Almost a week later, all I can think about is Miami; what a phenomenal run! Over the last three nights of the year, Phish took an impressive step towards permanently regaining top form. Like King Midas, everything the band touched turned to gold throughout the waning nights of the “aughts,” leaving the band’s early-summer growing pains as time-washed memories. The band had IT once again – at least for these nights – and could do no wrong. With all four players at the top of their game, Phish converged in celebration of now, with seven sets of the most encouraging music we’ve heard thus far.
Each moment unfolded with a patient luster, each measure given equal attention, in a series of particularly confident performances. With each member fluidly owning their instrument, the band’s collective focus centered on musical conversation. Sure, this is always the goal of improvisational music, but it hasn’t always been so routine this year. In Miami, the proficiency and the subtlely with which Phish exchanged ideas, blew most of the year’s dynamic out of the water. There have been many outstanding nights of music throughout the year, from March through December, but the way the band so clearly listened and responded to each others’ every move created a far enhanced dynamic down in Florida. And lo and behold, several of 2009’s top-shelf jams grew from this final weekend.
More legitimate action and interplay existed within Miami’s music. Unlike many straight-forward, high-energy jaunts of the summer and fall, these multi-dimensional jams had layers, themes, plateaus, and peaks; psychedelic intricacies. Stuff like “Tweezer > Caspian,” “Back On the Train,” “Ghost,” and “Rock and Roll > Piper,” all contained completely unique, superlative improvisation, while most every other launchpad showed up in shining form; not to mention the many bust-outs played impeccably. Going light on their ornate compositions, the band stuck with “Divided Sky,” “Curtain (With),” “Guyute,” and “Fluffhead,” and slayed them all, minus “Fluff.” But, hey, that one’s excusable since they had a different drummer.
Showcasing their full repertoire over four nights, Phish punctuated their comeback year triumphantly, illustrating prodigious growth over 2009. Building off their momentum of late-fall, the band played three consecutive nights of the year’s most exceptional music. Before Miami, these flashes of brilliance came in songs, sets, and, occasionally, whole shows. But for the first time in 2009, Phish brought the absolute fire for three consecutive nights – six sets in a row. And don’t be calling out Red Rocks or MSG – they were certain stepping stones, but this was a whole ‘nother ball game. Miami completely changed the landscape as we turn to 2010.
Having regained their swagger in full force, Phish seems destined to blast into this new decade with renewed creativity and conviction. With a year of touring under their belt, the band has fully regained their sea legs, returning to form as the psychedelic juggernauts we once knew. And the best part about the current situation is that they seem as ecstatic as we are about these developments. With solo tours planned, rumors bubbling about summer and beyond, and “tapes” we can’t put down again, the Phish universe is bursting with energy and moving at full speed once again.
They want us to be happy. Well – so far, so good.
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Jam of the Day:
“Boogie Like An Antelope” 12.30 II
Run Like A Reggae Woman.
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DOWNLOAD OF THE DAY:
12.28.09 American Airlines Arena < Torrent
12.28.09 American Airlines Arena < Megaupload
I: Sample in a Jar, NICU, My Soul, Roggae, Undermind, Bouncing Around the Room, Poor Heart, Stash, I Didn’t Know, Beauty of a Broken Heart, Possum
II: Mike’s Song > Light > I Am Hydrogen > Weekapaug Groove, Alaska, Backwards Down the Number Line, Makisupa Policeman > Harry Hood, Contact, Character Zero
E: First Tube
Source: Sennheiser MD441U > Edirol R4Pro ( Oade preamp mod ) @ 24/88.2 (Taper – padelimike)
