In the Windy City on Tuesday night, Phish put forth a discombobulated effort that featured legitimate individual jams but flowed like a pile of bricks.  In a second set that didn’t really work, it seemed as though Phish had the pieces of a great jigsaw puzzle, but just couldn’t fit them together correctly.  Pulling out a random assortment of songs in no apparent order or connection, Phish played a second set that sounded more like a mix tape than a live show.  Not to take away from some of the higher moments of the night, they just happened individually with no real relationship to their neighbors in the set.  The jumbled effort will likely go down as the “weakest” show of summer’s second leg, but given what’s been going down the last few weeks, everything is relative.

That being said, the band opened the second set with the most significant “Number Line” to date; a jam that built off the Gorge’s version, and went far beyond.  The band seems dedicated to using this as a consistent vehicle moving forward, and if the jams are like last night’s- that’s fine with me.  Taking the piece out into its most exploratory and uncharted psychedelic planes yet, Phish got into some slowed down, deeper grooves before this one was cut off a bit too soon.  Moving through the murkiness into more transcendent territory, it seemed that the “2001” that was hanging in Washington might emerge from this jam.  But as the music was passing through a mind-expanding canvas, Trey executed the jam with the ripping chords of “Carini.”  While it was awesome to hear “Carini,” the jolt seemed unnecessary given their organic jamming these days, and they could have gotten there far more creatively.  Nonetheless, as the bombastic song got going, the intensity was something to behold.  While not necessarily longer than normal, the peak of the long-awaited 3.0 debut was monumental- possibly one of those “you had to be there moments”- as i have not yet heard the tapes.

Just as abruptly as it started, Phish ended their dense, growling excursion with an odd switch into “Gotta Jibboo.”  Yet, once again, once the jam got going, Phish shredded it to pieces.  Boasting exciting dance grooves and soaring work by Trey, this rendition was yet another highlight of this awkward set.  The mid-set “Theme,” “Wilson,” seemed like we were briefly transplanted into some random first set, and after forgoing endless creative places to drop “2001” over the past few shows, Phish chose this bizarre, disconnected point to let it fly.  Yet when it did, the wide-open funk no-doubt brought some late set euphoria.  Blasting into an shredding late-set “Chalk Dust,” everything just seemed out of place- wait, have I mentioned that?

But as Phish started “Harry Hood” it was like a soft blanket catching us at the end of some strange trip, and as the band set their improvisational course, this one didn’t follow the norm.  Taking the jam on a more ambient, impressionistic path, Phish crafted a unique highlight at the end of an odd night on the South Side of Chicago.  While a Phish show is usually greater than the sum of its parts- this one wasn’t.  In fact, it was exactly a sum of its disjointed parts.  Without very little dramatic and flowing improv that we’ve all of a sudden gotten used to, the entire set felt choppy and poorly presented, albeit well-played.  But hey, all of a sudden, we are spoiled!

As we enter the last four night-run of tour, Phish is sure to turn things up a notch as they pull back into the Northeast corridor.  With four classic sheds hosting the last nights of a special summer, the final weekend is sure to be woven with tales of wonder.  Darien > Hartford > Merriweather > SPAC-  these should be heavy hitters.  I’ll see you there.

Set One Notes: In what was a virtual consensus for weakest set of tour, Phish never really got it going in the first frame.  The only real pieces of note would be the third song “Ocelot,” whose jam crept into familiar territory, and “The Curtain (With)” with another huge, standout version of “(With).”  For those of you counting bust-outs, the band played an early “Paul and Silas” for the first time in nine years (Worcester 11.29.98).  In addition, the band debuted a new Page song called “Windy City,” a slow-moving blues song that seemed like it wasn’t of Phish caliber.  A solid ‘Time Turns Elastic” closed.

I: Kill Devil Falls, Sample In A Jar, Ocelot, Paul and Silas, Windy City*, The Curtain (With), Train Song, Gumbo, Heavy Things, Time Turns Elastic

II: Backwards Down The Number Line > Carini > Gotta Jibboo, Theme From The Bottom, Wilson, 2001 > Chalk Dust Torture, Harry Hood, The Squirming Coil

E: Loving Cup

*debut

Sitting on plane on the way to Chicago, it’s hard to believe we are heading for the home stretch of summer.  One show in the Midwest and a four-night cannonball run up and down the east coast and that’s all she wrote until Fall (which is only two and half months away!)  Thinking back to where we were in June, it almost seems inconceivable that the band has come so far in such little time.  Though they had twenty years notched in their belt, their quick progress has still been astounding to watch.  The jaded fan thought they would never even get this far, and if one for thing is for damn sure, Phish is just beginning- again.

Taking June’s tour and kicking it firmly into distant memory, the western swing was nothing short of magic.  Over the course of seven shows, Phish completely reestablished their musical creativity with shows that we would have been happy to hear come year’s end.  Redirected and emboldened with confidence, we haven’t heard Phish jams this tight and unique since the late ‘90s.  Sure, post-hiatus had many amazing jams, but these just feel different.  There is an incredibly purity to Phish’s music right now, a vitality that had been absent during even the best moments in’03 and ’04.  No longer are things predictable- Phish can, and will, take any given song and take it anywhere.  Take The Gorge’s “Sneaking Sally” for example.  As soon as we thought we were getting a massive outdoor groove-fest, Phish took us in on of the most psychedelic rides of the summer, leaving any semblance of groove in the dust as they crafted an ominous, ambient soundscape.

The entire weekend in Washington was simply surreal; to be back at The Gorge and hear Phish play like they did was nothing short of an out-of-body experience.  The combination of the greatest natural backdrop in music and a band who is playing like nothing else matters made for two nights of indelible memories in the ongoing path of Summer ’09.  The band showcased contrasting styles over the two nights in George, WA, as the first night’s enchanting and psychedelic fairy tale was wholly distinct from Saturday night’s rock-centered odyssey, illustrating two aspects of Phish’s uncanny versatility.  Using new songs and old, Phish created a laundry list of highlights from The Gorge: “Ocelot,” “Stash,” “Sneakin’ Sally,” “Light > Taste” “Bathtub Gin > Hood,” “Tweezer,” “Wolfman’s,” “Antelope,” “Rock and Roll,” “YEM,” “Number Line > Piper;” the list goes on and on.

Between Red Rocks, Shoreline and the Gorge, the west has unleashed a fury in Phish that we wondered if and when would return.  They say the west is the best, and in the case of this summer ‘s tour, that maxim has never been truer.  With a week of shows that will go down as the return of the Phish we know and love, the hotly-anticipated run through the wild west will remembered as the time the band’s improvisational magic came back.  And not only are the band’s chops back in shape, they are having the time of their lives, imbued with the Phishiness that put them on the map- spontaneously crafting vocal accompaniment deep in their jams, telling jokes onstage, switching instruments mid-song, using hand signals to call out the setlist, and generally radiating a musical and personal happiness we haven’t seen from these four guys in ages.  And this energy has flowed from the stage right into the community, channeling the genuine joy we all feel for the current state of Phish.

And as we take a u-turn halfway across the country, meeting in Chicago tonight, the possibilities for the last five shows are limitless.  Bringing the spirit of the west into a soccer stadium and then four classic Phish amphitheatres, some of the season’s best moments are certainly about to unfold.  Buckle your seat belt, literally and figuratively, as this last stretch will contain not only crazy music, but crazy driving as well.  As we crisscross the northeast from Darien to Hartford, down to Merriweather and back up to SPAC, the east coast will get a several tastes of the rejuvenated Phish in a case of bizarre tour routing.  Nonetheless, we have five more to go, and there’s no telling what we’ll be talking about come next week; only time will tell, but I’m sure eager to find out!  See you tonight.

8.7.09 The Gorge (Photo: Graham Lucas)

In a more straightforward rocker, Phish closed out their mini-west coast run at The Gorge with a show that couldn’t quite hold up to night one’s triumph.  Thinking The Gorge would be exempt from the “Saturday Night Special”- the more anthemic rock and roll show catering to the weekend crowd- Phish nonetheless came with an upbeat rock episode that had many highlights, but left some majesty to be desired in a venue that defines the word.  Noteworthy jams came in both sets, while the band noticeably left the “2001” that had been looming all weekend long hanging for another day.  While not exactly my style of show, it was nonetheless presented quite well by the now-consistently-firing Phish.

The smoking eleven-song first set spanned the spectrum- from the return of “Mango Song” and the debut of a new Mike song, to an interesting “Tweezer,” a smoking “Wolfmans,” and a wide-open “Antelope.”  As the sun dipped below the gorge, Phish got the show started on a energetic note, opening with the 3.0 bust-out of “Mango Song”- a fitting summertime introduction to the evening.  The Gorge seemed like the ideal place to bust out the elusive favorite, and the song was greeted with open arms.  The band soon unveiled what is presumably called “Middle of the Road,” a new Mike song that brought his usual quirky songwriting into the mix with his second contribution to the new-school catalog.  When the band dropped the “Tweezer” lick for the first time since Red Rocks aural crack-out session, we thought we were stepping into a segment of deep northwest Yeti funk.  But instead of dropping into any heavy rhythm grooves, Trey continued building the jam with direct staccato picking, seemingly leading to a crescendo that would splash into some thicker territory.  His pattern of playing didn’t vary much, however, until he merged with the song’s natural build.  An interesting version- no doubt- but after Red Rocks, it just didn’t compare.  But if it wasn’t a musical masterpiece, it certainly was an experiential keeper.  Taking a “Tweezer” to the dome at dusk with a most psychedelic landscape engulfing your field of vision- well, there’s nothing I’d rather do in the world.

Phish brought back their lyrical tale of “Twenty Years Later” for the first time since it’s Jones Beach debut. An autobiographic tale about the experience of life over time, this song will close their new album of a similar theme.  After a bust-out of “It’s Ice” for the first time since Hampton, Phish played possibly the jam of the set in “Wolfman’s Brother.”  Getting into the dirty dance funk that “Tweezer” had sidestepped, this excursion brought a welcomed dose of thickness that was scarce throughout the show.  The other candidate for jam of the set came in the surprise post-“Zero” “Antelope.”  Taking the jam on a laid back, Gorge-esque path, the band infused some unique melodic work into the dark canvas, riding “Antelope” to its second unique jam in a row.  The band has certainly shot some revitalized energy into their old-school favorite that had long grown stagnant.  Punctuating a high-quality first set with a bang, the band left much for the imagination at setbreak.  With seemingly infinite songs to pull from, what they would bring on night two at The Gorge was anyone’s guess.

Opening a second-set with “Rock and Roll” for the second time this tour, this one went places the Red Rocks’ version could go only dream of.  Phish transformed the cover into a high-speed chase through the musical universe, taking crazy twists and turns while creating the no-brainer highlight of the show.  In what had to be close to twenty minutes of searing improv, the band moved from straight ahead rock and into several different sections of slower creativity, leaving many jaws firmly resting on the earth below.  When the dust settled on this jam, everyone was bright eyed and bushy tailed as the band drifted into “Makisupa,” which got the full second-set treatment.  Taking their time with the Vermont-style reggae rhythms, the band shaped a nice cool down session that included a Phishy twist at the end.  As the band settled into a basic pattern, Trey and Mike switched guitars for the end of the song and Mike played some great leads while Trey held down the bottom end.  This was but a small detail of the show, but it definitely bears a larger significance to the band’s state of mind and sheer enthusiasm for Phish right now, and with that shared enthusiasm, it was very fun to see.

The bluesy interlude of “Alaska” led to a high-spirited “Wedge” that was tended to with meticulous care.  At this point in the show, we knew the band was going big, and they decided to showcase a massive Gorge “YEM.”  Laying way back on this jam, the band played some fantastic lounge-like grooves in what was the second sharp and standout version in a row.  Bringing down the house with their quintessential opus, Phish had the crowd in the palm of their hand, manipulating energy like craftsmen.  If they were dropping the much-anticipated Gorge “2001” it was going to be now, but Phish started up “Number Line” instead, seeming to choose the less improvisational path.  Yet little did we know that the band was about to blow-up the song like never before.  Breaking its noodly pattern, the band got psychedelic on this piece for the first time ever, creating some hairy textures out of the usually vanilla jam.  As the band got further and further away from the song, we began wondering where this trip was taking us and that question was answered with a well-executed transition into “Piper” and the full-on, shred-session that followed.  Capping the show with a new combination of songs and two engaging jams, Phish ended their final set at The Gorge in dynamic fashion before stepping to the mic with the comedic a cappella conclusion of “Grind.”

A high-energy encore of “Good Times, Bad Times,” “Reprise” seemed to fit the vibe of the show quite well, topping off Saturday’s sundae with a bombastic cherry to complement the rocking affair.  If there is any better place to see a Phish than The Gorge, let me know.  Combining intense surroundings with intense explorations all weekend long, the band left their stamp on the Pacific Northwest mecca this year, reminding us what Phish at The Gorge is all about.  After a life-affirming west coast jaunt, we now have two days off before hitting The Windy City.  If you’re driving it, god bless and be safe, otherwise, enjoy your flights and we’ll meet down on a soccer field for a 30,000 person throwdown on Tuesday night.  Enjoy the much needed rest.

I. The Mango Song, Chalk Dust Torture, Middle of the Road*, Tweezer > Driver, Twenty Years Later, Yamar, It’s Ice, Wolfman’s Brother, Character Zero, Run Like An Antelope

II. Rock and Roll > Makisupa Policeman, Alaska, The Wedge, You Enjoy Myself, Backwards Down the Number Line > Piper, Grind

E: Good Times, Bad Times

*debut

Phish at The Gorge- there’s simply nothing like it.  In the first show back in five years, we collectively felt the feeling we forgot as Phish played a show that meshed seamlessly with the one of the grandest surroundings in live music history.  Playing two sets with highlights galore, the band crushed the first night of their two-night stand on the hallowed grounds of their Northwest home.  Smoking right from the start, the band never paused, writing an entire show worthy of many re-listens- though isolated from the internet in rural Washington, listening back is a pleasure I’ve not yet had.  What was once again evident was Phish’s spirit of adventure, taking any opportunity to tear off a unique piece of improv, and creating an all-out musical odyssey.

Popping off right from the start, the band shredded an opening “Disease” that spoiled any opener pools after they had just crafted a marathon version in Shoreline’s second set.  With some high-energy fireworks to spark the weekend, the band followed it up with an extensive, laid-back “Ocelot” that represented the furthest out Phish has taken the playful new song.  The 3.0 debut of “Pebbles and Marbles” reminded us of one of post-hiatus’ best compositions, but its “Disease-eqsue” jam seemed somewhat proximate in the set to its brother in the set.  Yet, the boldest improv of the first half came towards the end of the frame in the form of “Stash,” “Sally > Cavern”- and trust me, looks can be deceiving.  The second consecutive blowout of “Stash” saw Phish again transcend the song’s path with a jam that passed through foreign territory with a shining light in darkness deep.  Growing out some melodic jamming from the dark song for the second time this tour, the band again crafted an engaging highlight version.

As the dramatic “Stash” came to a close, Phish launched into an apparent dance session with the bust-out of “Sneaking Sally.”  But what actually happened was far from what we expected.  As the band entered the jam, they didn’t go minutes deep into dance funk, but instead morphed the rhythmic textures into a “YEM-like” vocal jam.  However, unlike their popular opus, the band jammed out of the vocal mélange, crafting the grandest sound-scape we have heard from since the return.  Possibly inspired by nightfall over the vast landscape, Phish took the usual funk cover to uncharted psychedelia in one of the unquestionable highlights of the entire show. This jam illustrates the creativity of the Phish at this point in time, making musical mountains where you least expect them with purely original ideas that sound fresh to the ear and to the soul. This late set extravaganza sent ripples through the audience, giving the crowd a certain talking point for the break.

When Phish stepped onstage for the second set, there was one thing we knew for sure- it was gonna’be big- and big is certainly was. With a beautiful summer night as a backdrop, and with a perfect breeze, it felt blissful to be back at the Gorge again, and what better way to kick off the second set than with the earnest thickness of “The Moma Dance.”  Finally placed in the second frame, Phish gave the song more focused love, using it as a hearty, funkified splash into the second half of the show.  The rest of the set was almost purely composed of improv, as the band flowed through some of the most inspired playing of the tour.  Using “Light” to launch into an other-wordly excursion of the sort I’ve been dreaming of since Trey debuted the song in Brooklyn last summer.  Phish passed through many distinct stages of locked-in jamming before arriving in a stunning calypso groove that virtually sounded composed.  Strewn with more vocal accompaniment, this time layered atop the music, Phish’s creativity was again in full bloom, painting an ongoing portrait of a band renewed as they crafted one of the shows enduring memories.  This multi-textured jam is a must-hear highlight from a set that is filled with them.

Segueing into a soaring “Tatse,” the song’s ripping poly-rhythms were a fitting landing point for “Light’s” next-level improv, and carried the improvisational energy of the set into a surprise “Fluffhead.”  It was awesome to see the band showcase the old-school composition in the middle of the second set at the Gorge, as this version brought back echoes of the band’s first-ever show at the venue in ’97 when the piece took a similarly central role in the second set.

After a mid-set “Joy,” the rest of the night was the stuff dreams are made of.  With wide-open, patient jamming, the “Bathtub > Hood, Slave” just sounded like Gorge music.  Few venues influence the sound and style of Phish music like The Gorge does; you can go back through the years and hear the similarity in playing, regardless of the era.  And last night that tradition continued throughout the show, but particularly in these last three songs.

Just after “Bathtub” had taken a step into type-II territory at Red Rocks, the band slaughtered a mind-numbing exploration of the song last night.  Without having listened back, its hard to precisely recall the several connected realms that comprised one of the jams of the show, but providing a fantastic voyage central to the second set’s alchemy, “Bathtub Gin” shone as bright as than ever. Ending in an ambient space that sounded like we were morphing into “2001,” the band was foreshadowing tonight, because instead of launching into the space-funk, the band dropped into a cosmic cannonball of a different variety.  Building a monumental “Hood,” the band took their time to craft a defining moment of the night with the special life-force that only tremendous “Hoods” can channel.  Leaving the entire crowd blissed-out in a spiritually heightened state, this energy spilled into the majestic “Slave” encore.  One for the highlight reels, the band climbed patiently up the ladder, starting in near-silence in which you could hear a pin drop throughout The Gorge, and peaking the jam considerably later in an awing cascade of melody and harmony.

Another beautiful chapter in Phish’s Gorge legacy, last night’s tapped into the unique vibrations of the venue moreso than either post-hiatus show, returning the magical amphitheatre into our own Phishy wonderland once again.  And as the sun came up today, everything seemed a bit more exciting as the proposition of a night two “Tweezer” and “2001” come into play.  In mere hours- let the continuing mystery unfold!

I. Down With Disease, Ocelot, Pebbles and Marbles, Possum, Sleep, Destiny, Stash, Sally > Cavern
II. Moma, Light > Taste, Fluffhead Joy, Bathtub > Hood
E: Slave