In the annals of Phish history, no dates have gone down with such a legacy as December 29th. While many other dates provided routine annual highlights, none quite approached epic musical nature of the 29th. Those mid-August festival dates only started in 1996, and the other New Year’s Run dates, while each holding a character of their own, did not consistently produce the magic of December 29th. Was it the best show of each New Year Run? Well, most of the time, yes– but even when it wasn’t, the 29th brought the fire. Phish had warmed up with one show, and felt none of the pressure of New Year’s Eve. Although the 30th is a special night, reserving its own place in my heart, the 29th is truly the Muhammad Ali of Phish dates. Lets take a trip through 29ths past (going back to 1994 to make this post manageable.)
12.29.94 Providence Civic Center, Providence, RI
What more needs to be said about this show than “The Providence Bowie.” A jam that has come to define the deepest of Phish psychedelia, this gargantuan “David Bowie” anchors this show all by itself. A terrifying voyage far into the unknown, this jam wraps darkness, bliss, terror and melody into one transcendent ball of ’94 Phish. Right up there with the best segments of improvisation in the band’s history, this Bowie is IT, pure and unadulterated. While this show and subsequent Live Phish release is dominated by the Bowie, this show has some first set treats as well. The classic opening combo of Jim > Foam laid the path for a gorgeous rendition of “If I Could” and a raucous Split Open. This ’94 installment was an instant classic!
I: Runaway Jim > Foam, If I Could, Split Open and Melt, The Horse > Silent in the Morning, Uncle Pen, I Didn’t Know, Possum
II. Guyute, David Bowie, Halley’s Comet, Lizards, Cracklin’ Rosie, Good Times Bad Times
E: My Long Journey Home*, Sleeping Monkey (*Acoustic)
***
12.29.95 The Centrum, Worcester, MA
The 1995 New Year’s Run was so outstanding and the New Year’s Show blew up so huge, that it is hard to say that 12.29 was the standout show. However, when assessing the three shows previous to New Year’s Eve, this outing stands out as a Phishy ride through the dark side, highlighted by one of the jams of the run. As many sinister shows do, this one opened with “My Friend, My Friend,” setting the tone for the evening. A strong first set brought a texture-laden “Stash” that featured some tremendous piano work by Page. After using a “Fluffhead” to resolve “Stash”s psychedelia, the band closed the set with a furious “Llama.”
While the first set is great, this show is famous for its second. The truly epic segment of “Bathtub Gin > The Real Me > Gin,” affectionately known as “The Real Gin” is the gem of this show. A tremendous jam that has survived the test of time, Phish gave a nod to their Halloween costume by bringing out one of Quadrophenia‘s quintessential songs. The Gin built strongly, yet innocently, and soon the powerful music transformed into The Who’s song that no one saw coming. The rest of the set followed up with a series of special songs as the band first dropped McGrupp to chill the room out for a few. But before too long, the raging musical nighttime returned in the form of a zany BBFCFM, lending its bizarre vibe to this ride. As the madness dwindled, Mike’s bass instructor, Jim Stinnett, emerged for a bass duel with Gordeaux. Providing an out of the ordinary portion of the show, the bassists revved up ZZ Top’s “La Grange,” busting out the cover before closing up with some shorter songs. This set wrapped up the Worcester portion of the run as Phish prepared to conquer Madison Square Garden in their biggest shows to date.
I: My Friend My Friend, Poor Heart, Down With Disease, Fog That Surrounds, NICU, Stash, Fluffhead, Llama, Sweet Adeline
II: Makisupa Policeman, Cars Trucks Buses, Bathtub Gin > The Real Me > Bathtub Gin, McGrupp and the Watchful Hosemasters, Big Black Furry Creature From Mars, Bass Duo*> La Grange, Bouncing Around the Room, Fire
E: Golgi Apparatus
*Mike and Jim Stinett, Mike’s bass instructor.
***
12.29.96 The Spectrum, Philadelphia, PA.
This standout Spectrum show is almost always thought of as the best of ’96’s run. With a classic second set Phish-fest, everyone was amped on their way up to Boston to close out the year. Really, the whole second set is a continuous highlight with stellar versions of “David Bowie” and “Bathtub Gin.” Once the YEM turned into a rotation jam and they dropped “Harpua,” this one got a plaque in the New Year’s Run Hall of Fame. Tight, directional playing characterized this second set which was so strong it overshadowed a rather lackluster first. A great night in a classic building.
I: Poor Heart, Caravan, Cavern, Taste, Guelah Papyrus, Train Song, Rift, Free, The Squirming Coil, La Grange
II: David Bowie, A Day in the Life, Bathtub Gin, Lizards, You Enjoy Myself* > Sixteen Candles > Vocal Jam, Harpua***> Champagne Supernova# > Harpua
E: Rocky Top
*With rotation jam. **Mike solo on piano. ***Story about everybody in town. Jimmy, Poster Nutbag, Harpua, etc., go to hell, where they all see the “Uber-Demon” (Tom Marshall). # Oasis cover, sung by Tom Marshall, the “Uber-Demon”.
***
12.29.97 MSG, NYC
Simply put, this is among the best shows ever played. Culminating a massive year at MSG, this night kicked off the three-night affair and stole the show. While the following night was a clear standout with unparalleled adrenaline, when it comes down to musical improv, it simply can’t compete. Opening with the playful trio of “NICU,” Golgi, and “Crossroads,” Phish began to scribe one of the most memorable chapters of their career. A soaring mid-set Theme paved the way for a powerful triumvirate to end the set. A near flawless “Fluffhead” pumped up the arena, as Phish took a pensive breather in”Dirt” before annihilating a set-closing Antelope. Arguably the greatest Antelope of the modern era (post-’95), this rendition of the song closed the first frame on the highest possible note. The band followed up the blistering jam with a classic ’97 funk breakdown in the closing segment of the song. At this point, The Garden was on!
What happened after setbreak was a work of sheer artistry. A ballistic “Down With Disease” jam, in the tradition of so many great ’97 Diseases, transcended the composed uptempo rock and entered into a murky, slowed down treat. Taking things from a much chiller point of view, the band collectively wove a masterful tapestry of sound and texture. A triumphant point within the entire year, this jam showcased so much off what made ’97 so special. Turning into something far more than the sum of their parts, Phish explored the depth of groove in the minimalist second half of jam. As most top-notch ’97 jams did, this segment moved out of the funk into some snarling music, featuring a nasty solo from Red.
As the twenty-plus minute unfinished exploration wound down, a similarly formidable jam geared up as Phish morphed into what everyone knew would be a colossal “David Bowie.” With the band as on as they were this night, a mid-second set Bowie was the perfect call. Delicately setting the mood of the jam, the band passed around some initial musical ideas before collectively diving forth. A contender for jam of set (it is stiff competition), Phish masterfully crafted an intricate Bowie that was both patient and urgent, simultaneously. Remaining in and around the song’s general path, the band stylistically improvised on the Bowie theme, building a monster jam that headed for the peak with a missle on its back. Yet, as the band built up one of the breaks of the climax, instead of ripping back into the song, they took a left turn, bursting with energy directly into “Possum.”
The band was clicking on all cylinders at this point and having a blast. Trey playfully strummed rhythm licks as Mike began the song over a very clean and open musical groove. As soon as the jam started, the band began toying with “Can’t Turn You Loose,” an Otis Redding jam associated with The Blues Brothers. Instead of a bluegrass interlude, this “Possum” would become a playful, crowd-pleasing and Phishy segment as they alternated between the two so