Fitting In Fuego

Posted in Uncategorized with the tags , , , on August 10th, 2014 by Mr.Miner
'Fuego'

‘Fuego’

This summer tour felt very much about integrating the band’s new material into their live show. Having debuted all but one of the songs in a single set lasst Halloween, Phish played seven of their new pieces over the New Year’s Run, but their roles were totally unknown going into this summer. And after twenty-two shows, the guys have sorted most things out, with only a couple selections whose placement remain elusive. Let’s look at a track-by-track analysis of how Phish has worked their newest batch of songs into their summer performances.

“Fuego”—After much speculation, “Fuego” was the only true jam vehicle that developed from Phish’s newest album. Though the song spawned three of tour’s most significant highlights with its SPAC, Mann and Portsmouth outings, “Fuego,” was still hard to pin down, as it was played far more times without a jam than with one. Perhaps this was due to the band’s “Everyone Gets a ‘Fuego’ (Except Pelham)” policy,  and they decided that it would be overkill to improvise from the song at every tour stop. Perhaps they didn’t even think this deeply about the issue at all. But when the promotional dust settles on Fall Tour and “Fuego” slides back into regular rotation, I bet we see it extend into a jam more regularly. The band has already proven how prolific a springboard it can be, as they crafted three twenty-minute excursions from the title track, all plunging different musical depths. One commonality between all three jams, however, was the group-wide patience that allowed the guys to collectively explore and discover some awesome spaces. Between SPAC’s unforgettable peak, the Mann’s bliss-turned-funk theatrics and Portsmouth’s clav-laced groove workout, “Fuego” has certainly proved its value quickly this summer. And we have only begun to see what this piece has in store. (Check out Philly’s version here.)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Chicago (G.Lucas)

Chicago (Graham Lucas)

“The Line”—Despite placing “The Line” just about everywhere in their show this summer, Phish still hasn’t found a routine use for this song. The two most common placements have been in the middle of the second set as an interlude between lager improvisations, and as a standard first set song. I can’t say it has totally failed in its second set role, but its natural place in a show seems to lean towards the first. “The Line” appeared nine times this summer, trailing only “555″ and “Fuego.”

“Devotion to a Dream”—This upbeat tune was used solely as a first set song this summer and that seems just right. Phish paired “Devotion” with “Wolfman’s Brother” on three of its last four outings of summer, using the two songs as a stylistic juxtaposition within the opening half of shows. I foresee more of the same for “Devotion,” as its structure and vibe don’t lend themselves to the second set.

“Halfway to the Moon”—Unfortunately, I have nothing of interest to report on “Halfway to the Moon.” The band has kept the song harnessed to the first set and has showed no interest in opening up what could be a promising jam vehicle. As previously noted before tour, Mike’s and Page’s songs don’t usually get jams in this era, and the trend continues with this number.

“Winterqueen”—Phish seamlessly integrated “Winterqueen” into their repertoire during SPAC’s opening show as a second set landing pad for the sequence of “Bathtub Gin > Limb by Limb.” “Winterqueen” was also used in this vein following Chicago’s “Down with Disease,” as it appeared in set two on three of five occasions this summer. Its most improvised version, however, came in Charlotte’s first set when Phish pushed the piece beyond its traditional contour for the only time of tour. This song translated incredibly well this summer and brought us “Fuego’s” most pleasant surprise. (Check out Charlotte’s version here.)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

7.16/14 (J.Herzog)

7.16/14 (J.Herzog)

“Sing Monica”—Another one of summer’s surprise developments was the emergence of “Monica” as a late-second set rock breather in smoking stanzas of music. Trey called for the song in both Randall’s iconic final set and Merriweather’s opening, jam-heavy performance. “Monica” also appeared in a SPAC encore before “Tweeprise” in much the same vein. But after Merriweather the song disappeared—perhaps because Trey didn’t feel another set of tour was hot enough to warrant the kickdown? Maybe that’s where this song has settled, and who’d have thunk it?

“555”—When Mike’s newest song opened up Charlotte’s second set, the potential of a jam loomed momentarily in the air. But it wasn’t to be, as the song simply kicked off the set before a long-form “Chalk Dust.” Every other appearance of “555″ came in the opening set of shows, and that certainly seems to be where Trey likes the song the most. This one could get dirty if they opened it up, but as predicted before tour, it doesn’t seem like that will happen. “555″ was performed 11 times in 22 shows, trailing only “Fuego” (12).

“Waiting All Night”—This was another song that slid into rotation with ease, as the band used it effectively as both a second set cool down and a first set single. Interestingly, the band paired “Waiting All Night” with “Reba” on three occasions this Summer, twice being placed poignantly after the revitalized classic. Mike’s bass lines give this one a smooth and groove-based feel in the live setting, and Trey seems to like playing the song quite a bit, as he called for it eight times this summer.

7.16.14 (J.Herzog)

7.16.14 (J.Herzog)

“Wombat”—“Wombat” was just getting loose when Phish shelved it for the tour. In Canandaigua’s first set, the band stretched out the funk number into its most significant incarnation to that point in tour. And then days later they blew it wide open on the first night of Chicago, taking the jam out of the groove realm and into the spiritual and wide open. Phish fully broke through with Chicago’s “Wombat” jam, and then we never heard from the song again. As we left it, however, the jam was just growing legs—and that is an excellent sign for the future. (Check out Chicago’s version here.)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

“Wingsuit”—“Wingsuit” found a couple effective slots in shows this summer, most significantly used as a landing pad for improvised, second set passages. Beginning in Randall’s middle performance, the band opened up the end of the song into a “Curtain With”-esque jam, and it became all the more worthy of its second set employment. “Wingsuit” truly came into its own this summer, featuring massive, emotionally-laced crescendos and serving as a powerful infusion of psych rock into the live show. Phish also used “Wingsuit” as a first set closer a couple times this summer, a slot that also felt fitting for the dramatic piece. One place it didn’t work so great, however, was as a mid-first set song, as it seemed a bit too slow as shows were building momentum. (Check out Randall’s version here.)

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Alpharetta (Chris LaJaunie)

Alpharetta (Chris LaJaunie)

Tags: , , ,

Randall’s Reprise

Posted in Uncategorized with the tags , on July 16th, 2014 by Mr.Miner
Randall's Island (Andrea Nusinov)

Randall’s Island (Andrea Nusinov)

Phish’s three-night stand at Randall’s Island was a perfect litmus test of where they are as a band right now in their 31st year of existence. While most bands their age are playing greatest hits on reunion tours, Phish is neck deep in one of their most creative phases of their career. Through Randall’s Island, Phish had nailed seven of its past second sets in full—and when is the last time that could be said of the aging superheroes of the 3.0 era? Playing tour’s two most impressive second sets on consecutive nights in front of a New York metro audience, Phish plunged depths in their improvisations that were informed by both patience and persistence. Phish has owned these qualities thus far this summer, allowing jams to develop far beyond a single theme, and often stretching into several. Very often it has been the later sections of jams that have gotten the most outlandish—see New York’s “Bathtub Gin,” “Disease” “Carini,” “Ghost,” “Chalk Dust,” and “Tweezer” as prime examples. The band has been patient in an individual sense, allowed all members to offer up ideas and guide improvisations, but they have also been very patient with the group as a whole, providing space for whole-band searching where necessary, and usually not giving up until something is found. And therein lied the biggest juxtaposition between Friday’s Randall’s show and the next two—how easily they bailed on jams.

On Friday night, Phish had several second-set selections teed up and ready for liftoff, only to turn the other way and keep the setlist moving. This is usually a tactic employed when the band isn’t feeling the flow, but on Friday night, they most certainly felt it in spots as they dropped elite versions of “Bathtub Gin” and “Down with Disease” and a smoking “Stash.” But when “Steam” opened the second set, primed to get the full treatment for the first time in its life, the band got a tad discombobulated as the jam was seeming to open up, and Trey reeled everything awkwardly back. Then in “Golden Age,” the guys seemed to be moving in an ambient direction when they decided to skirt a college try once again. The make or break moment for the show, however, came in a late set “Fuego.” On the heels of Philly’s epic, fans were salivating upon the opening piano chords. But instead of following up the song’s two seminal versions with a third, they decided that they would head into “David Bowie” instead. This show felt like one from years ago with two standout jams and a bunch of aborted attempts. But damn if those two jams weren’t astounding and a foreshadowing of what was to come.

Randall's Island (Andrea Nusinov)

Randall’s Island (Andrea Nusinov)

The next two nights told a very different story­, the type of story of that unfolds when Phish is focused and artistically concerned. Scripting two flawless second sets on Saturday and Sunday night, the band worked over every piece they touched with jams that were so unique. The music within the pairing of “Carini” and“Ghost” spanned the spectrum from psychedelic abstraction to wide open bliss, and covered all sorts of ground in between. So far this summer, “Carini” has been a vehicle to reach ethereal textures and soundscapes rather than the thematic, multi-staged epics that we heard last year. “Ghost” provided the central highlight of night two, as the band pushed beyond a quasi-conventional bliss peak into several more creative sections of interplay.

Two other macrocosmic takeaways from Saturday night’s affair were “Wingsuit” and “Harry Hood.” The former seemed to be settling into the repertoire as a cool down song, and that is the placement they gave it at Randall’s. But everything changed in the final section, as Fishman altered his backing rhythms and transformed the end jam into a whole-band, “Curtain With”-esque piece of improvisation. I didn’t love the first, guitar-solo based versions of the song, as they felt very static. But when “Wingsuit” drops from now on, it may in fact be still represent an exhale from a monstrous jam, but it now has improvisational intrigue all its own. Secondly, I’ve been waiting my whole life for “Harry Hood” to become an open jam, and this summer Phish has played three, deeply improvised versions in a row. This transformation of “Hood” into a cosmic springboard is the most profound development from the opening weeks of Summer Tour. And what an exclamation point the impeccable Randall’s version put on an airtight set of Phish. Composed too perfection, the frame had six songs, all in place and all performed with maximum gusto.

And then came Sunday. Played with a vigor through and through, we will be talking about Sunday at Randall’s for years to come. It was just that good—dense, top shelf jamming laced with nuance and innovative currents around every turn. Page and Fish stood out the most to me over the three-day weekend. Each altered the courses of several jams, while Trey’s biggest attribute this summer is his willingness to be one of four and take his place amidst a band that now has all but four musical leaders. The way they have fed off of each other’s ideas and made them into their own—a sort of quadruple helix—was the hallmark of the Randall’s jams and the thus far, the summer at large.

Randall's Island (Andrea Nusinov)

Randall’s Island (Andrea Nusinov)

Tags: ,

A Speechless Sunday

Posted in Uncategorized with the tags , , on July 15th, 2014 by Mr.Miner
Randall's Island (Andrea Nusinov)

Randall’s Island (Andrea Nusinov)

Well that escalated quickly! Amidst one of the best tours of their career, Phish absolutely annihilated Randall’s Island in New York City this last weekend. Weighted heavily towards the second two shows, the three-night stand shattered even the loftiest musical expectations and set the bar inconceivably high for the rest of Summer Tour. The band is improvising with a level of patience an audacity unseen in this era, and the results have been staggering. Not only is Phish weaving individual excursions into the infinite, but they are finally crafting flowing, contoured second sets on a consistent basis. Their willingness to take long form risks and to push through sections where, in recent years they would have moved on, has paid off in droves. Jams are reaching depths we haven’t seen in this era and covering ludicrous amounts of musical ground. Though enjoyable as it was to watch Phish recreate themselves over their first five years back, there always seemed to be a sense of nostalgia involved. To many, this era seemed to be a way to relive the glory days. But now more than ever, any thoughts of the past have been wiped away by a Summer onslaught on original and innovative music. It’s 2014 and Phish is peaking again.

7.13 Official (J.Flames)

7.13 Official (J.Flames)

But let’s cut through the chase—Sunday’s show was something special. The weekend built upon itself, one night after another, and peaked with the best two-set Phish show in quite some time. Each frame featured shrewd song selections, impeccable flow, and absolute lock-step jamming from “Sand” to “Slave.” And in between we heard some of the most complex improvisation the band has churned out in a hot minute, and most often the catalyst was Jon Fishman. With a stripped down kit this summer, Fish has been an absolute maestro on the skins, and there is no better illustration that Sunday’s second set. Listen to the morphing feels of “Chalk Dust” as he guides the band through a far out excursion in astral jazz. Playing with a cymbal-heavy feel, and a sense of light, airy syncopation, Fish pushed the music into a jazz-like abstraction. Though his work shone throughout the jam (and set), things get really interesting in the piece’s final section which moves into a festival, middle-of-the-night type ambiance. The journey to get to this place, however, is nothing short of mind numbing. After a glorious, early peak to this jam, the band just continued moving outwards, section by section, but contrary to the Mann’s version, the ideas in Randall’s “Chalk Dust” jams were fully explored and themes were developed rather than touched upon. This was a magnificent Phish jam of the most virtuoso degree—almost a half-hour of dense, original improvisation. This was the absolute business. And when Phish is feeling IT like this, you knew there was more magic just around the corner.

Taking this momentum and diving into “Light,” the band was clearly enjoying the wide-open musical space and chose another springboard from which to get there. And once again, the guys spun a wove an original tale that landed in an intricate Mind Left Body jam. The astounding thing about Phish right now is just how diverse their jamming is. In eras past, they have been stylistically focused by tour, but in right now their jams differ so much from one to another that its incredible the same band is playing them. But they are, and Phish concerts are now reaching places we’ve dreamt they’d get to since the band’s return.

When Phish is locked in a zone like Sunday, they can do no wrong, so following a unique peak to “Light,” Trey swung for the fences with a mid-set “Tweezer” and the band hit it straight out of sight. Once again favoring variation, the band deviated from the norm in this jam and came up with a profound take on their classic that follows the song’s improvisational boon of 2013. Trey progressed the jam out of the dance realm and brought it, the set and the show to a monumentally cathartic peak, completing the most powerful trifecta we’ve heard from the band in years—“Chalk Light Tweeze.”

The guys capped the night with a patient version of “Slave to the Traffic Light,” but the story of this show was hardly limited to the second set. Phish came out firing on Sunday night, riding undeniable momentum from a stellar Saturday performance. How ‘bout “Sand,” “Winterqueen,” and a “Reba” with extra mustard to start the show, a grinding “Runaway Jim” and a totally bent “Split” all before setbreak? It all happened and was surrounded by tight, punchy renditions of other Phish classics. This was an exquisite two-set performance that never relented for a moment and reminded us that, in fact, the best is yet to come.

I: Sand, Winterqueen, Reba, Birds of a Feather, Water in the Sky, Possum, Runaway Jim, Bouncing Around the Room, Maze, Split Open and Melt

II: Chalk Dust Torture > Light > Tweezer, Wading in the Velvet Sea, Sing Monica, Slave to the Traffic Light

E: Backwards Down the Number Line > Tweezer Reprise

Tags: , ,

Boy, Mann.

Posted in Uncategorized with the tags , on July 10th, 2014 by Mr.Miner
The Mann '14 (Andrea Nusinov)

The Mann ’14 (Andrea Nusinov)

Phish continued their summer onslaught with two very different second sets at the Mann on Tuesday and Wednesday nights in Philadelphia. Tuesday’s showcase was chock full of creative improv, including the unquestionable jam of the tour thus far in a stunning, long-form rendition of “Fuego.” Wednesday night’s second set was highlighted by another in the recent line of exploratory, wide-open “Chalk Dust” jams, but was played in more straight forward fashion following the top-shelf opener. Instead of analyzing the shows as individual performances, let’s look at the overall musical takeaways from Phish’s stand the the City of Brotherly Love.

Mann Poster (LandLand)

Mann Poster (LandLand)

Any discussion of Mann highlights must start with “Fuego.” Phish drastically matured their newest springboard from its first to its second outing, unfurling one of their elite modern jams out of the brand new piece. Phish’s late-career musical re-development has led them to this type of wide-open, thematic excursion. The band demonstrated ultimate on-stage comfort as they calmly navigated this deeply exploratory adventure. The music was orchestral in nature and carried a very free, yet refined vibe. Trey carved out gorgeous melodies—delicate portals to heaven—as the band engaged in a jam that could only have been played in 2014. No rush, total comfort, and flowing as single course from start to finish while fluidly rolling through distinct improvisational ideas. “Fuego” is not only Phish’s newest jam, it is a launch pad to a new type of jam—patient, sprawling, free form journeys that move between developed themes. These are the jams that many of us dreamt of when we thought about Phish playing as the guys neared age 50. Each band member led different parts of this excursion, all with utmost nuance and subtly, forming a wholly collaborative endeavor. And just as one thought Phish would bring this jam to a huge crescendo like SPAC’s version, Trey led the troops out the back door and into the most intricate groove throwdown we’ve heard this tour. The Mann’s “Fuego” was pure, long form Phish genius, and all signs point to more stunning journeys from Phish’s newest monster.

Phish delved into a late set-run in Tuesday night’s show—“Ghost > 2001 > Harry Hood”—that absolutely demolished. Though Trey fought tooth and nail to get the band out of a “Tweezer” jam and into “Ghost,” once he got them there the band gained liftoff. Trey has been playing with revitalized dexterity this tour, featuring clean, multi-note runs that sound especially awesome in juxtaposition to his extensive whammy experimentation last year. Additionally, Trey has drenched his playing in original melodic phrasing has provided a powerful lead of so many Summer jams. The Mann “Ghost” combined both of these trends into a soaring piece of music that served as the night’s most profound peak. Any thoughts of a lopped off “Tweezer” vanished in this dizzying, highlight-reel “Ghost,” a second keeper from the Mann’s opening night.

The Mann (Andrea Nusinov)

The Mann (Andrea Nusinov)

And “Harry Hood” was the third. The second, deeply improvisational version in as many performances this tour punctuated a stellar set of Phish. And the beauty of this “Hood” was its absolute tenderness—a total juxtaposition to the flowing psych rock of Mansfield’s standout rendition. The Mann “Hood” saw the band delve into an immersive conversation within a stunningly delicate milieu, and they came up with yet another nugget of improvisational gold to end a very impressive frame of music. After an extensive rain delay pushed the start of the second set beyond 11 pm, the band made sure that the entire night was worth any inconvenience that people had been through.

The Mann (A.Nusinov)

The Mann (A.Nusinov)

Wednesday’s night’s second set kicked off with another top-shelf jam—something we have come to expect from the band on a nightly basis— in “Chalk Dust Torture.” Following in the footsteps of Dick’s 13’s and MSG 13’s versions, the Mann “Chalk Dust” featured many different segments of improv, however this one was notably more fluid as it morphed between feels. This jam carried an uptempo rhythm throughout, and the band seemed to surf a musical wave in whatever direction it would take them without truly developing any single section for too long. This type of protean jam has become a modern trend with “Chalk Dust,” and provides a stylistic contrast the band’s more singularly focused improvisations. (Note: They certainly have taken “Chalk Dust” in the mono-thematic direction such as Dick’s 12, but more often than not its jams fit this description.) Spanning several feels, Mann’s version’s provided a tasting menu of Phish sounds, all connected with a single thread.

Several other jams provided sub-highlights of the run. “Twist’s” tight rendition featured mini flourishes in different directions, but each time returned to structure, much like a jazz take on the song. “Mike’s Song,” though not extensive, featured more active interplay between Trey and Page, and didn’t simply default to a guitar solo. Could this be a sign of things to come? One can only hope. Each show saw one significant first set highlight each night—Tuesday, “Tube” and Wednesday, “Wolfman’s Brother.” Both pieces featured a developed jam that moved beyond convention and gave a burst of energy to otherwise routine frames of music.

All in all, the Mann was a very solid two-night stand. Whether you favor the more adventurous first show or the cleaner, more rocking second show largely depends on your stylistic preference. But whichever path Phish has chosen in each show of this short tour, whether jamming or rocking, they have executing it to near perfection. When looked at together, the two Philly shows demonstrated the yin and yang of live Phish.

7.5.14 SPAC (Chris LaJaunie)

7.5.14 SPAC (Chris LaJaunie)

Tags: ,

A Quick Start to Summer

Posted in Uncategorized with the tags , on July 6th, 2014 by Mr.Miner
SPAC 14 (Andrea Nusinov)

SPAC 14 (Andrea Nusinov)

Showcasing new songs, original jams and a clear exuberance to be onstage again, Phish kicked off Summer Tour 2014 in style with four shows last week. Polished, practiced and ready to roll, the guys hit the ground running, requiring exactly zero time to warm up and dropping timeless jams from night one. Armed with a new material and playing with unbridled creativity and confidence, Phish seems poised to play a tour for the record books.

Following a sharp show in Mansfield that heated up in its final sequence of “Ghost” -> “Weekapaug, “Harry Hood,” the band unleashed three flowing second sets in Saratoga Springs that illustrate their continued re-commitment to show craftsmanship that we saw blossom last fall. Frustrating trends that have plagued the modern era—aborted jams, random song calls and fizzling second sets—have all but vanished, and the artistic Phish of old has re-emerged. Crafting contoured frames of music, the band has brought narrative arcs back to their second sets—the journey of a Phish show has fully returned. Wide open jams, smooth transitions, and shrewd song placement colored all three of SPAC’s main events. Highlight segments that illustrated these themes include “Bathtub Gin > Limb by Limb > Winterqueen,” “Fuego > Disease > Twist > Light” and “Carini > Waves > Wingsuit > Piper.” Each second set adopted a unique vibe—7/3 was explosive and energetic, 7/4 took on a far more cerebral feel, and 7/5 possessed lighter, dreamy strand throughout. When three consecutive shows provide three unique and completely different musical experiences, it is a surefire sign that Phish is in a very special place.

Reading '13 (A.Nusinov)

10.29.13 (A.Nusinov)

The band flipped an improvisational switch during Mansfield’s “Ghost” and has not looked back. Offering totally fresh takes on their jams nightly, Phish seems to be consciously improvising in new and different directions. Examples of this include the masterful and unforced exploration of “Harry Hood in Mansfield, the spacious dance grooves of “Bathtub Gin, the swinging rhythmic filth of “Limb By Limb,” an intricate, deconstructivist “Disease” jam, the meditative jazz fusion of “Twist > Light,” an ethereal “Carini,” “You Enjoy Myself” featuring a Mike and Trey prompted funk jam, and of course the first free-form “Fuego.” (Though “Piper” had a stellar Trey peak, I can’t say that it was a totally original rendition.) Throughout all of their jams of week one, however, Phish’s communication has been notably tight and responsive, having seemingly reached mid-tour form rather quickly this go round. And there are eighteen shows to go.

Setlists have seen an expected infiltration of Fuego material, and most often with positive results. First and foremost, “Fuego” has ascended to the center of the Phish universe with the monumental debut of its jam. There’s nothing quite like it when Phish premieres a brand new jam, and “Fuego’s” introduction was as grand an entry as any ever. A dramatic, 20-minute trek that peaked into the heavens with a stunning crescendo sent a clear message to their fan base of Phish’s intent with their new title track—”Set the controls for the heart of the sun.” This is clearly the new school jump off. Aside from “Fuego,” however, the only other new song that seamlessly wove itself way into the live show was “Winterqueen.” Employed as a landing pad for the other-worldly sequence of “Bathtub Gin > Limb by Limb,” “Winterqueen” sounded like Phish had been playing it for years. The unexpected twist was the opening of its final solo, a hint of what could possibly come from the song. All other Fuego tunes, though sounding quite good in the live setting, are still searching for their comfortable place in the setlist.

10.31.13 (J.Silco)

10.31.13 (J.Silco)

From a macro perspective, the band sounds incredibly comfortable on stage together. Their improv has been characterized by a looseness that allows for all sorts of exploration, but, at the same time, a tightness of purpose that allows the band to explode into jams and reach experimental planes without several minutes of meandering. The way they are stringing together these jams and crafting larger segments of music, and ultimately sets and shows, however, is what is setting the band apart from their recent former selves. This comfort level will only increase as the tour moves on, and one should expect to see more well-crafted sets as we look towards Philadelphia.

And from a more micro perspective, how about that July 4th show? Hot damn! Talk about a fresh sounding set of music in which the faucet was turned on for the duration! As majestic as “Fuego” was, the most complex music of the night was yet to come in the next three selections of “Disease,” “Twist,” and “Light.” All in all, this four-song sequence totaled 55 minutes of creative, top-shelf interplay that left just about every jaw on the ground. Each jam was unconventional and each jam was unique. This was the type of innovative set of which we dream, and had the band finished strong with a significant closer instead of moving into “Theme,” “Number Line” and “First Tube,” we’d be looking at a legitimate all-time set of Phish. Even so, 7/4 was a signature performance that deserves recognition among the band’s best in years. And 7/3 wasn’t far behind, containing the most accomplished sequence of the weekend in “Bathtub Gin > Limb By Limb > Winterqueen,” and a thick, groovy “Tweezer.”

And this is only the tip of the iceberg. If this is what Phish had to offer in their first week of Summer shows, one can only imagine what is to come over the next three. Inspired, loaded with new material and dropping awe-inspiring jams left and right, Phish has their fan base on the edge of their seats once again, salivating to live the next chapter of the band’s storied history.

Week One Picks:

Best Show: 7/4

Best Set: 7/4 II

Best Jams: Mansfield “Harry Hood” and SPAC “Limb by Limb”

Best Moment: “Fuego” peak

SPAC '14 (Andrea Nusinov)

SPAC ’14 (Andrea Nusinov)

Tags: ,

Summer Dates Cometh

Posted in Uncategorized with the tags , on March 11th, 2014 by Mr.Miner
Bader Field 2012 (Andrea Nusinov)

Bader Field 2012 (Andrea Nusinov)

Here we go again! Yesterday, Phish dropped their next slate of dates—Summer 2014—and it doesn’t look very similar to recent summer dockets. Spending all but one weekend on the east coast, the band will pepper the Northeast and Southeast with 18 of 22 shows before breaking until the end of August for their annual Dick’s run in the Rockies. Holding true to rumors, the band declared, in fine print beneath their You Tube video, that “no additional east coast dates will be announced this summer or fall.” This confirmation leaves the door wide open for the all-west coast Fall tour that is supposedly in the works. The final piece of buzz from yesterday’s drop came once someone had translated the Chinese announcement video. The man holds up a piece of paper detailing a mission in Chinese, which closes with a reference to James Michner’s, historical fiction novel “Hawaii.” Fans hopped on this nugget right away, speculating that the band may be finally plotting the Hawaii holiday run was rumored in ’99. Regardless of the relevance of this off-coast finale, there is no doubt that winter changed to spring in the Phish universe yesterday, as fans can now look past Jazzfest to Summer Tour 2014!

7.14.13 (A.Nusinov)

7.14.13 (A.Nusinov)

The tour starts out in familiar northeast environs, kicking off at Great Woods before the band codifies the modern tradition of July 4th weekend at SPAC with another three-night stand. The staple Northeast venues, however, end there as Phish will the next five shows in venues that many fans have never stepped foot in—or at least not for a while. The band hasn’t played the Mann Music Center in Philadelphia’s Fairmont Park since their memorable two-night stand in 1995. These will be the band’s fourth and fifth shows at a venue that has become synonymous with the masterful “David Bowie” performed there on July 24th of ’95.

The highlight of the Northeastern portion of tour looks to be the three-night run at Randall’s Island in New York City. With a capacity of 35-40,000 and an all-GA policy, this will be the festival-like scene for the summer. Couple this three-day festi environment with the city’s nightlife, and you’ve got yourself one hell of a destination weekend. It seems that these pre-fab festival settings are more and more the way that Phish is going these days. Venues like Bader Field or Randall’s Island can hold the same amount of people that attended Indio and Super Ball, and without the massive work and overhead that goes into the classic Phish festival. While the results are not quite the utopias of Plattsburgh and Limestone, it sure is hard to argue with the logic.

MPP '13 (A.Nusinov)

MPP ’13 (A.Nusinov)

After a single show in Canandaigua, site of the infamous “Fleezer” of 6/22/95, the only summer dates off the eastern seaboard will take place at DTE Amphitheatre in Clarkston, Michigan, and a three-night return to Northerly Island in Chicago. Phish played a stellar show in their only visit to DTE’s spacious shed in 2011, and I, for one, am anticipating their return. Were it not for the inclement weather last year, I actually loved Northerly Island in Chicago, but fans on the lawn didn’t necessarily agree. Hopefully improvements have been made to this makeshift venue and the weather will cooperate this time around, as Phish always seems to save the goods for the Windy City.

Following four days off, Phish will conclude their summer tour with a hearty, seven-show run through the Southeast, and you can be sure they’ll be firing on all cylinders at this point. A one-off performance at Charlotte’s former Verizon Wireless, always the site of great Phish, will kick off this run before the band heads north for two nights at everyone’s favorite venue, Merriweather Post (sarcasm font employed). Tour will then criss-cross back south, stopping at Portsmouth’s intimate nTelos Pavilion for two nights en route to two shows in Alabama! Not only stopping at Oak Mountain, the band will head further south to the gulf coast and perform in Orange Beach. I’ve already been told by a resident of the area (@FairhopeBrewer on Twitter), that the community down there likes to think that they live “south of Alabama” and the area contains a wholly different vibe that the rest of the state. So we’ve got that going for us, which is nice. Tour will then close with a random single show in Alpharetta, a venue where Phish has only ever played two-night stands.

7.14.13 (A.Nusinov)

7.14.13 (A.Nusinov)

Needless to say, this isn’t your father’s summer tour. Absent are such classic haunts as PNC, Deer Creek, Alpine Valley, Star Lake, Blossom and the like, while some new and old stops have taken their place. Phish will cap the season with their fourth consecutive Labor Day Stand at Dick’s in Commerce City, the only other true destination weekend of Summer 2014. Though west coast heads may be disgruntled right now, they will likely get the last laugh as a west coast fall tour is the stuff of dreams. Not since 2000 has the band undertaken such a swing, but this year, it seems imminent come October. And as for Hawaii, the plane tickets are far cheaper from out here as well! Hey, one can dream right?

July 1 @ Xfinity Center – Mansfield, MA (Capacity - 19,900)
July 3-5 @ SPAC- Saratoga Springs, NY ( 25,100)
July 8-9 @ Mann Center – Philadelphia, PA (14,000)
July 11-13 @ Randall’s Island – New York, NY (b/w 35- 40,000)
July 15 @ CMAC Performing Arts Center – Canandaigua, NY (15,000)
July 16 @ DTE Energy Music Theatre – Clarkston, MI (15,274)
July 18-20 @ First Merit Pavilion – Chicago, IL (30,600)
July 25 @ PNC Music Pavilion – Charlotte, NC (19,500)
July 26 – 27 @ Merriweather Post Pavilion – Columbia, MD (19,319)
July 29 – 30 @ nTelos Music Pavilion – Portsmouth, VA (6,500)
August 1 @ Amp. at the Wharf – Orange Beach, AL (Approx. 10,000)
August 2 @ Oak Mountain Amphitheatre – Pelham, AL (9,936)
August 3 @ Verizon Wireless Amphitheatre – Alpharetta, GA (12,000)
August 29 – August 31 @ Dick’s – Commerce City, CO (26,000)

(Date list and capacities thanks to Jambase)

MPP '13 (Andrea Nusinov)

MPP ’13 (Andrea Nusinov)

SPAC '13 (Andrea Nusinov)

SPAC ’13 (Andrea Nusinov)

Tags: ,