was a perfect set of Phish.

Dick's 2016 (Stephen Olker)

Dick’s 2016 (Stephen Olker)

1,410 Responses to “The Feeling Returns”

  1. MrCompletely Says:

    never did the meatstick dance. was annoyed by the song a couple times, laughed along with it a couple times.

    agree with Miner a couple of the lyrics are kinda interesting. look at them again without the chorus in the middle. it’s open to a lot of interpretations, including but not only the trivially sexual ones

    overall my interpretation of the meaning was formed at that same Gorge 99 show MiA mentioned: I took it as a self deprecating reference to guitar shredding cock-rockery, “taking out the meatstick” being a ridiculously, comically overt metaphor for the guitar fucking your face, so to speak, right? Like “yes, we know on some level the whole rock star thing is absurd…I’m up here on stage whipping out the ol’ meatstick”

  2. MrCompletely Says:

    never did the meatstick dance. was annoyed by the song a couple times, laughed along with it a couple times.

    agree with Miner and vape the lyrics are kinda interesting. look at them again without the chorus in the middle. it’s open to a lot of interpretations, including but not only the trivially sexual ones

    overall my interpretation of the meaning was formed at that same Gorge 99 show MiA mentioned: I took it as a self deprecating reference to guitar shredding cock-rockery, “taking out the meatstick” being a ridiculously, comically overt metaphor for the guitar fucking your face, so to speak, right? Like “yes, we know on some level the whole rock star thing is absurd…I’m up here on stage whipping out the ol’ meatstick”

  3. ElJefe Says:

    For a song about a summer sausage in a hotel mini bar it’s defiantly and definitely stuck around for the long haul. And been the centerpiece of some of the bands most epic shows.. Def not a set killer for me…plus all the recent Phish converts that I’ve been hitting shows w the last couple years love it.. It’s been so great to see people getting into this band so hardcore..

  4. ElJefe Says:

    I’ve ‘tried’ to do the dance…2 left feet

  5. re.kus Says:

    Flight booked to Vegas. I heard there’s gonna be a boat there. Ready to form like Voltron with the bb.

  6. dubber2 Says:

    Thank you to whoever introduced me to oddisee on here

  7. Sex&City Says:

    Damn this is so painful to watch. Had to turn off.

  8. HadToHaveThat Says:

    Good Morning BB! Back to “reality”
    Fell asleep around 2nd set last night, hope everyone had a great time!
    I love PCOR as an opener. really lets you ease into the evening. Dont think i would love it so much in a heated second set

    Back to liiiife back to REALLLLLity

  9. ThankMiner Says:

    Thanks for speaking the Truth about Big Boat Miner.

    Complete and utter garbage. No mans and blaze On sound like shit. The rest of the “songs” are pure bullshit. Worst thing Phish has ever done and I mean ever. It’s the Coventry of Phish records. Big Boat songs are seriously ruining the set lists/shows for me now. Unreal.

    Loved Fuego. Loved chilling thrilling. Big Boat is an absolute abomination. I may have to hang it up now. Dicks 16 was my last hurrah. The last shows before Big Boat set lists.

    I hate to say it but we have to call a spade a spade. 81 shows 21 years here. Calling it a career.

  10. HeadyBrosevelt Says:

    Let’s Go Opener in Vegas. That’s my call.

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