With the release of Trey’s fall tour shows, the ticket game has once again commenced. Trades, sales, brokers, miracles, service charges, convenience fees- all those things we haven’t considered for four years are back again. Message boards and Craigs’ List sites are filled with offers to buy, sell, and trade. Trey tickets have now made it to EBay for fan bidding wars, while many ticket broker sites have significant allotments of tickets. There are two specifically sought after tickets on this tour that have been focus of the many transactions and requests- Roseland and Higher Ground. Roseland, originally slated for Port Chester, NY, sold out in minutes on the day of pre-sale, and with the heightened interest from many New Yorkers, the Ticketmaster release didn’t last much longer on Friday.
Higher Ground is a different story. With a capacity of only 500, these tickets were gone faster than Port Chester for pre-sale, and to make it even harder to obtain, there were no further online sales for this show. The only way of snagging tickets was in Burlington, at the Higher Ground box office on Friday morning, with a limit of two per person. A friend of mine went down an hour early, but people had been lined up since 3 am for the release. No dice. Clearly a special show in Phish’s hometown, as well as a benefit for Trey’s Seven Below Arts Initiative, a program to fund and advance arts education in Vermont, this show is hyped as a Burlington family and friends event with endless Phish possibilities.
With both of these shows now sold out, broker tickets are going for Roseland between $90-200, while Higher Ground tickets are anywhere between $200-$400. One question I have been pondering- with the exclusivity of the Burlington release, how do scalpers have all the tickets? It just doesn’t make a heck of a lot of sense. A counterargument to this overall ticket conundrum would be, “These are all small venues- there just aren’t that many tickets.” Yes, I hear that, but this is mostly an extended regional crowd trying to grab these few tickets for Trey on his special comeback tour, not the totality of Phish nation. That would be another monster.
What does this all foreshadow for obtaining Phish tickets when they do come back? First of all, they are going to be expensive. These Trey tickets, when all said and done, were $50 bucks out the door. You figure that Phish could easily charge $75 bucks with charges included; no questions asked. It may be less, but it may not be. Combined with the increasing cost of gas these days, for both cars and planes, touring in a post 9/11 world looks to be considerably more expensive than it was back in the day. And then there is the incessant ticket demand- the demand that the brokers feed off of. Everyone remembers the comeback shows at MSG and Hampton- those tickets were nearly impossible to get your hands on, flying out of brokers hands for anywhere between $300-500 each. Are we heading for a scenario like this for the upcoming return? Possibly. This is why it is important for Phish to choose their comeback wisely. But regardless of their decision, I doubt that Phish is going to step on stage at a festival in front of 90,000 people for their first show back- so prepare yourself to play the ticket game once again.
In 2003 and 2004’s comeback, brokers played a major part in the ticket distribution for all shows, often scooping up most of the tickets on release day and then reselling them for far over cost. The demand for Phish tickets will be greater than ever- there is now a whole generation of Phish fans who have never even seen the band live! And while this may mean good business for scalpers, it means major headaches for all of us. Oh, how I long for the days of postal money orders and the traditional mail order system. At that time, you needed the cash in hand to mail order, and if you did, you were rarely denied. This was largely because there weren’t 20,000 teenagers using their parents’ credit cards flooding the pre-sale system trying to score tickets like today. With the advent of technology, scoring tickets has actually become more difficult- pretty counter-intuitive isn’t it?
Anyhow, as transactions continue to take place from now through the end of Trey tour, we will not only be preparing ourselves for the musical return of Phish, but also the return of strategizing, scheming, and figuring out how to secure your stubs for entry into the grandest musical theater on earth. It’s all part of the game of Phish; get ready to play again!
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DOWNLOAD OF THE DAY:
On their smoking west coast Sping ’92 run, Phish stopped in at one of San Francisco’s most storied venues for the first time. Making their debut at the 2,200 person Warfield Theatre, Phish played a keeper. Following an all-star first set comprised of all classics, Phish leapt even deeper into the fray with the second set. As the theatre’s curtain opened, revealing Page’s brother lying in a bathtub onstage, the band ripped into their new song “Brother” as Phish crew members continuously jumped into the tub! Classic. Also featuring a YEM, Fluffhead, and Tweezer, this widely circulated soundboard recording gives you a clean and crisp snapshot of Phish amidst one of their most revered old-school runs.
I: Runaway Jim, Foam, Sparkle, Stash, I Didn’t Know, Cavern, Reba, Maze, Bouncing Around the Room, The Landlady, David Bowie > Catapult > David Bowie > Catapult > David Bowie
II: Brother, You Enjoy Myself, Fluffhead, The Squirming Coil, Tweezer, Uncle Pen, Cracklin’ Rosie, Tweezer Reprise
E: Golgi Apparatus
With the release of Trey’s fall tour shows, the ticket game has once again commenced. Trades, sales, brokers, miracles, service charges, convenience fees- all those things we haven’t considered for four years are back again. Message boards and Craigs’ List sites are filled with offers to buy, sell, and trade. Trey tickets have now made …
Though we formed intimate relationships with countless venues throughout Phish’s twenty year stint, none felt more at home then Hampton Coliseum. As if the room were made for Phish, and Phish only, whenever you walked inside and down those few steps, you felt like you were returning back to where you belonged. Over the course of eleven shows, Phish made Hampton their unofficial home turf, and routinely produced incredible show after incredible show in the spaceship-shaped building. Holding just under 14,000 people, the room was considerably smaller then most venues of Phish’s arena phase, and provided an certain intimacy long gone from shows of yesteryear. With every seat in the house seemingly on top of the stage, and a floor that more people could not have squeezed onto, a Hampton show felt different- more cozy, more crazy- than other shows. With a total GA policy, the freedom to navigate the venue as your heart desired increased this free-for-all feeling that encapsulated Hampton. Knowing every nook and cranny of the building from the countless visits, you didn’t need to ask to find your way around Hampton. With security guards present as a formality, the coliseum turned into an all out raging Phish party for three hours every night. Afterward, instead of having to crunch into a car and figure out your next step, you simply strolled off into the coastal evening to find your desired hotel party a few hundred yards from the venue.
The Hampton experience became a Phish institution between 1995 and 2004, housing so many classic shows and moments. The surrounding hotels finally caught on. Hampton’s Holday Inn, the hotel “in” the parking lot, created an all-night commissary and hangout in the lobby for elevated fans, with Phish DVDs playing on a large screen and drinks for sale by the time 2004 rolled around! To be honest, Its surprising it took so long for hotels to capitalize on the of thousands of blissed-out nighttime revelers. While Phish enjoyed playing in many special rooms, and we enjoyed receiving the music in many venues- none were more special than an evening in Phish’s own space portal, right off the highway in southeastern Virginia.
1.2.03: photo: takashi37
In 1995, Phish made their first appearance at the former Grateful Dead venue. Kicking off their Hampton career with a bang, this show encapsulated the ferocity of Fall 1995- all contained by the rounded walls of the circular Phish den. While the first set had its moments, this show focused on the far-away journey taken with the onset of set two. A 45 minute Timber Ho > Mike’s > Kung > Mike’s is what this night will be eternally remembered for. Featuring a dark half-hour Mike’s excursion, with the first ever Rotation Jam, in which all band members switched instruments, this exercize in sinister groove punctuated Phish’s debut at Hampton. This one would be immortalized as a gem from Fall ’95.
Phish’s second Hampton show in 1996’s didn’t feature nearly as much heavy improvisation, but offered up some rarities with a show opening Ha Ha Ha, and a second set opener of the then-scarce, Tube. On this night, Trey cemented the venue’s legend when amidst some stage banter, told the crowd that Hampton was his favorite room to play. A solid Hood > Cavern ended the show on a high note, but even compared to the shows surrounding it in the tour, this year’s Hampton show seemed a little thin.
1997 would be a different story all together. In the most epic Hampton installment ever, Phish gave a nod to the celestial portal by gracing it with it’s first two-night stand. It would be over the 21st and 22nd of November that Hampton Coliseum would officially become Phish’s personal playground. With two shows that were as good as any, on a tour that is sometimes overwhelming with all of its magnificent music, Phish threw down four sets for the ages that still live in legend today. The first night, the deeper more truly psychedelic performance, gave way to one of the best Phish shows in history on the second night. With the debut of the Stone’s “Emotional Rescue” to start the stand and jamming into an dark and nasty Split as the second song of the stand- Phish wasted no time in getting to business. The three-song sequence of Ghost > AC/DC Bag > Slave comprised the entire second set, less a Loving Cup closer. This hour plus of straight Phish imrov is some of the most magical to come out of Fall ’97. Delving into various styles and textures, this jam sequence was a trek through Phish’s imagination and was brought to fruition by a poignant Slave. Moving through funk, rock, and straight madness, this set was an archetypal “night one” of a two night stand- going deep with no regard for time or space, playing what comes. A four song masterpiece, this second set left fans wondering what could possibly come out of the next night.
11.22.97. The date needs no introduction. The best Phish dance party ever thrown, a night with more grooves than a 33 rpm record, it is up there with the the band’s elite performances ever. Starting with a supremely thick Fall ’97 Mike’s Song, containing full band hints at Black-Eyed Katy, this show was off and running in no time. Just after the massive Mike’s Groove ended with the last hits of Weekapaug, the rolling reggae intro of Harry Hood began. Really!? Now?! Yes. Really. A phenomenal version of Hood left the crowd stunned and speechless for Train Song and Billy Breathes, before the set closed with the rocking combo of Frankenstein, Izabella. After such an ludicrous first set, the crowd was left aglow, without words to describe what was unfolding. One of the quietest set breaks ever gave way to one of the loudest sets of the band’s career.
Halley’s > Tweezer > Black Eyed Katy, Piper, Antelope. The rest is history. With utter command over the room, the band brought the audience through a clinic of Phish improvisation. The most delicate and spiritually inspiring moments of the set came toward the end of the “best ever” Halley’s, while the band soon had the entire spaceship bouncing through the quintessential fall swamp funk of ’97- Tweezer> Katy. Pure Phish crack. Not letting up for a second, the blistering combo of Piper, Antelope provided the musical balance to the molasses that had preceded. Universally regarded as one of the best nights in the twenty years of Phish, you have all heard this one as much as I have. From that night on, every trip back to Hampton would be significant, and marked on everyone’s calendar.
photo: Aaron de Groot
1998 brought another two-night stand to Hampton. Subsequently released as “Hampton Comes Alive,” these shows were highly anticipated by all in the Fall of 1998; they again peaked with the last set of the shows. The first night of 1998 delivered a first set of crowd favorites, as the opening debut of “Rock and Roll Pt.2” > Tube shot 100 cc’s of adrenaline into everyone’s brains to start the stand. Followed by Quinn the Eskimo, for the first time since 1987, Funky Bitch and Guelah, this show got everyone engaged immediately. Notable appearances were also made by the Beatle’s “Cry, Baby, Cry,” and the bluegrass cover “Nellie Kane,” both after 275+ show absences. A Stash and a Split added flairs of darkness to this extended first set before the lights came on and everyone came back to their collective reality for set break. The second set opened with a beautiful Bathtub Gin > Piper, and then trailed off a bit, somehow finding its way to a Fishman cover of WIll Smith’s “Getting Jiggy WIt it.” A late set Hood brought some dignity back to the set, but the musical theatrics would again be left for night two.
Set two of November 21st, would stand out among the rest of the weekend. Leading off with a crushing right hook in the form a heavy hitting Mike’s, the band soon transitioned into Simple. Adopting their Fall ’98 ambient style to the jam, they created one of the more beautiful and transcendent pieces of music from the entire tour. Phish sandwiched a Wedge, Mango, Free > Ha Ha Ha > Free into the Mike’s Groove before capping it with a run through the upbeat fields of Weekapaug. This set was non-stop action from beginning to end, and followed in the tradition of the previous year’s offering.
The next time Phish would appear in Hampton Coliseum would be for the final two-shows of December ’99- the last shows before Big Cypress. Upon the culmination of two fall tours, and on the brink of the millennium, the band again honored the venue with shows to be remembered. The first night opened with a Piper to get things underway quickly, and soon followed up by the upbeat first set selections of Jibboo and Punch You in the Eye. This set, while having some great moments, lacked flow, and ended oddly with a fairly standard Twist. The second set, would open with a Birds, Moma> ambient jam > Bug, with some Birds licks prominently ingrained in the Moma funk. Just about everyone was sure the gears were set for an intergalactic 2001 as the band finally veered into Bug, saving the song as a centerpiece for the following evening. A dark-horse Split Open highlights the end of the set- a very complex and layered version that is all too often overlooked by the 12.4.99 Cincy version. This is a diamond in the rough that not many seem to discuss, so check it out on the compilation below. Yet, after this night, it seemed as though the real bombast would be reserved exclusively for night two.
8.9.04- photo: Chris Clark
A Hood opener of night two communicated that the band was ready for action. Also including the sought after Dog Log and Tube, the first set ended with a YEM that got the building loosened up and sweating in earnest in preparation for the last set before The Everglades. This last set, like the previous two years’ last sets, blew the cozy confines to smithereens. The 36 minute fiery dance-a-thon of 2001 > Sand showcased the band’s 1999 style, and once again, Phish had the Coliseum’s audience in the palm of their hand. The rest of the set didn’t slow down with Horse > Silent, Possum, before the band dropped into a heavy Mike’s Groove. A set featuring three of their danciest songs at the time, this set brought back echos of 1997. The set ending Weekapaug stopped off in a well executed segue into Buffalo Bill before capping the set, and a long fall of touring for the band. Only Cypress remained.
The legacy of Hampton Coliseum was cemented long before Phish decided to go on hiatus, and come back for a year and a half between 2003 and 2004. However, during that short time, Phish managed to play four more Hampton shows- three of these coming directly after the MSG comeback in the opening days of 2003. With little to write home about in these three shows, it was nice to have Phish back and to be in Hampton again, but the explosive psychedelia just wasn’t there- not yet. Come the winter tour, and especially the summer tour, the powers bestowed upon Phish would be restored, and all would be well again- until that announcement.
8.9.04- photo: Chris Clark
Coming in a perfunctory, and distant way, a message from Trey was posted on Phish’s website before the summer of ’04 that this would finally be it. Left with tears running, staring at a computer screen, nobody really knew how to process this news. As the days of the end crept near, Phish kicked off their final mini-run with one last visit to “The Mothership.” Added later than the other shows, Phish had to come back one more time. In what is a constantly underrated show, with an amazing first set, Phish would say good-bye to Hampton in bittersweet fashion. An incredibly inspiring Chalkdust opened, which blew out the confines of its structure for twenty minutes into some very special places before the band turned to an equally inspired Bathtub Gin > Runaway Jim. Using these melodic, emotional jams, Phish bid farewell to one of its most beloved haunts.
With the context surrounding Phish’s imminent departure, it was hard to feel completely positive about this last run, but Phish, indeed, dug in one more time at Hampton. The first set full of improvisation overshadowed the second, whose highlight was an intense Seven Below > Stash. Played on the anniversary of Jerry’s death, in a building he once oversaw, this sets’ ballads of All of These Dreams and Lifeboy, took on an even greater significance. Only the fifth Bowie encore in history, and the first since Denver ’97, closed out Phish’s chapter at one of their favorite portals to the divine. It was an amazing journey, and we can only hope that Hampton 2009 is around the corner.
In honor of all of these magical evenings, I put together Miner’s Picks: Hampton. Again, without repeating tracks from other compilations, I chose some of the best The Mothership had to offer. Enjoy this batch of memories. Unfortunately I had to skip ’98 because all I have are the official releases without starting to convert my old DATs. The track listing and links are below.
24,25,26. Chalkdust, Bathtub Gin > Runaway Jim 8.9.04
27,28. Seven Below > Stash 8.9.04
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In other news: Trey’s 10/16 Port Chester show got moved to Roseland, NYC! Tickets from brokers are going for $200 pre-sale. I happen to have two extras if some one can hook me a Higher Ground!
As Phish geared up for their Halloween show in Atlanta, they threw down a great show, and an amazing second set of music, two nights before in Florida. Using the Mike’s jam as a live-rehearsal for “Remain In Light,” the band distinctly moves through a “Houses in Motion” jam in this standout version. With guest percussionist, Karl Perazzo, already on board, his textures add to the entire show, which features a Bowie and a Stash and closes with a regal Slave. Enjoy this set II as today’s download of the day!
I: Chalk Dust Torture, Guelah Papyrus, Cars, Trucks, & Buses, Taste, Bouncing Around the Room, Stash, Train Song, Billy Breathes, Poor Heart, David Bowie
II: Rift, Mike’s Song > I Am Hydrogen > The Horse > Silent in the Morning, Weekapaug Groove, The Wedge, Character Zero, Suspicious Minds, Slave to the Traffic Light, Hello My Baby
E: Good Times Bad Times
Karl Perazzo (percussionist from Santana) played the entire show.
Though we formed intimate relationships with countless venues throughout Phish’s twenty year stint, none felt more at home then Hampton Coliseum. As if the room were made for Phish, and Phish only, whenever you walked inside and down those few steps, you felt like you were returning back to where you belonged. Over the course …
With the strong response and discussion generated by the set openers column on Monday, I’d figure we’d spend a day pondering set closers. Just like set openers, set closers had a specific role to play each show. Set closers were the songs that offered a vibe “to go.” Heading either into into set break, or heading home, Phish’s last notes were meaningful. Always specific to the set that preceded them, set closers punctuated Phish stanzas with various intonations. They were the band’s last statement before the “15 minute” break, or before moving onto the usually short encore and the next gig. Often times, closers could climax a set with a natural peak, or they could also offer the set’s denoument- the post-peak come down. Regardless of their individual purpose, set closers were chosen with intent, and throughout their career, a category of songs used for this purpose evolved. In no particular order, here are some of Phish’s most popular set ending songs.
Run Like An Antelope: Closing 185 sets in its career, Antelope was one of Phish’s quintessential set closers. More often featured at the end of the first set, the song always pumped up the energy in the venue, signaling bigger things to come. An Antelope jam was a fierce exclamation point on a set that had included some adventurous improvisation, yet the tone of that improv could have been light or dark. Antelope was a foolproof way to leave the set on an energetic high note. Antelope defines what a set closer is all about, a last stint of madness resolving in a happy, high-paced colorful ending.
David Bowie: Generally reserved for darker sets, Bowie closed 155 times in its life- also preferring placement at the end of a first set. Bowie existed as a dive into intricate depths as a way to take a larger journey to close things out. Sometimes used in a set that was lighter in improvisation, Bowie ended things with a bang. Always leaving with a searing peak, Bowie was one of Phish’s the favorite musical finale. This composition, as old as the band itself, offered both dark and prestigious overtones to any set it ended.
You Enjoy Myself: There was arguably no better set closer than YEM. Any set, any time- YEM blew the place apart. It really didn’t matter what preceded a set-closing YEM- dark or blissful jamming- it always worked. Whether this 25 minute dance session came as a celebratory resolution to an evil adventure, or as the icing to an incredibly fun and flavorful cake, Phish’s defining composition never failed to obliterate the end of a show. More reserved for second sets than firsts, when a YEM closer came in the first set- you knew you were amidst a special evening. YEM funk emerged as its own genre of Phish music over their career, and these bass led grooves put a smile on everyone’s face, regardless of where in the set it was placed. A no-brainer, YEM always ended things in a happy space.
Slave to the Traffic Light: Far less common than most of the closers on this list, Slave marked an emotional crescendo to the set in concluded. Most often used as a emotional and cathartic release after a dark, harrowing, journey- Slave brought the light of the divine into your lap. A more poignant than fun statement, Slave tapped into the emotional channel that runs between you and the skies above. You always left a show inspired with a Slave ringing in your ears, and it brought a collective sense of reverence to the ending of any set in which it appeared.
Harry Hood: One of Phish’s most classic pieces of music, Harry Hood was used in the same emotional vein as Slave, but brought out much more liberally. Almost exclusively used to close second sets rather than firsts, an inspirational Hood was an unparalleled way to end a show. With the most glorious versions coming in 1994 and 1995, there continued to be standout Hood closers through 2004. Transporting audiences back to Phish’s earliest days, Harry Hood was a climactic musical interpretation of the human experience. Providing an intricate study in melody and harmony while illustrating the the majesty of life’s wonders, Harry Hood defines Phish in so many ways.
Weekapaug Groove: When Weekapaug closed a set, and sealed up a Mike’s Groove- odds are you just got finished hearing some dark and heavy music. Whether at the end of large Mike’s Groove “sandwich” or just a Mike’s >H2>Weekapaug to end a show, this was always an upbeat and fun way to end a set. Not as spiritually charged as some of the previously discussed closers, Weekapaug was all about high-octane enjoyment. A fast syncopated jam characterized this closer which often built to a frenzied pace before landing in the ending chorus. A song stressing the communal vibe at a Phish show, every one leaves happy having “shared in the groove.”
Possum: This post-Gamehendge saga was another popular bookend to sets throughout Phish’s career. The band used Possum to end 121 sets, and while it was never a personal favorite, most seemed to always enjoy the bluegrass influenced staple. Possum, like Weekapaug, was used as an upbeat and fun way to end sets, and could be placed at the conclusion of most any frame. Often popping up when a Bowie seemed likely, Possum took those shows in a different ending direction. Before 1997, Possum had more raucous psychedelia in its jam, and often reached some crazy places. However, around 1997, Possum turned into an almost exclusively bluesy-twangy-bluegrass jam that brought the song down a notch, in my opinion.
Cavern: The first song on this list that is not a heavy hitter, Cavern was often the funky afterthought to a creative set. Often used as that “extra” song after the large song you thought would close, Cavern was always a welcomed addition to the conclusion of a setlist. Describing a nighttime mission, very much like that of a Phish concert, Cavern provided some bass slapping funk and a Phishy melodic refrain that initiated a sing along. The song ended in a style perfect for that last big note that Phish would crash down at the end of every set. Cavern added an extra five minutes of fun to the end of your night every time it popped out of the bag.
Character Zero: This song worked its way into a regular set closing spot in the years of 1996 and 1997, and would remain there for the rest of the band’s career. While not always a welcomed closer by the masses, the initial guitar line that popped out of the ending of so many songs almost always signaled the ending of a set. While always remaining within the confines of its structure, Zero gave Trey the opportunity to do his best Jimi Hendrix impression with distorted “talking” guitar solo that led the band to the ending of the song. Good for its bombastic and rocking qualities, this song inevitably ended the show with energy. The vocal harmonies at the end of the jam always gave some melodic resolution to the typically dirty song.
Tweezer Reprise: Perhaps the biggest jolt of adrenaline to the end of a show is an unexpected Reprise. Those times you forgot it was coming- and then all of a sudden the venue was vibrating with energy, and so were you. Taking one last shot at the cosmic bullseye, Phish stomped through the rowdy anthemic ending. If you were hearing a Reprise to close, you had just experienced a Tweezer at some point in the show, and it reminded you of the sublime liquid improvisation that had preceded. Much more effective as a set closer than an encore, the ultimate exclamation point in Phish’s repertoire, Reprise brought the house down every single time.
These were some of the most used set closers in Phish history; each took on a character of their own and lent a divergent feel to the ending of sets and shows. While fans’ sometimes question the band’s decisions, more often than not, their choice of set closers was spot on.
What were your thoughts on set closers? Respond in comments and share your ideas!
In following with tradition here at Phish Thoughts, to go with the compilation of set openers, I put together a short two and a half hour compilation entitled Miner’s Picks: Closers. Below you will find the download link and track listing, as well as the Download of the Day. Enjoy!
Having featured both the Tweezer and the YEM from this show on different compilations, I wanted to give everyone the opportunity to download this show in its entirety. A magnificent showcase of Phish in the middle of one of their best months ever, this show is a classic that needs to be in your collection. A perfect example of Fall 94 Phish, the first set is all Phish classics, while the second set is all Phish improv. With some best-ever versions tucked in this one, it’s truly a can’t miss
I: Wilson > Sparkle > Simple > It’s Ice, If I Could, Oh Kee Pa Ceremony> Suzy Greenberg, The Divided Sky, Amazing Grace
II: Maze, Fee, Scent of a Mule, Tweezer, Lifeboy, You Enjoy Myself, Tweezer Reprise
E: Sample in a Jar
With the strong response and discussion generated by the set openers column on Monday, I’d figure we’d spend a day pondering set closers. Just like set openers, set closers had a specific role to play each show. Set closers were the songs that offered a vibe “to go.” Heading either into into set break, …
If assessing best-ever eras in Phish history, Fall 1994 has to be thrown into the ring. In particular, November 1994, will always be remembered as one of the creative peaks of the band’s career. November of 1994 will never be recreated in its cacophonous psychedelia, deep raucous exploration, and style that made it seem like Phish was constantly playing for their lives. They had a sense of urgency and mania never before seen in a quartet. As the band’s fan base continued to grow, slowly drawing more attention from coast to coast, their tour remained mostly in college towns while beginning to expand into bigger venues on the east coast. Yet, as they grew in underground stature, Phish consistently maintained their stage pranks and humor; never taking themselves too seriously as they left a burning wake of fire on stage each night.
November 1994 officially started on Halloween in Glens Falls, NY. Not to mention the marathon White Album Halloween set, Phish also tore apart sets one and three with standout versions of Reba, Bowie, Slave and Antelope-with even a Harpua thrown into the middle of the first set. As Phish embarked on their month of madness, they left behind 21 shows that had brought them to this point in the tour, and were ready to dig to deeper places than ever before. This era of Phish featured the most daring musical risk-taking of their career, as 30 minute exploratory Tweezers became the norm, and mind-numbing intense jams were strewn throughout every show; this month represents Phish at their most “balls-to-the-wall period.” Adopting their model of jazz-based improvisation to a milieu of dark, churning, psychedelic dissonance, the results were some of the more adventurous musical journeys ever taken. During an era focused on mastering the audiences’ psyche with space exploration and insane tension building and release- Phish was indeed a different monster.
A seventeen show month started in Bangor, ME on the second of November, and started out with a second set opener of Halley’s > Tweezer that set the tone for the month. This was the first truly extended experimental Tweezer. Featured on “A Live One,” this stretched out Tweezer would soon be well known even tangential Phish fans. Two nights later, the band stopped in Syracuse, NY for a standout show that featured a first set Forbin’s>Mockingbird, and an ominous second set opening sequence of Curtain > Mike’s > Simple > Mike’s > Tela > Weekapaug. Eight days off showed no ill effects when Phish returned to action on the 12th at Kent State, OH, for a college gig that was highlighted by a now-famous Disease>Have Mercy>Disease that recently made an appearance on my Labor Day Mix.
The 16th, saw Phish at another college- this time Ann Arbor, MI- for the appearance of bluegrass legend “Reverend” Jeff Mosier, who began a week-long traveling bluegrass clinic, appearing every night on stage with the band, teaching and leading them though traditional arrangements. This style of play would integrate into Phish’s array of tricks after this fall, and some of these songs would pop up in the years to come. This show also featured a fierce 40 minute Mike Groove at the beginning of this second set, punctuated by a “best ever” unique Simple jam.
As the month progressed, the trend of longer dark experimentation continued in the form of David Bowie. With Dayton’s David Bowie on 11.17, Madison’s Bowie on the 20th, and the the monumental Bowie, just released from the archives, from Minneapolis on 11.26, this composition provided a perfect launching pad for the type of intricate and maniacal improvisation that the band honed in on during this month. In the same vein, the show on 11.22 at the University of Missouri included a huge standout jam to start the second set that emerged out of Funky Bitch. Filler on one of the Live Phish releases, many are familiar with this diamond in the rough. As the month headed into its final week, there was still a tremendous amount of top-notch Phish that was yet to unfold.
The Fox Theatre in St. Louis housed one of the more magnificent Tweezers of 1994 on November the 23rd. With lengthy and abstract exploration leading to a spiritual guitar release by Trey, this version is a can’t miss- you may have heard it featured in the Labor Day Mix as well. The band dropped a fantasy second set at UIC Pavilion in Chicago on the 25th, reading “2001>Mike’s>Simple>Harpua> Weekapaug>Mango, Purple Rain, Antelope!” Yet the month’s most magnificent show may have come on the 26th in Minneapolis. The aforementioned Bowie absolutely stole the show with its extended celestial psychedelia, while the overwhelming darkness was brought into set-ending light with the now renowned, and incredibly triumphant, Slave from “A Live One.” This represented what a Phish show is all about- a dark inner journey, bringing you face to face with your soul, only to deliver you to glory with invigorating bliss and life-affirming wonder.
Not to be outdone by their own theatrics, the following show at the University of Montana in Bozeman, will always be remembered for the 45 minute Tweezer than defined the show. The longest jam from the fall, this Tweezer remains particularly engaging the whole time, and a segment of it was featured as “Montana” on “A Live One.” One of the deepest dives of the month for the band, the word “Bozeman” will live in Phish history for the Tweezer that was born that evening. On the final night of this historic month, 11.30, Phish found themselves at yet another college- this time at the west coast hippie-haven of Evergreen University. This show, later released on livephish.com, was a start to finish masterpiece. The second set of this show was another massive segue fest strewn with incredibly locked-in jamming throughout the night. The famous Antelope-laced set will go down as the triumphant conclusion of one of the Phishiest months in history.
With just a week left on the west coast before wrapping up their 46 show jaunt, Phish had reached a high point in their career. Getting ready to begin the transition from colleges to arenas, Phish was on their way. For their upcoming New Years Run, they would already be stopping at MSG and The Boston Garden. The intensity of their playing and the sheer aggressiveness of how they went for the jugular every single night represented a young band, with unbridled enthusiasm, on the brink of making it. With growing attention and word of mouth, Phish had become a new force in the improvisational musical landscape. This fall tour completed a year of 122 shows; evenings where Phish explored, challenged, and redefined their own musical creativity.
This individual month of standout shows was Phish exploding at the seams; energy bursting from the stage, barely containable by four walls; Phish was now a sincere power to be reckoned with. The band’s playing was unparalleled, their attitude, focused as a drill bit, while still having a blast every single night. Phish’s momentum gained a head of steam through the end of 1994, getting ready for the year in which they would ascend to the soon-to-be vacated throne of the psychedelic universe. Phish’s reign was just about to begin.
In honor of this momentous month of momentum, I have put together MINER’S PICKS: NOVEMBER ’94, which will take you on a chronological ride through this historic month. Totaling seven and a half hours, this compilation should give you a pretty solid idea of what November ’94 was all about. Many say it’s as good as it gets. The download links and track listing are below. Enjoy!
1,2. Halley’s > Tweezer 11.2 Bangor, ME
3. Split Open and Melt 11.3 Amherst, MA
4-9. Curtain > Mike’s > Simple > Mike’s > Tela > Weekapaug 11.4 Syracuse, NY
29. Slave to the Traffic Light 11.26 Minneapolis, MN
30. Tweezer 11.28 Bozeman, MT
31-36. Antelope > My Sweet One > Antelope > Fixin to Die > Antelope > Yamar > Mikes > Catapult 11.30 Olympia, WA
If assessing best-ever eras in Phish history, Fall 1994 has to be thrown into the ring. In particular, November 1994, will always be remembered as one of the creative peaks of the band’s career. November of 1994 will never be recreated in its cacophonous psychedelia, deep raucous exploration, and style that made it seem like …
As the nation crept closer to the turn of the millennium, and the fears over Y2K disasters mounted, Phish was also on a crash course with 2000, ever closer to Big Cypress, their highly anticipated all-night affair for New Years Eve. In preparation for such a cosmic transition, Phish had planned two fall tours- one “normal length” 24-show tour starting in September and a two-week millennial primer during the initial fortnight of December. Distinctly remembering the drive from Santa Cruz to Vancouver, there was endless Phish ahead, and no finish line in sight- now that was an exceptional feeling.
GM Place, Vancouver, CA.
Several groups of fans made it up to Vancouver, as we did, almost a week before the show; the burgeoning “Amsterdam” of the northwest needed some exploration. As it turned out, there were only two real “coffee shops” there at the time- “Blunt Brothers,” a commercialized, larger hangout that served alcohol, and “The Amsterdamer,” a more traditional coffee shop that lacked much room, and was populated by a scene of locals. We wound up sticking to The Amsterdamer, as the atmosphere far more resembled what we sought. Instead of buying product in the shop, you needed to get the attention of the local dealer who would then walk around the block with you, make the semi-legal transaction in his hat, and stroll back inside. Ah- Canada! The funny thing was, you could then head back inside and blaze ’til your heart was content!
As new friends met amidst this atmosphere, and the time provided a necessary calm before the month long storm, 9.9.99 arrived quicker than expected. Approaching General Motors Place, home of the Vancouver Canucks, and this year’s tour opener, fans were selling white t-shirts with small Canadian flags on them- but instead of the maple leaf, there was a Phish logo, and beneath it- 9.9.99. Leave it to Phish fans to go the extra mile, making lot shirts unique to only one show! The vibe outside and inside was distinctly mellow, being both on the west coast and in Canada. People were ready for the first of many Phish shows- having drooled over the Fuji Rock Festival set lists long enough, we were ready for our own dose of international Phish.
A GA floor, and a less than sold out arena, combined for plenty of room all around the venue. And Phish would most definitely provide the music necessary to make sure that extra space was used by people going huge. As the lights went off and “that feeling” engulfed the venue, Phish, oddly enough, came out with the opening notes of “Mozambique.” Played for the first time as Phish, this opener would signal a trend of
Fall ’99- photo Brian L. Knight
songs that were featured on Trey’s first solo tour in the spring of that year, transitioning over to the Phish world during this fall. Having been first heard as a part of the Island Run’s Weekapaug jam, and then well-played throughout Trey’s solo tour, this was a debut that people were already familiar with. The entire the set was a hodgepodge of random songs that lacked any real flow, but was highlighted by a ridiculously psychedelic Stash that would be the talking point for many during setbreak.
When Phish comes out and plays a warm up set like that, they rarely leave the venue without dropping some serious heat in the second- and this second set was as hot as they come. Chock full of big jam vehicles, this set got the tour started in earnest. A ripping Birds set the tone for the aggressive and intense set. The rare and welcomed “Ha, Ha, Ha” came next and went right into an early set Ghost. This Ghost was an improvisational masterpiece, with the band settling into some collectively patient grooves and building to a cathartic fusion of harmony and melody before bringing everyone back to their Canadian realities for a bit. The whole band truly annihilated this Ghost- it’s a must hear.
Two more Trey songs made their debut next. First, the acoustic, “The Inlaw Josie Wales,” and second, to the delight of all, “First Tube.” “First Tube” took on a more fiery character when placed in the clutches of the Phish, and the band brought the dark composition to its screeching peak before the opening lick of Tweezer bellowed out of the feedback- boom! The place exploded- at the most energetic point of the show thus far, they decided to drop the tour’s first Tweezer. A twenty-minute odyssey, this Tweezer progressed through multiple stages of improv- starting with light grooves highlighted by Trey’s candy-funk rhythm licks, moving into a quieter delicate introspective space, and growing back into “millennial” psychedelic madness, with Trey spitting walls of searing licks, effects, and distortion. This last section typifies the “millennial style” that challenged your sanity with sound, and was magnified throughout this fall. As with the entire set, the band is locked and just flowing throughout this jam, hitting on a wide array of territory before peaking the Tweezer and moving down to a point of near silence where a segue into Bug was perfect. The well placed guitar ballad provided some time for the crowd to collect themselves and reflect on the divine intensity echoing in their minds.
You knew the set had to be close to over. A set-ender was coming up soon. It was hard to gauge- after such a set- what would be chosen to end. Sometimes it’s as obvious as reading a street sign that says, “Antelope Coming Next” or “Bowie Closer,” but there were no signs tonight. Just as you didn’t expect, they went right ahead a dropped the opening melodies of You Enjoy Myself. This big set was about to get quite a bit bigger. Another twenty minutes, and catalog of Phish grooves later, there you stood, sweating in disbelief of the first show of tour. Inside you knew this was only the beginning- and what a beginning it was. There is nothing in the world like reveling in immediate post-set bliss knowing there are 23 more shows coming up. Nothing.
A classic Phishy encore of Sample, Golgi, Reprise ended chapter one of Fall ’99. The Canadian portion was an overwhelming success. As we head out into the late summer evening, and popped the DAT into the car to drive south for two nights at The Gorge, the world was our oyster. What could have been better?
You just read about it- now download the show in its entirety!! Enjoy. (Click orange link)
As the nation crept closer to the turn of the millennium, and the fears over Y2K disasters mounted, Phish was also on a crash course with 2000, ever closer to Big Cypress, their highly anticipated all-night affair for New Years Eve. In preparation for such a cosmic transition, Phish had planned two fall tours- one …
