MR. MINER'S PHISH THOUGHTS

10/25/08 The National, Richmond, VA
I: Push On Til the Day, Sand, Ooh Child, Tube Top Flop> Cayman Review, Drifting, Backwards Down the Number Line, Money Love and Change

II: Sweet Dreams Melinda, Mr. Completely, Gotta Jibboo, Sitting In Limbo, Alaska, Shine, Water in the Sky*, Strange Design*, Sample in a Jar*
E:
Burlap Sack and Pumps, First Tube    (* acoustic)

Within a stones throw of Hampton Coliseum, the Phish community’s current Mecca, Trey closed out his encouraging Northern Exposure Tour with a show south of the Mason-Dixon Line.  With a show that concluded his ten-day comeback tour, Trey displayed the enthusiasm, goofiness, and incredible guitar playing that has defined the run.  Consistently impressing crowds in each and every city he pulled into, Richmond was no different.  Trey took his favorite songs from tour and put together, in the words of many Southern fans, “the best Trey show I’ve seen in a while.”  With high octane power from the moments the lights went out,  Trey seemed enthralled and engaged, eliciting similar emotions from the excitable audience.

Slamming his foot on the gas from the moment he stepped on stage, Trey opened the show with the ripping improvisational duo of “Push On ‘Til the Day” and “Sand.”  Catching up the Southern crowd to what has been going on up North, Trey used two staple jams from this tour to spark the fireworks of the final night.  A potent one-two punch, “Sand” followed up the opener with session of screaming phrases and blazing lead melodies, creating a militant soundscape of improvisation.

The Electric Factory – photo: Brain Ferguson

The bookends of the first set brought the most intense moments, and concluding combo of “Backwards Down the Number Line” and “Money, Love and Change” took the set to its musical peak.  Dedicated to his lighting director on his 50th birthday, Trey played the song that Tom Marshall created for Trey’s own birthday.  After not appearing in the first four nights, “Backwards Down the Number Line” appeared in every show thereafter.  Boasting catchy verses, melodic hooks, and vocal harmonies- all giving way to a shredding, yet controlled jam, this song seems to possess the tangible qualities of many Phish hits.  Perhaps performed for the last time before Hampton, time will tell what will become of this piece.

Taking liberty to annihilate the set closer, Trey took “Money, Love and Change” out further and more aggressively than any time of tour.  Beginning with a series of classic rhythm licks, Trey funked hard for the early part of this jam.  Enraptured by his playing, head nodding subconsciously side to side in tempo with his grooves, Trey was a portrait of his old-self, losing himself in his guitar playground.  Inspiring to watch, and equally addicting to move to, it is these type of moments that keep us eternally coming back- bearing the crowds, traffic, teenagers, and general mayhem to get to the source.

The National, Richmond, VA

The opening three songs, the meat of the second set, featured near forty minutes of intensely tight playing that had the room collectively bouncing like a pinball being slammed around a triangle of three bumpers.  Putting a spotlight on “Sweet Dreams Melinda” for the second time in three nights, Trey used the smooth pop textures to improvise a flowing series of stirring melodies that brought the room to an elated state.  With Boston’s version, tonight’s represented the best of tour from a song that many wrote off three years ago when released on Shine.  Taking the energetic highpoint, and blowing it through the roof, the band launched into the tour’s second “Mr. Completely.”  A crowd favorite, last night’s version one-upped the The Orpheum’s rendition with vicious improv from everyone on stage.  Matching the intensity and insanity of Philly’s tour-best “Sand,” this Completely will no doubt wind up on many a post-tour highlight compilation.  With all of Trey’s best on display in this jam, the audience responded to the extended jam with the raucous adoration.

As if the he hadn’t just given the entire crowd 1000 cc’s of adrenaline to the dome, as “Mr. Completely” came to an end, Trey launched into the final “Jibboo” of the run.  Appearing in every show and highlighting the first four nights of tour, it seemed quasi-nostalgic to hear the last run through of the candy-grooving TAB composed vehicle.  Soaring through a final set of guitar acrobatics, Trey looked as joyful as ever as he crafted a second set centerpiece.

The Electric Factory – photo: Brian Ferguson

After the initial high-paced segment of the set came the most emotionally poignant moment of the night.  Playing a gorgeous, slowed down rendition of Jimmy Cliff’s “Sitting In Limbo,” Trey seemed to embody the lyrical path of an unknown future.  Only played five times with 70 Volt Parade in the lackluster year of 2005, this performance had the vibe of a debut.  Not only rife with Phish symbolism, this song choice evoked the spirit of Jerry Garcia, as he also covered the reggae classic with his side band.  With undeniable parallels between the lives of the two guitar gods, this performance by Trey at this time in his personal journey, seemed incredibly relevant.  This was a particularly powerful moment at the end of a very significant tour.

After closing out the electric part of the set, his final acoustic mini-set took on some final meaning. Preceding the segment some funny banter about heading down the road to Hampton and camping out for five months to practice Phish songs, he had the crowd in the palm of his hand, drooling over the reality of March.  Sending out a “dual dedication” to his daughters- both in attendance- and to Mike’s daughter who was born yesterday, Trey played the acoustic treat of “Strange Design.”  Without Page alongside, hearing Trey’s voice delicately sing these lyrics, which he wrote himself, seemed like an affirmation that the tires are off the lines these days.  Reminding us that life is an imperfect episode, this composition spoke to the resiliency within us all to persevere hardships and life’s speed bumps.  Another intentional song choice for its layered meanings at this point in time, Trey seemed to move inwards as he gracefully strummed the emotional Phish ballad. Topping his last acoustic set with a sing-a-long Sample In A Jar, the anticipation of Phish ballooned considerably and filled the room.  The energy  that both Trey and the crowd possessed during this Phishy classic only foreshadowed “teensy-weensy” preview of the type of energy that will build over the following months and explode in Hampton.  With no other dates scheduled between now and then, this could have been the last time we see Trey on stage until March 6th.

The Electric Factory – photo: Brian Ferguson

With a show that highlighted the best parts of tour, Trey finished his brief return to road in high style.  On a Saturday night in Richmond, VA, finalizing a triumphant comeback tour, Trey officially was declared back in action and as good as ever.  As the crowd filtered out into the temperate Virginia night, Hampton was certainly the buzz.  Maybe he’ll play New Years and maybe he wont, but in the end, the moral of the last couple weeks has to be the rallying cry, “Viva Phish!

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DOWNLOAD OF THE DAY:

In possibly the best start to finish show of tour Trey gave the Red Sox faithful something to celebrate.  A great recording, and standout jams throughout, download it now for your Sunday afternoon!

(Thanks to Jon Goldberg for the upload!)

10/25/08 The National, Richmond, VA I: Push On Til the Day, Sand, Ooh Child, Tube Top Flop> Cayman Review, Drifting, Backwards Down the Number Line, Money Love and Change II: Sweet Dreams Melinda, Mr. Completely, Gotta Jibboo, Sitting In Limbo, Alaska, Shine, Water in the Sky*, Strange Design*, Sample in a Jar* E: Burlap Sack …

Endings and Beginnnigs Read More »

“Alaska” – Electric Factory

10/24/08 Electric Factory, Philadelphia, PA

I: Cayman Review, Last Tube, Drifting, Gotta Jibboo, Alaska, Ooh Child, Money Love & Change

II: Backwards Down The Number Line, Sand, Tuesday, Spin, Greyhound Rising, Push On ‘Til The Day

E: Moesha, Let Me Lie, First Tube

Bursting with energy, Philadelphia was afire last night.  On the brink of the Phillies’ first home World Series games since the ill-fated season of 1993, the city is literally painted red.  With the hype of tonight’s game three looming large, Trey pulled his party into a town needing no excuse for festivities.  With a show that stood up to Boston in might and psychedelia, The Electric Factory is now officially on the ballot for the best show of tour.  Again taking every song beyond its natural length with feverish energy and vigorous guitar-led improvisation, Trey crafted a standout show for his beloved City of Brotherly Love.

In another show that never dragged from start to finish, Trey even left the acoustic songs aside, favoring more time to shred.  With a tour-best second set- featuring only six songs and some of the best moments from tour- Trey delighted the jam packed club with a set of pure fire.  Opening with the most extensive “Backwards Down the Number Line” to date, this first-time placement as a second set opener could foreshadow what is in store for the song.  Evoking folk rock textures reminiscent of the Dead, this song has been a focus of the second half of tour, appearing three nights in a row.

The Orpheum, Boston – photo: unk

Directly following the opening peak of the set, Trey dropped into easily the hottest Sand of the week.  With not much difference in TAB’s “Sand” and Phish’s version, Trey was laying into this with such ferocious improv, at times I felt like we were already at a Phish show.  No joke- with his band providing every bit the groove Phish did with the song, Trey annihilated this wide-open psychedelic epic with dirty venomous solos and disgusting dance grooves.  Absolutely the Sand to hear thus far, Richmond will need to go the distance to keep up with Philly’s masterpiece.

After a quick “Tuesday,” Trey unleashed the second “Spin” of tour and the first since the Roseland.  Entering into the post-song jam with an ambient and eerie space, Trey slowly led his band in an earnest full-band jam that built into a virtual cover of Pink Floyd’s “Breathe” off of Dark Side of the Moon.  Another jam that more closely resembled what you’d expect to hear at a Phish show, this directed improvisational segment vaulted itself to the must-hear highlights of the entire tour.  Ridiculously psychedelic, this jam provided the down-tempo compliment to the blistering Sand.

As the audience reassembled their brains, Trey seized the opportune moment to slide into the beginning of the long-awaited return of “Greyhound Rising.”  With polished transitions and extended soloing following the lyrical sections, Trey has clearly worked out the kinks on what seems to be sure-fire Phish epic. With several striking compositional sections, a heavier bluesy jam, and mellifluous lyrical verses, the community has been waiting for something like this from Trey for a while.  Fully showcased as a centerpiece of the second set, Trey seemed both excited and proud to reintroduce the song to his larger fan base.  Anyone who already felt attached to this song will now love it even more, and it will scoop up any doubters along the way.  This one is certainly destined for greatness.

Roseland (Roli Breitenscher)

Topping the incredibly improvised set with a spirited and intense “Push On Til the Day,” the sweaty venue was left in a cheering frenzy as Trey gave his signature fist pump, assuring everyone he is right there with us.  Using diverse styles of improvisation and enough energy for the Spectrum, let alone the Electric Factory, Trey left no one in Philadelphia in doubt of where he is at musically at this point in time.  With a fierce approach to the set and a list of fresh songs to go along with his masterful chops, Trey delighted the venue with a no-holds-barred hour plus display.

Although after the show few were thinking about the first set, though it did contain some notable points.  A mid-frame “Jibboo” provided another series of improvised dance grooves ranging from the deranged and dissonant to the silky and smooth.  All previous songs had solid jams, but it was “Jibboo” that gave the room its initial spin of the evening.  Following the tour staple of “Alaska,” Trey busted the tour’s second “Ooh, Child,” bringing the blissful improv to a much higher place than Providence, his guitar sounded heavenly throughout.  Juxtaposing the melodic cover with the grittier “Money, Love and Change,” Trey closed the set with a jam that gained direction as momentum about half way through, turning into a piece of rock-funk fusion.

The Orpheum – photo:unk

With a show that contained at least two of the best jams of tour in “Sand” and “Spin,” Philadelphia proved to be Trey’s stomping ground yet again.  Regardless what side of the Ben Franklin Bridge his shows are on, Trey always seems to treat the Camden / Philly area with monster efforts.  Following in a long tradition of sparkling Phish in the city of cheesesteaks, pretzels, and water ice, Trey owned the classic room from note one through the crashing conclusion of “First Tube.”

Richmond prediction- best yet- tonight is gonna’ blow up!

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DOWNLOAD OF THE DAY:

A new, superior source of a special night!  Boston is coming next!!

I. Gotta Jibboo, Peggy, Dark and Down, Push On Til The Day, Sweet Dreams Melinda, Sand

II. Burlap Sack and Pumps, Money Love and Change, Last Tube, Let Me Lie, Drifting, Alive Again, Tube Top Flop, Windora Bug > Ruby Waves*, Moesha, Dragonfly

E: A Case Of Ice And Snow, First Tube   * debut

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PHILLY VIDEOS

“First Tube” (Thanks to Michael Blume)

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“Money, Love & Change” Clips Philadelphia Last Night (thanks to SpaceCadetGlow @ PT Phish)

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You need to a flashplayer enabled browser to view this YouTube video

10/24/08 Electric Factory, Philadelphia, PA I: Cayman Review, Last Tube, Drifting, Gotta Jibboo, Alaska, Ooh Child, Money Love & Change II: Backwards Down The Number Line, Sand, Tuesday, Spin, Greyhound Rising, Push On ‘Til The Day E: Moesha, Let Me Lie, First Tube Bursting with energy, Philadelphia was afire last night.  On the brink of …

A Party In Philadelphia Read More »

10/23/08 The Orpheum Theatre, Boston, MA

I: Push On ‘Til The Day, Heavy Things, Dark and Down, Come On Baby Let’s Go Downtown, Burlap Sack and Pumps, Drifting, Tube Top Flop, Mr. Completely, Shine

II: Last Tube, Sweet Dreams Melinda, Sand, Let Me Lie, Backwards Down The Number Line, The Way I Feel, Gotta Jibboo, Sample In A Jar,* Wilson*, Bathtub Gin* (*acoustic)

E: Tuesday, First Tube

In arguably the strongest show of tour, Trey absolutely shredded the Orpheum from start to finish last night. Extending almost every song beyond it regular length into improvised territory, he crafted a show that never let up for a second. Giving a preview of what the ending of what tour will sound like in Philly and Richmond, Trey most definitely hit his groove in Boston, playing inspired guitar, with no lulls, like the man we know and love.

Taking the momentum from Lupo’s and snowballing it considerably, the first set blasted off with an energetic and jammed out “Push On Til the Day.” Certainly making a statement that he was here for business, Trey launched into some spirited improv right off the bat. Taking the high energy that filled the classic theatre Trey used the TAB-to-Phish song “Heavy Things” to up the further juice the crowd before launching into the rest of his set.

Yet, the most significant highlights came towards the end of this set. After a now-always-interesting “Burlap Sack and Pumps”, Trey turned “Drifting” into a larger improvisational vehicle than usual, as he soloed ferociously and brought the band right along with him on a climactic melodic introspective journey. Following the cool-reggae instrumental of “Tube Top Flop,” Trey paused to instruct the band to drop the tour’s first “Mr. Completely.” Easily the most adventurous jam of the evening, moving between rhythm grooves and wailing solos, Trey led the troops through a jam that that was long overdue. A psychedelic guitar odyssey, Trey shredded this one to pieces and it is the must-hear highlight from Boston.

The Orpheum

The buzzing set break gave way to a second set that turned an already special show into the best one of tour. “Last Tube,” a song that has been getting bigger each time it is played, was cast into the set opening spotlight last night. Responding with a percussive palate that Trey brought into an darker intense realm, the song bust the improvisational gates of the set wide open. “Sweet Dreams Melinda,” a song that has been great but succinct all tour, was stretched out into an improvised melodic piece that Trey brought to a climactic peak. Finally using the songs smooth textures to improvise over more enthusiastically, it was perfect counterpart to the murky waters of “Sand” that followed. Easily one of the best of tour, this song seems to be racing “Jibboo” to the finish line for the most shredding piece of the run. While “Jibboo” was out in front early, the last few “Sand”s have been making up some ground. Tonight, “Sand” peaked the early set, as Trey drove the audience on a high-speed joy ride through the dark side.

“Tuesday”- The Orpheum

“Let Me Lie” was placed perfectly after this adventure, as the Ray stepped up to compliment Trey more like another keyboardist might, foreshadowing what could become a gorgeous Phish ballad. After the breather, Trey busted out “Backwards Down the Number Line” for the second consecutive show, this time in the middle of the second set. I can’t help but think about Phish when this song is played- it just seems like the next Down With Disease, with lyrics for the adult generation- we’ll see. More magnified than Lupo’s version, tonight’s up-paced jam previewed what I think Phish will be playing in March. After bringing the faster improvisation to a climax, Trey’s band sat into the laid back group-effort, “The Way I Feel.” Smooth as a baby’s behind and with subtle mastery by Ernest, this extended period of mellow grooves did nothing to slow the set down, as its intricacy kept most directly engaged.

Higher Ground

You could almost feel the massive “Jibboo” coming like an elephant right around the corner, and it came as heavy as ever. With many segments of sick grooves, Trey absolutely blew The Orpheum apart with a version that could stand up to any of the tour. Seething with adrenaline, the Boston audience reveled in the aftermath of what was over an hour of virtuoso guitar improvisation in which Trey’s band was on point throughout, creating a show that may remain top dog when all is said and done. With non-stop enjoyment, even the Phishy acoustic trio of Sample, Wilson, and Bathtub Gin didn’t seem to drag at all. With a rocking encore, The Orpheum needs to be knocked off the pedestal by one of the next two nights to relinquish the title of “hottest night of tour.”

In all likelihood, it will definitely happen.

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DOWNLOAD OF THE DAY:

In anticipation of Hampton, and with the enthusiastic response to Paul Gwynne-Craig’s great job with 12.6.97 (the Tweezer is fixed), I am featuring another piece of his work with one of everyone’s favorite show. More to come from Paul! (His account may run out of bandwith quickly, so if the link stops working, that is why. He is in Europe, and I’m sure will be on it when he sees.)

ROSELAND, NYC – photo: Jeremy Gordon

10/23/08 The Orpheum Theatre, Boston, MA I: Push On ‘Til The Day, Heavy Things, Dark and Down, Come On Baby Let’s Go Downtown, Burlap Sack and Pumps, Drifting, Tube Top Flop, Mr. Completely, Shine II: Last Tube, Sweet Dreams Melinda, Sand, Let Me Lie, Backwards Down The Number Line, The Way I Feel, Gotta Jibboo, …

A Big Night In Boston Read More »

10.21.08 Lupo’s

With three shows to go, Trey seems to have hit his stride and is off and running…Boston and Philly should be great, but I think Richmond, the out of the way tour closer, will be the throwdown…Not sure if people got to hear the new Wallingford FOB source yet, but it sounds like they are playing in your living room- be sure to grab it…and the well received Lupo’s show download is below!

…Fan Greg Doucette has started a petition to Phish going around the internet in order to get the Hampton shows simulcasted the for all of those who won’t be able to attend to due to the ticket fiasco.  Here is the link- it is a good cause, please and sign the petition!…

10.19.08 – Higher Ground

…As the Phish rumor mill begins to swirl into the summer time, two pieces of possible info are floating around- an appearance at Bonnaroo in June and a multi-night return to Red Rocks around July 4th!!  Bonnaroo seems like a strange fit, as Phish does not generally share bills, and the festival already draws almost 100,000 people.  But these festivals (Bonnaroo, Rothbury, etc) are a direct offshoot of what Phish created, and were designed to fill the void after Phish swam away from the scene.  Possibly looking to re-stake their claim as the top live music act today, or maybe just looking to share in the groove that they created, either way, it would be an strange and potentially awkward Phish show.  But Red Rocks- Hello!  That’s the best rumor yet, as it appears that Morrison, CO might give the Phish another chance 13 years after being asked not to return…Can you imagine?…

10.19.08 – Higher Ground

…A note about my show reviews– I love Phish.  I love Trey.  If you know me, I basically have the best time at every single show.  The point of my reviews is to share with you the love, joy, and inspiration I draw from Phish (or in the past week, from Trey.)  My goal is to point out the highlights of the show, and talk about why they were so sick, while also conveying the show’s overall thematic vibe.  You will not read me ripping on songs I don’t like- yes, there are some- but I don’t see the need to litter my writing with negativity.  There is too much negativity in the world today.  I respect what Trey and Phish do for us, and the world, far too much to waste my bandwith telling you that “Dragonfly” is a poor choice of a set closer.  You either know that, or will figure it out soon.  Bottom line, I will always focus on the best parts of shows and the positivity that lives and breathes within this special community.  You may as well know my perspective moving forward, especially into March…

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A great show.  Check the review from yesterday.

(Thanks to Matt Daly for recording!)

Another piece of hard work by Paul Shapera Gwynne-Craig, he has remastered, in my opinion, one of the best Phish shows of all time from start to bottom.,  If you don’t know this one, well…download it now! (Single track downloads)

1: Golgi Apparatus, Run Like an Antelope, Train Song, Bathtub Gin > Foam, Sample in a Jar, Fee, Maze, Cavern

2: Tweezer > Izabella > Twist > Piper > Sleeping Monkey,  Tweezer Reprise

E: Rocky Top

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Video Nuggets From Tour

“First Tube” Burlington, VT

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“Push On Til the Day” Albany, NY

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“First Tube” jam ( w/ Kreutzmann, Burbridge, and Murawski)

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“Last Tube” Solo (partial), Roseland

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With three shows to go, Trey seems to have hit his stride and is off and running…Boston and Philly should be great, but I think Richmond, the out of the way tour closer, will be the throwdown…Not sure if people got to hear the new Wallingford FOB source yet, but it sounds like they are …

Mid-Tour Musings Pt. II Read More »

10/21/08 Lupo’s, Providence, RI

I: Come on Baby Lets Go Downtown, Last Tube,Tube Top Flop, Sweet Dreams Melinda, Cayman Review, Ooh Child, Alaska, Backwards Down the Number Line, Gone, Sand

II: Push on Til the Day, Gotta Jibboo, Drifting, Simple Twist Up Dave, Water In The Sky*, Brian and Robert*, GBOTT*, A Case of Ice and Snow, Tuesday

E: First Tube > Jam (w/ Billy Kreutzmann, Oteil Burbridge, and Scott Murawski)

Lupo: wolf (Italian)

In a venue named for the man himself, Trey delighted the rowdy mid-week crowd with some of his best playing on tour and a memorable encore that showed Trey is right where he needs to be. The small downtown Providence theatre was packed like sardines on the floor, but opened up in the seated balcony; all were very vocal and enthusiastic, responding to a very animated Trey dancing, jumping, and lunging around the stage, rediscovering how fun tour can be. Complete with post-song fist pumps and huge smiles, Trey was clearly having as much fun as anyone in the building during a show that all left raving about.

“Come On Baby, Let’s Go Downtown” – Lupo’s

While Last Tube was the only significant improv towards the beginning, the first set took off musically with the return of the cover of the soul classic “Ooh, Child.” With lines resembling the uplifting textures of a Slave jam, although brief, it felt so good to hear that type of Trey again. Following this up, he took the mundane, loafing song of Alaska out further than ever before and wound up bringing the house down. With a solo that started in the dirty and distorted tone that is coming to define a large part of his current sound, he built the bluesy composition into a heavier climaxing slow rock jam.

The crowd responded with an extended ovation as Trey went around to his band members to discuss the next song. Coming back with the tour’s first Backwards Down the Number Line, Trey improvised a bit more than Brooklyn, showcasing the pop-rock jamming capability of the newest Anastasio / Marshall composition. Thematically about old friends reuniting, it would be hard to see this one not hopping into the bigger pond of Phish. Continuing the first set trend of bust-outs, Trey played the introspective “Gone,” also for the first time since Brooklyn. Clearly alluding to his troubled past few years, Trey used his voice exceptionally well with these melodic lyrics, another illustration of the strength of his vocals these days.

“Alaska” – Lupo’s

Despite all the new additions to the setlist, the standout highlight of the first set was the scorching Sand that closed. Moving through several furious segments of Trey improv, this one, coupled with Burlington, upped the ante for the song for the second half of this brief eight show in ten night swing. Really getting comfortable now and beginning to just let it flow, he tore apart the venue with a tour-highlight version of the song. Never returning to the composition, Trey ended the set at the natural conclusion of his sinister thoughts.

Carrying this momentum directly into the beginning of the second set, the usual set-closing Push On Til the Day was put under the lens, as Trey extended the jam further than any time this run. With incredibly fiery playing, Trey transcended his usual musical territory with enthusiastic improv that brought the jam outward- the crowd returning the energy from the stage blow for blow. Taking the highest point in the show to drop the biggest song of tour, Trey strummed the opening chords of Jibboo. Deciding to leave the rhythm funk behind, Trey sat into the colorful backdrop with a flowing non-stop series of improvised lead melodies. Beginning delicately and ending in a much more boisterous place, Trey’s improvisation grew in stature and never let up in a highlight version that provided a musical contrast to the rest of the Jibboos of tour. This stuff was very impressive and encouraging!

This wave of momentum crashed right into Drifting, where Trey chose to sit back and groove with his band and accent the music as opposed to taking another gargantuan improvised solo. His improvisational excellence returned in the heavier Simple Twist Up Dave. Continuing to solo subconsciously, Trey found his way to a sped up “The Name Is Slick” jam for a while as he moved through some sublime playing in this song. The top heavy set peaked with this intensely improvised guitar marathon, as his band has certainly has found their stride, supporting Trey with just the right amount of groove, with a dash of improv, to absolutely go off.

Murawski, Kreutzmann, and Burbridge

Yet, the surprise of the night came right at the end. As the jam of the newly-improvisational First Tube began during the encore, the recently formed trio, KBM- Billy Kreutzmann, Otiel Burbridge, and Scott Murawski (Max Creek, Mike Gordon Band)- found their way to stage, replacing Tony, and bouncing Russ to a snare and a cowbell set up behind the drums. As the stage was taken over by master improvisers, the band dove head deep into a ridiculously psychedelic jam that never returned to First Tube. Taking on a completely new and magical feel the moment Billy sat down, the guests collectively played the first true “group jam” of the run. Jamming with the best around, Trey was ready and waiting, unleashing some improvisation of the like we haven’t heard so far. He’s ready to go folks, and placed in the context of these maestros, Trey felt right at home. This was one of the most positive Phish foreshadowing moments of the tour, as Trey proved that he is drooling to dig into some deeper stuff!

In a show that featured a few bust outs, some of Trey’s personal best of tour, and a special encore that seemed like it should have continued for another song or two, Lupo’s was treated to a mid-week treat, as the weekend crowd prepares to migrate to Boston, Philadelphia, and not so much Richmond. Adding some songs to the mix over the past few shows, and really feeling it now, Trey is shaping up the last three nights to be quite an adventure. See you there!

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^^ FULL SHOW, NEW SOURCE!!! (Thanks to Matt Pagni for the upload!)

(thanks to Maniah @ PT Trey)

10 16.08 ROSELAND, NYC – photo: Col. Forbin

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I’ve lost my taping source, so if any tapers would like to help out with the last three shows please email me at mrminer@phishthoughts.com!

10/21/08 Lupo’s, Providence, RI I: Come on Baby Lets Go Downtown, Last Tube,Tube Top Flop, Sweet Dreams Melinda, Cayman Review, Ooh Child, Alaska, Backwards Down the Number Line, Gone, Sand II: Push on Til the Day, Gotta Jibboo, Drifting, Simple Twist Up Dave, Water In The Sky*, Brian and Robert*, GBOTT*, A Case of Ice …

The Italian Wolf Read More »

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