Building off of an extensive Summer and Indio, and stepping indoors at just the right time, Phish is clearly getting their groove back. Their playing has oozed confidence and comfort, while characterized by precision and fire. When the band chooses to jam, they are doing it with a determined and patient creativity, and as we move on to the second two-thirds of tour, I’d imagine we’d begin to hear more open jamming. It would be nice to see the band focus on grooves and psychedelia a bit more than shredding rock and roll, but beggars can’t be choosers. Phish are definitely playing what they feel and playing it quite well. The most profound change in their dynamic since this fall tour started has been Mr. Trey Anastasio. While he may have been the slowest member of the band to regain his unbridled confidence, he has recently transformed into an absolute monster. Allowing his inhibitions to fall by the wayside, he has been shredding with an abandon unseen in years. Using meticulous lyrical phrasing amounting to guitar narratives, his sense of thematic jamming has returned in force, and it has effected the entire band.

The most compelling second-set improv thus far has stemmed from Detroit’s “Disease,” and Cincy’s “Rock n Roll” and Syracuse’s “Drowned”- the three vehicles they featured the most this summer. It seems like time to switch it up a bit from the rock-only set openers; time to drop in some darker and slower type-II springboards to open set two. How about opening up “A Song I Heard the Ocean Sing” or dropping another “Sand?” In the end, it doesn’t matter what songs they play, as long as they continue to evolve into more frequent psychedelia…Three of the central second set jams over the last two shows – “Rock and Roll,” “Drowned” and “Piper” have held a great similarity to each other – percussive grooves turned ambient space…The two dirtiest pieces of music thus far have ironically come in first sets – Detroit’s filthy, dripping “46 Days,” and Cincy’s evil “Split.” Now let’s see some of that type of improv stretched out under the spotlight of set two! As we turn the corner towards Philadelphia and Albany, two cities that have historically played host to legendary Phish, the band looks to build on the momentum from their opening leg as everyone moves towards Thanksgiving. And this year, we have a lot to be thankful for.

As soon as one stepped foot into the War Memorial in Syracuse, NY, a palpable Phishy energy took over. Upstate New York, an intimate minor-league hockey arena, 8,000 fans, and an elderly security team that might as well have been ghosts, it certainly didn’t feel like 2009, more like 1994 – the last time the band played at the venue. This retro vibe laced the entire night, as the band responded with a super-charged, two set affair that carried a ferocious energy from the “Bowie” opener through the “Good Times, Bad Times” encore, including a handful of bust outs along the way.

11.18.09 (M.Stein)

Initiating the crowd with a rare “Bowie” opener, the band clearly meant business. Playing off the miniature-sized venue, the band brought out one of their oldest jams to the forefront right away. Opening with a piece of improv for the first time this tour, Phish set an ominous tone to the show with a dark, explosive opening. Moving through an delicate beginning in which Trey and Page’s cohesion shone, the band gradually built the jam into some nasty “Bowie” grooves. Since Detroit, everything has taken on a new life with Trey’s creative guitar playing; his licks and phrasing have been impeccable thus far, pumping a new energy into every improvisational dip.”Bowie” provided a perfect example of this, as Red’s precision and passion injected a noticeable intensity into the opener; an intensity which his band mates were more than ready to match.

A furious run through the first “Julius” of tour kept the musical intensity right on going with some full-on blues rock, whose musical feel spilled over into one of the first set highlights in “Kill Devil Falls.” Once the composed song ended and the jam got underway, the band took off into a collective build over a the straight-forward groove. Getting creative with a head full of steam, Phish cannonballed into a smoking version of the song. While not getting completely type-II, the band still built something more than the generic jam that permeated more than a few summer setlists. The next point of interest came with the second appearance of “Funky Bitch” since the band returned for this go-round –  and only the third since 2000. With active participation from all members, a mini-series of dance grooves emerged in the middle of the first set.

Though Phish played an engaging opening frame, they left the most exciting part for last. Closing the set with a sinister exploration of “Stash,” Phish blew the roof off the joint with a menacing bookend to compliment “Bowie.” Morphing into maniacal musicians, the band slowly molded the jam from its eerie opening, through a period mellower patterns before taking the it out into more abstract territory. Without ever losing their sense of urgency, the band came together in period of ordered chaos and simply crushed it. Seamlessly rejoining the the song’s ending build, Trey continued his personal assault on any eastern arena he sets foot in. Playing like a different guitarist than this summer, he is only one factor that points to the band getting their groove back in earnest this fall. An absurdly intense peak left the crowd aghast at the psychedelic jaunt as they gathered their personal belongings for setbreak.

As we sat thinking what might transpire in set two, the calls of “Crosseyed,” “Drowned,” and “Twist,” flew through the air, and before we knew it two of these three came to fruition. “Drowned,” Phish’s ubiquitous summer set opener, and “Twist,” their prodigal song, both came together in the meatiest portion of the show. Combining with “Piper” and the ultra-bust-out,”Big Black Furry Creatures From Mars” in a scintillating run of music, Phish didn’t allow anyone to catch their breath until well into the set. After slaughtering “Drowned’s” composed jam, the bombast gave way to sparser psychedelic grooves that saw Mike lead the way with a galloping bassline – though you’d never hear it on the official soundboards which are back to being all Trey and Page since the band moved indoors. Getting into a percussive groove similar to portions of Cincinnati’s “Rock and Roll.” Trey began to play a funked out lead over top of the music before switching to rhythmic chops and then outright soloing as the the band moved through the multidimensional jam. After breaking down their music even further into a chunkier portion, Phish faded into an ambient outro, and the opening licks of “Twist” emerged from the sonic murk.

A song that was long overdue, its return to rotation came as a short version that merged with “Piper” in a flowing segment of songs rather than as a huge jam vehicle. Navigating the song’s composed jam more than proficiently, the moment the “Twist” would finally break form hung before us with no end. And just as Trey wrapped up the the structured jam with a heavy guitar kick, he abruptly slid into “Piper” instead of elevating to the expected type-II reverie. Though similarly concise, “Piper” did get beyond its structure, moving into an up-tempo musical chase. Flowing cohesively at a break-neck pace, the band got back into a percussive rhythm, this time led by heavy organ work and shorter guitar licks. Resembling the middle part of the “Drowned” from earlier in the set, Phish definitely had their fast pace rock grooves going last night. As they built into a increasingly tense musical plane, Fishman crashed in with a heavier beat and the band sped up into the first appearance of “Big Fat Furry Creatures From Mars” of this era, and it fit in perfectly with the upstate, old-school vibe. A particularly maddening version, the mere appearance of the quirky metal classic stamped Sunday night’s set as indelibly special. Which is far more more than can be said for the token three minute “Tube” that the band decided to play in honor of Fishman’s lyrical acumen in his home town.

But after the non-stop musical mania of “Drowned > Twist > Piper > BBFCFM,” the rest of the evening petered off on the explorational tip – much like last the second night of Cincinnati. Highlighted by ripping versions of “Theme,” “Maze,” and “First Tube,” the rest of the set, while blistering, remained wholly within the box. A raucous “Good Times, Bad Times” put a strong ending on a relentless show. An energetic show to the core, Sunday’s excursion provided a throw back Phish experience for all, and another piece of confirmation that the band is loving life and only getting better.

I: David Bowie, Julius, Sparkle, Kill Devil Falls, Lawn Boy, Heavy Things, Funky Bitch, Sample in a Jar, Boogie On Reggae Woman, Let Me Lie, Beauty of a Broken Heart, Stash

II: Drowned > Twist > Piper > Big Black Furry Creature from Mars, Tube, Theme From the Bottom, Maze, The Horse > Silent in the Morning, Character Zero, First Tube

E: Good Times Bad Times

Sometimes one set can kick Phish into gear, and Friday night’s blowout seemed to do just that, as the band came back Saturday on fire from note one, triumphantly capping their first two-night stand of the fall. Using a far more balanced effort than either previous show, the band spread their jams over both sets, creating a fully engaging evening from start to finish. Completely settled into the arena groove, Phish put together another devastating second-set combo in “Rock And Roll > Ghost > If I Could,” but the jam of the show may have come before setbreak in the blissfully insanity of “Split Open and Melt.”

All of their jams, composed or otherwise, have been kicked up a notch since stepping indoors, and the first “Wolfman’s” of the tour held true to this pattern. As Trey picked lead lines over the band’s chunky groove, this version evolved into a smooth-operating dance-session to get the show underway in earnest. With jazzy grooves aplenty, the band got their improvisational chops warmed-up early on Saturday night. Following what has become a rather standard piece in “Ocelot,” the band dipped into their Halloween costume for the first time, breaking out the heavy favorite from “Exile” to remain in rotation,”Torn and Frayed.” Sounding even sharper than during their now-renowned cover set, Phish nailed a similar-length version that sounded sweeter than ever. Needing a new cover song oh-so-badly, the band chose a winner that fits their current style perfectly. A welcome addition to the catalog, look for a this one to open up a second set at some point this tour, leading into an extended piece of improv.

But the no-brainer jam of the set – and, in my opinion, standout piece of the evening – came a few songs later with an utterly mind-numbing “Split.” Moving through multiple phases of creative jamming, Phish progressed through a sublime melodic build before arriving at a menacing musical dungeon. Increasing in both intensity and abstraction, the band created one of the most incredible musical moments of ’09. Patiently molding a lasting psychedelic masterpiece, the band nailed the change back into the “Split” jam with ridiculous accuracy, exploding into the groove. A most outrageous piece of music, this is one that needs to be heard to be believed.

After coming down from the madness with a soft musical pillow of “Dirt” and a “Limb” that featured incredibly lyrical soloing by Trey, the band soared into a set ending “Antelope.” Showcasing the overwhelming guitar mastery of Big Red’s fall tour thus far, he drove this “Antelope” into smithereens with his retro-machine gun style that has recently emerged. Ending the first half on an incredibly high note, the band finally played a far-reaching opening set that contained more than one pieces of legit improv for the first time this tour.

On the first Saturday night of fall, Phish broke out one of their most popular openers in “Rock and Roll,” pleasing all in attendance with the cover-turned-type-II journey. Moving out of the blistering rock jam, the band broke things down into a series of percussive grooves that turned the music far more interesting and dancable. Naturally moving int  a textured canvas of rhythmic communication, the band carried some distinct momentum into this second portion of the jam. But as things moved forward they only got more intriguing as the band entered a third plane – a deeply inspiring ambient section likening alien intervention. Harnessing the power of the other side, the band had moved from rock to groove to all-out psychedelia before morphing into “Ghost.” Bouncing with the rediscovered indoor energy, Trey led the band in a high-octane version that picked up the pace from its summer incarnations. Another example of his uncompromising play in Cincinnati, Trey crushed this version with an extended series of stunning leads that varied from the fiery to the melodic. Without getting far out there, this “Ghost” absolutely smoked, providing a jolt of adrenaline, that coupled with “Rock and Roll,” created – potentially – the most creative segment of tour thus far.

After a searing peak to a period of full-on jamming, the band dripped into a surprise landing point of “If I Could.” Maintaining the rearranged, more delicate, format from its Jones Beach return, the band collectively wove a gorgeous musical fabric that tickled the soul. This first half of the set presented us with one of the most engaging segments of improv this run; a tour that is slowly shaping up as the return of the well-oiled monster we once knew. At this point, the band turned to a series of singles to close out the show for the weekend crowd. Highlighted by a magnificent, multi-peaking “Caspian,” and a short but sweet “2001,” the band killed this run of songs despite the lack of any real jamming.

Building on an incredible two nights at the Crown, we make the quick turn-around up to Syracuse for the tour’s smallest show. With 8,000 people on a Sunday night, things are looking quite bright for tonight. I’ve got bags to pack. See you there!

I: Wilson, NICU, Wolfman’s Brother, Ocelot, Torn and Frayed, Strange Design, Ginseng Sullivan, Albuquerque, Split Open and Melt, Dirt, Limb By Limb, Run Like an Antelope

II: Rock and Roll > Ghost > If I Could, Backwards Down the Number Line, Prince Caspian, Suzy Greenberg, 2001 > The Squirming Coil

E: Sleeping Monkey, Axilla

With a stellar second set full of maestro-like improv, Phish officially announced the beginning of Fall ’09 leaving memories of the previous three sets in the dust. In complete contrast with the composition-heavy opening frame, Phish blew apart The Crown with a series of major jam vehicles, crafting their first mega-set of the the fall. Strewn with dramatic flair and amazing improv, the second set reminded everyone in the building why they had made the trip to Cincinnati.

Launching off a fiery “Punch” opener that never gets old, the band dropped their first indoor “Tweezer” since their comeback show in Hampton. And boy how far they’ve come! In a straight-up dance odyssey, Trey led the band through a full-on escapade in swamp-groove; exploding with swank and ferocious licks over a crack-like backdrop. Engaging the entire band in a jam of pure, unadulterated swagger and rhythmic acrobatics, Trey annihilated his leads throughout, forming the stuff of dreams. In an all out aural assault, Phish destroyed The Crown into oblivion within the course of fifteen minutes, and the set wasn’t even half way done.

Using a short ambient outro after a endless swarm of nasty grooves, the band segued into their newest standout vehicle, “Light.” Flowing seamlessly from one of most passionate jams of this era, and into their newest cathartic launchpad, the band crafted an indelible memory in the second-ever incarnation of “Tweezer > Light.” Taking off into “Light,” their musical palette turned distinctly more melodic as Trey turned from his snarling side into geyser of organically cascading melodies that made this one of the strongest outings of the song to date. Absolutely re-writing the book with his dizzying guitar work, Trey brought his magical song of summer indoors for the first time, and the confinement of its energy seismically shifted its future potential.

Just as the band began to climb back down the backside of the mountain, they entered a delicate funk groove that transformed into the most creative use and exploration “Get Back on the Train” in memory. Immersing themselves in short, collaborative textures, the band played off each other masterfully, clearly feeling IT. Featuring another seamless segue, this time into “Possum,” Phish continued their non-stop musical suite, upping the levels of intensity considerably from their copious summer jaunts through the song. With far less focus on the bluegrass side,, the band dove into a more psychedelic-rock assault on the usual country bumpkin. And when the music finally stopped, we were left with an amazing portion of Phish that read “Tweezer > Light > Train > Possum.” An unlikely combination of songs came together to create one of the now-indelible portions of ’09 Phish. And to put an exclamation point on their adventure, Phish delicately fluttered into “Slave.” A truly magnificent version, it has been a long time since the band came together with such a fierce passion on a “Slave” jam. A song that can sometimes fall into a generic build, this version stood out among the many versions we have heard this year with multiple builds, plateaus, and crescendos. Carrying undeniable majesty with sublime phrasing by Trey and immaculate full-band improv, this version sits on the top shelf of ’09 renditions.

With time for one more solid jam, the band dropped the nastiest “YEM” of the modern era. Ever since coming indoors, Fish’s beats have become increasingly dirtier, and this shift was showcased during the tightly wound groove-factory of this “YEM.” Once Mike and Trey landed on stage from their final leap off their trampolines, shit was on as the band kicked into some of the most infectious rhythms of the night. Showing everyone they’ve still got what it takes to rock a party right, Phish crushed their classic song with a version that inspired the inner dancer in everyone in the venue, and reminded us of a band we once knew.

This second set provided a blistering example of Phish fully beginning to hit their stride again. With a couple runs under their belt, the publicity of their return over and done with, we are back on Fall Tour. Each piece of improv from the first two shows has been outstanding, and they finally threw out all the filler in last night’s second half, crafting one the year’s standout sets of music and an all-out throw-down of serious magnitude…for the kidz.

***

1st set Notes:

Using the first half of each of the last two shows more like recitals, Phish put the spotlight on their complex compositions last night featuring “Divided Sky,” “Time Turns Elastic,” and “Fluffhead.” Totaling nearly fifty minutes of jam-less Phish, this decision seemed, in my opinion, a bit over indulgent. Coupled with the uber-generic 3.0 opening of “Chalkdust,” “Moma,” the first set amounted to a beautiful “Fast Enough” and a killer “Jibboo.” And though the “Jibboo” certainly killed, one jam a set ain’t gonna cut it, unless… (see above)

I: Chalk Dust Torture, The Moma Dance, The Divided Sky, Alaska, Water in the Sky, Fast Enough for You, Time Turns Elastic, Gotta Jibboo, Fluffhead

II: Punch You In the Eye, Tweezer > Light > Back on the Train > Possum, Slave to the Traffic Light, You Enjoy Myself

E: Joy, Golgi Apparatus, Tweezer Reprise