Energy – the word is thrown around quite a bit in reference to Phish. Oft cited examples are: “That set had such high-energy!” “Time Turns Elastic sucked all the energy out of the room.” “The energy of the show suffered from all the drunk frat boys.” “You could feel the energy in The Garden last night!” Regardless of cultural identity or the number of shows one has seen, one of the defining qualities of the Phish experience how the abstract concept of energy comes to life. Energy depends on the band; energy depends of the fans; energy depends on the dynamic exchange between the band and their audience. As Phish stepped into the arenas of the east, and out of the amphitheatres of the summer circuit, the phrase that best describes the experience of fall shows is “intense collective energy.”

While fall tours have historically cranked the intensity level of the entire experience, Phish’s first fall tour since 2000 was destined to explode in white-hot fire. And if anything characterized the band’s performances throughout the tour, it was the tightly wound, explosive quality of their playing. With the ability to nail their songs precisely again, the band could let loose and allow their soul to flow into the music rather than think about what notes to play. What used to be a given about Phish in their prime, took almost a year to recapture – the subconscious flow of energy into their music. Thought processes seemed to fade away as the band embraced each moment of every song, measure and note. Phish imbued each phrase and beat with a renewed energy and enthusiasm that often resulted in raging, high-energy rock jams. Feeding off the band’s fervor, the audiences across the board responded ferociously, and the famed interplay between Phish and their live audience was reborn in a way it simply could not have been months earlier and in outdoor amphitheares.

Beginning in The Crown, as Cobo carried the feel of a dress rehearsal, every single night was underlined by a palpable energetic interplay between everyone in the building. The band had regained confidence in their playing, and could again pull off the blistering runs of notes and bizarre time signatures that characterized their earlier days, and they were proud to show everyone. Trey played with an abandon we hadn’t seen in ages, tearing apart solos while nailing fugues. Page’s confidence brimmed as strong as ever, as his piano leads often drove the band in certain directions. His bold, melodic theme gets all the credit for pushing Trey out of his comfort zone and kicking Albany’s “Seven Below” into orbit. Mike, as on top of his game as anyone, pushed his own playing to new territories within the context of the band, using more notes and heavier effects, while influencing the destiny of many whole-band excursions. Fishman, who many feel needs to step his game up, still provided more than enough fuel to frame the fire. The result? The incredibly fierce, yet not always exploratory, music that laced fall tour.

This same energy that defined the band’s spirited playing also went into their improv when they chose that route. Whether structured or open jamming, Phish almost always succeeded in shredding most every song they played. When they did take risks, they took them with the same energy that defined their tight compositions and six-minute songs, resulting in some incredibly sublime moments sprinkled throughout the tour. And the crowds fed like vultures off this energy. Peaking with a series of insane moments at Madison Square Garden, this fall will always be remembered for the magnified return of the Phish community’s unbridled energetic interplay.

Cincinatti’s “Split Open and Melt.” Syracuse’s “Piper > BBFCFM.” Philly’s “Bathtub Gin.” Albany’s “My Friend, My Friend,” and the awing “Seven Below > Ghost.” Maine’s “Undermind.” Charlottesville’s “Hood.” These are some of the most unadulterated energetic moments of tour. But there were two moments at MSG that stand up to any collective experiences I’ve witnessed at Phish. Something happened during 12.3’s “Fluffhead” peak, and 12.4’s “First Tube.” Anyone who was there will attest to it, though the actual moments are, literally, indescribable. A simultaneous, religious catharsis of 20,004 people blended together as one glowing ball of light, somehow contained by the bouncing floors and elastic walls of The Garden. Tidal waves of emotion, gushing like whitewater, flooded the mid-town arena in two perspective-altering episodes.

Regardless of the fanbase’s varying opinions on fall’s musical results, nobody can deny that Phish is, unquestionably, into it again. Clearly performing for the love of the game, Trey – specifically – looked like a kid in a candy store all tour long, living his refound dream. The band has refocused their energy on personal happiness and harnessing their emotion through their musical expression, and they are certainly accomplishing that goal. Seemingly carefree onstage again, the comfort and swagger of Phish has returned, and as we prepare to turn the calendar to 2010, that’s as good as an omen as any.

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Jam of the Day:

“Disease > Piper > Fluffhead” 12.3

The centerpiece of The Garden’s second show.

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DOWNLOAD OF THE DAY:

12.3.09 Madison Square Garden, NYC, NY < Torrent

12.3.09 Madison Square Garden, NYC, NY < Megaupload

I: Punch You In the Eye, Backwards Down the Number Line, Axilla, Taste, Boogie On Reggae Woman, Stash, Lawn Boy, Time Turns Elastic, Back on the Train, Julius

II: Down with Disease > Piper > Fluffhead, Cities > Free, Halley’s Comet, Also Sprach Zarathustra > David Bowie

E: Character Zero

Source: Schoeps mk41> KC5> M222> NT222> Lunatec V3> SD 722 (@24bit/48kHz)