Few music venues in the world combine the magic of the natural world with fabulous sound and a carefree atmosphere. The Gorge, however, is one of these special places. A Phish stomping ground, the Gorge in George, Washington hosted the band for four two-night stands, each producing some of the most memorable shows from their respective tours. The stunning visual beauty of the blazing sunset over the Columbia River combined with the aural beauty of Phish improvising a perfect soundtrack can be overwhelming– in the best way possible. With camping on site, and relatively little hassle by authorities, The Gorge has been Phish’s west coast Mecca since 1997.
Any time a west coast run was anticipated, The Gorge routinely jumped to the top of the rumor list, and still does, as no other Phish experience can quite compare. Nobody will ever forget their first visit to The Gorge. As you walked over that grassy ridge and finally saw where the stage was located, you had to do a Scooby-Doo “double-take” to believe your eyes. This was where Phish was meant to play! With a 22,000 person capacity and a massive property, when the circus came to George, a mini-west coast festival vibe emerged each time.
Some of Phish’s most memorable summer moments have occurred right in front of the natural majesty; eternal moments and memories. As we prepare for The Gorge ’09, whether it is in August or September, let’s take a trip down memory lane and recount the Phishy exploits that have gone down at the band’s northwestern home.
8.2 – 8.3, 1997
Phish’s initial visit to The Gorge came at the half-way point of a colossal summer tour that began in Virginia Beach, moved through the south and up the west coast, and all the way back to Limestone, ME. A new style of slowed down funk grooves that combined with Phish’s first Gorge experience made for some musical fireworks. These shows, raved about for the rest of the tour, would set the bar for Gorge Phish.
The first show at The Gorge would start in earnest with the third-song “Ghost,” the song everyone was dying to hear after its debut and extended explorations in Europe. This jam embodied the raw Summer ’97 sound, with big bass lines, spacious grooves, and copious rhythm playing by Trey. Leading right into crunchy improv, we got our first taste of the massive open-air acoustics that makes The Gorge sound so beautiful. With nothing inhibiting the sound, the monster-sized rhythms ate up the entire audience. As the set continued, Phish used “Divided Sky” as backing music for the sunset, creating a completely surreal and Phishy moment at their new playground. A rubbery “Wolfman’s” and a fierce “Split” rounded out the highlights of the opening frame.
The second set was one of the classic second sets to ever take place at the storied venue. Following the rocking “Down With Disease” jam, the band seamlessly slowed into some patterns that suggested a far different musical milieu. As the pace became as thick as tar, akin to the Raleigh 7.22.97 Disease, Trey slipped in the intro lick to “Tweezer,” right at the jam’s deepest point. Boom! Just like that The Gorge was transformed into the world’s largest Phish tank, as we swam through the colorful, over-sized funk. This was the first of only two “Tweezers” played over the 19-show tour, with the other coming on the last day of The Great Went. Needless to say, the drop into the “Tweezer” jam brought more than your average excitement. Settling into some ridiculously collaborative grooves, Phish’s style had completely transformed from anything we had heard in Fall ’96. This was straight dance music, and it took some of the older fans time to understand what Phish was even doing with their new style. I distinctly remember reading Charlie Dirksen’s review of this “Tweezer” saying that “nothing happened” musically. Oh, Charlie, you just didn’t get it! This is a jam that should be heard by all, and more specifically pumped at high volumes at a dance party– the music is so thick you can feel it envelop your body.
After an extended funk session, the band gradually built back into “Down With Disease,” though their final transition was a bit sloppy, The Gorge “Diseazzer” was born. This jam would remain a summer highlight long after The Great Went ended. One other piece of Phish history was born on this night. This was the first time Trey asked Kuroda to shut the lighting rig off as the band jammed to the stars for the “Harry Hood” encore. One of the more transcendent experiences– living a Hood jam in the dark with nothing but the heavens providing guidance, was the perfect ending to a perfect night. Trey would repeat his request at The Great Went, which prompted the first ever glow-stick war, yet the magic of The Gorge inspired this idea in the first place, creating pure serenity for the 22,000 fans.
Phish’s follow-up, while being quite exciting, couldn’t match the exploits of night one. The opening combo of “Bathtub Gin > Foam” provided twenty-five minutes of the most intricate and tightest playing of the evening. The brand new song, then known as “Twist Around,” popped up later in the set for its second appearance of tour. As the band was still figuring out the jam, they created a wide-open soundscape that seemed to merge perfectly with the vast surroundings. A late set “Limb by Limb” allowed Trey to emote the magic he was feeling on such a stage via a well-phrased solo.
The final set of 1997’s Gorge installment centered around the more anthemic songs of “Simple” and “Fluffhead.” Having delved deep into darkness on the previous night, this set would be celebratory. The melodic glory of Simple’s jam washed the audience with good feeling as if cleansing the palate of their mind. When the jam dribbled down to silence, the music twisted right back up with the opening of “Fluffhead.” The ultimate feel good Phish song was centered in the second set at one of the most extraordinary Phish venues, and it was perfect. Phish, masters of their art, ended the weekend at The Gorge the only way possible– with a slowly-building and gorgeous encore of “Slave to the Traffic Light.” This was a vivid illustration of how Phish truly “gets it,” and how their sense of the moment is unparalleled.
7.16-7.17, 1998
Arguably the definitive Gorge stand in Phish’s career, they blew this one up. One show and a few days removed from an amazing Europe run, Phish pulled into George for the second time. With all sorts of momentum, the band crafted two shows that will stand forever as part of their west coast legacy. When people mention The Gorge, these are the shows that shoot to the front of everyone’s minds. Let’s see why.
Right off a scorching show at Portland Meadows, Phish stepped in front of the Columbia River the next day and put on a clinic. One of Phish’s perfect sets got the weekend underway immediately. Casually entering the set with the combo of “Squirming Coil” and “NICU,” the band then dug significantly deeper with standout versions of “Stash” and “Reba.” In this ultimate summertime “Reba,” Trey didn’t start his quintessential solo out of the gates, but instead sat back into some idyllic wah-grooving that we were unaccustomed to hearing as part of the song. But it fit perfectly with the mood of the evening. Phish carried out the unfinished jam as the sun’s path began to lower, eventually dipping below the horizon as they segued into “Fast Enough For You,” yet another synchronicity between Phish and nature. A rare first set “Circus” was chosen to settle things down before the band blew out a set-ending “Antelope.” Perfectly sculpted and executed masterfully, this first frame upped the ante for the upcoming three.
The second-set, while holding some stellar jams, didn’t quite hold up to the first. Carried by the late set triumvirate of “Bowie,” “Tube,” and “Slave,” the audience would stream out talking about these late set jams as opposed to the more contained songs at the beginning of the set. All three of these jams deserve huge props as they represent highlight versions. The “Tube” is one of the best ever.