With just under two weeks before Phish kicks off a three-day party in the Bay Area, SPAC’s finale is the last show remaining from Leg I’s download series. Highlighted by a strong first set and a sublime sequence of “Drowned > Swept Away > Steep,” Phish concluded their Northeastern with a relatively tame, song-based outing.
The improvisational centerpiece of SPAC’s second night.
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VIDEO OF THE WEEKEND:
“Show of Life” – 6.19.10, SPAC (Official Release)
DOWNLOAD OF THE WEEKEND: With just under two weeks before Phish kicks off a three-day party in the Bay Area, SPAC’s finale is the last show remaining from Leg I’s download series. Highlighted by a strong first set and a sublime sequence of “Drowned > Swept Away > Steep,” Phish concluded their Northeastern with a …
Saturday night – there’s no other portion of the week that conjures up such images of spontaneous adventure and good times. And there is no other adventure and good time quite like Phish. Putting these two concepts together, you’ve got “Saturday Night Phish,” a party like none other. In this modern era, Phish has established their own way of musically celebrating their Saturday night shows by opening the second set with Velvet Underground’s “Rock and Roll.” A trend that began in ’09 has held true for all four Saturday’s of 2010, giving even the most spun tour kid a weekly reference point. A cycle that began as a bit formulaic last year turned comedic this summer with each subsequent weekend . But as one of the band’s preeminent jam vehicles of this eras, “Rock and Roll” delivers eventful excursions more often than not. Once the band climbs out of the song’s rock stylings, anything goes when Phish breaks structure. Looking back on the four Saturday’s of Leg I, here are short capsules of the versions that that kicked off each second half.
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6.12 II – Blossom
Phish launched into the first Saturday night of tour with their popular jam vehicle, and as they entered the “Cuyahoga Jam,” the band started to breakdown the piece into percussive grooves, a la 2009. Mike thumped a stop-start bass line that underlined the unique rhythm, while Trey spray-painted the groove with shorter patterns. As Fish held down a sparse breakbeat and Page backed the jam with layers of effect, all in all, the onset of this piece didn’t veer far from the many versions that speckled ’09. But as Trey began to solo out of these tendencies, Mike jumped aboard, beginning to differentiate Blossom’ s outing. At this juncture the jam grew far more abstract, as the band molded a segment ofmusical silk before morphing into a collective wall of sound. Trey reprised his solo melody over this drone canvas, providing closure to the jam before rolling into “Harry Hood.”
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6.19 II – SPAC
SPAC (H.Radar)
Instead of dropping into a series of hackneyed rhythmic grooves, Phish built out of SPAC’s “Rock and Roll” into a bass-led psychedelia. The band latched onto Mike’s lines, as Trey mixed in a repetitive lick that led the band deep into the forest right away. Wasting little post-rock time, Phish quickly swam into a sparkling steam of melody, infusing the jam with an early dose of aural beauty. The piece increased in tempo as Mike drove the troops’ wild ride into darkness. Trey continued to offer cyclical, multi-note cries, in melodic support of a staggering soundscape created by Mike, Fish and Page. Towards the latter part of the jam, the band alternated between louder and softer as if someone was turning up and down the volume knob of the jam. Trey continued his role as supporting actor in this escapade, adding his piece to a more complex overall puzzle. The band descended into an abstract pond before splashing into “Free.”
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6.26 II – Merriweather Post
6.26.10 – Merriweather (Graham .Lucas)
While Merriweather’s second night presented the tightest set of Leg I, on Saturday night in Columbia, Maryland, Phish served up a jam that, arguably, surpassed anything from the weekend. In this set-opening “Rock and Roll,” Phish dove off a cliff, floating into the sky in a floral-ambient groove of bliss. Knitting some of the most transcendental music of summer, Trey and Mike spun their ideas together with sublime cooperation. As this segment progressed, Trey soloed as if he was emotively narrating a story to an innocent child. The band provided a magical, amoeba-like backdrop to this musical fable, morphing the jam into a soulful piece of spirituality. Concluding his tale, Trey came growling out of this hovering abstraction with leads that implored his bandmates to follow. Together they built dramatic whole-band tension throughout the latter half of the piece. Trey eventually layed down a slick “Moby-Disk-esque” line, and the band fell into a sinister groove session to bring their mission back to earth. Coming to an organic end, Phish bled into a brief, bass-led ambiance that hinted at “2001” before revving up the beginning of “Free.” Out of the four “Rock and Rolls” this summer, no other version even comes close; and this Merriweather rendition must be thrown in the ring for any discussion about the jam of Leg I.
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7.3 II- Alpharetta
7.3.10 (W.Rogell)
After dropping two stellar jams over the past two weekends out of the Velvet Underground cover, when Phish charged up the anthem to open up Saturday, July 3, it wasn’t far fetched to expect something big for the song’s tour finale. Though once the band got going, they simply rode the song’s theme, juicing it for all it was worth. Phish never even veered far enough from the original for LivePhish to label an “Alpharetta Jam,” something done to avoid paying royalties on original improvisation. With expressive rock soloing, Trey barreled through the straight forward jam that only broke form for a moment before moving into a pre-mature “Prince Caspian.”
Raleigh featured a bumpy setlist that featured some big-time bust-outs and one of the deepest dives of summer in the centerpiece version of “Light.”
I: Llama, Roses Are Free, Kill Devil Falls, Time Loves a Hero, Alaska, Water in the Sky, Runaway Jim, The Moma Dance, Divided Sky, Cavern
II: Backwards Down the Number Line, Halley’s Comet > Light, Fluffhead, Have Mercy, Light Up Or Leave Me Alone > Free, Wading in the Velvet Sea, The Squirming Coil, Suzy Greenberg
Saturday night – there’s no other portion of the week that conjures up such images of spontaneous adventure and good times. And there is no other adventure and good time quite like Phish. Putting these two concepts together, you’ve got “Saturday Night Phish,” a party like none other. In this modern era, Phish has established …
Song requests via signs has always been a part of Phish show culture. But ever since Trey adopted the moniker of the “all-request band” early this summer, honoring more than a few audience member’s calls, the number of personal billboards has grown exponentially. Standing at the back of the floor in Alpharetta, as Phish took the stage for the first set of their final show, the sheer number of signs was absurd. What has always been a fun band-audience interaction has caught like wildfire this summer, causing seas of cardboard cavorters.
This 2010 craze started in Portsmouth, Virginia, when Phish came out on a sunny evening and a “Tube” sign immediately caught Trey’s eye. Everyone in the intimate amphitheatre saw Trey’s shifting attention, and began to chant, “Tuuuuuuuuube!” A minute later, an asteroid crashed into nTelos Pavilion, and “Sign-Mania” officially began.
7.3.10 (W.Rogell)
Two shows later in Hartford, Trey preceded the “Sleeping Monkey” encore by announcing that they were playing it for a guy who held the sign throughout the previous night. After this second vocal acknowledgement that Trey is reading these signs, fans began flocking to the front holding placards of all shapes and sizes. Varying from the standard Sharpie-on-poster-board to elaborate, cut-out and painted wooden song titles, Phish fans unleashed their renowned creativity in this renewed endeavor.
Without hanging out up front at every show, it is impossible to know how many setlist choices were actually influenced by fans signs, but there were certainly more than a few. In fact the central theme of Merriweather’s second night – summer’s most well-loved set – was sparked, believe it or not, by a sign. A group of fans had traveled for multiple shows carrying a “Saw It Again” sign on wooden dowels, and finally, on Sunday night in Columbia, Maryland, their wish was granted in the biggest way. Segueing from one sign-inspired song to another, Trey brought the band from “Meatstick” into “Saw It Again,” the latter becoming the well-known foundation for a Phishy escapade.
This tour-long interaction between Trey and the audience came to a peak in Alpharetta on July 3rd. Not only did Trey respond to a sign calling for “McGrupp,” he reached down, pulled the sign on stage, and held it high before starting the rarity. After watching Trey egg on his fan base, and the ludicrous amount of signs on the 4th of July, something tells me this trend isn’t coming to a screeching halt. But just think, every time Trey responds to a sign, he could have been on the verge of dropping “A Song I Heard the Ocean Sing.” So there are two sides to this coin.
If fans are going to continue bringing signs to Phish shows en mass, we might as well set some guidelines for this fanboy behavior. If you’re going to be that guy or girl who jumps up and down trying to catch Trey’s attention with your artwork, here are three things to consider.
“Tela” Sign During “Tela” – 6.27 (G.Lucas)
1. Don’t mess with peoples’ experiences. – If you’re sign takes four people to hold properly due to its outstanding craftsmanship, maybe it’s not the best idea to bring it onto the floor at a GA show. Additionally, until they make transparent poster board, if Trey doesn’t choose your song, put down your sign and try harder next time!
2. Consider the entire audience. – Bring signs that will benefit everyone! For example, a “Crosseyed and Painless” or a “Cities” sign could payoff for the entire audience, because if Trey chooses to recognize either, the show will immediately elevate. On the flip side, don’t bring a sign for “Waste” just because it’s your girl’s first show and it’s her favorite song off Billy Breathes. Trey is so happy these days, it could catch his eye and make him ditch “Ghost” for his heartfelt ballad. Seriously.
3. Know what’s going on. – With a little setlist research, you can avoid looking like a total noob. Dial up your trusty Phish website to see what the band played at least the night before, and leave those signs at home. Make sure the over-sized cardboard you choose to carry to the show, through the lot, by security, and around with you all night at least has some relevance.
Song requests via signs has always been a part of Phish show culture. But ever since Trey adopted the moniker of the “all-request band” early this summer, honoring more than a few audience member’s calls, the number of personal billboards has grown exponentially. Standing at the back of the floor in Alpharetta, as Phish took …
Since Phish came back last year, no song has been as consistently eventful as “Tweezer.” Old reliable, “Tweezer” has remained a central jam vehicle for the band’s entire career, and 3.0 has been no exception. A song that musically defines the unknown adventure that underlines the ethos of Phish, “Tweezer” has been one constant throughout the ages. In short, when “Tweezer” drops, it’s on. With an ability to travel divergent musical paths, “Tweezer” jams span the spectrum from addictive grooves to psychedelic infernos, and everything in between. Nothing in live music quite compares to full immersion in a “Tweezer” jam, hence every time its opening lick oozes from the speakers, heart rates jump and shows transform into gooey, futuristic dreamscapes. During Leg I of summer we tasted four different flavors of Phish’s famed launchpad. And here they are…
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6.13 II – Hersheypark Stadium, Hershey, PA
6.24.10 (G. Lucas)
Coming at the conclusion of a fluid “Drowned” jam, Hershey’s dance party got started for real when Phish unrolled the opening licks to the first “Tweezer” of summer. Staying within the song’s theme, Trey and Mike led a version that favored a heavy space groove, painted with swanky guitar licks calling to whales near and far. Mike’s bulbous lines ballooned from the PA and bounced off the rubberized dance floor alongside enraptured fans. Climbing slowly to a peak, this version never branched far from its roots, but between Mike and Trey’s co-leadership in the groove, it didn’t matter. Changing into a slower outro, Trey came in over the sonic mist with the beginning of “Twist.” This “Tweezer” set the tone for a flowing set of improv in which all jams toyed creatively with their original themes.
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6.18 II – Comcast Theatre, Hartford, CT
6.27.10 (G.Lucas)
Phish served this “Tweezer” as the main course of Hartford’s Friday night show. Smack in the middle of the second set, the band set their course for the Mesozoic era, mingling with dinosaurs in an episode of prehistoric funk. Stepping off the edge, Trey and Mike grabbed this jam by the jugular, subduing it with a series murderous crack-grooves. Once accomplishing their mission, Trey pulled back with the swankest of licks to admire their conquest. Mike joined his cohort as they trounced on through a bass-led jungle with five and six string machetes, respectively. Manifesting the whale amidst these torrid conditions, Trey sculpted the second part of this jam as “The Whale’s Jungle Quest.” Building upon an addictive pocket, the band forged a rhythmic path of fury to the mountaintop. Looking out over the dense forest, above the clouds, the band dropped into a sparse final pattern, signifying ultimate success. Sheathing their musical swords, Phish had won again, oozing into “Theme” to resolve the sonic trek.
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6.26 II– Merriweather Post, Columbia, MD
6.26.10 (G.Lucas)
If Hartford’s “Tweezer” traveled back to the land before time, Merriweather’s version descended directly into the center of the earth. Transforming from an aggressive guitar-led excursion into a menacing tale of evil, this version likened a life-lesson learned through a harrowing experience. Beginning in a slower and heavier texture, this version carried a menacing snarl from its inception. Mike’s bass-lines took a back seat to Trey’s guitar work, as Red grew horns while leading the band into a lava-filled underworld. This piece distinctly departed from “Tweezer’s” theme, entering a section of full-on demonic jamming. Mike’s methodical bass lines pounded the way down, as Trey’s guitar wailed in desperation, as if being pulled into hell by a mob of doomed souls. A retro-journey into the heart of psych-rock madness, the band allowed for a slow, effect-laden denouement before tastefully merging with “The Horse.”
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7.3 II – Verizon Wireless, Alpharetta, GA
7.3.10 (W. Rogell)
The final “Tweezer” of summer came in grand fashion, merging with “Slave” as the centerpiece of July 3. A quintessential dark-to-light journey, this version merged groove with melody masterfully. Beginning the jam with elephant funk of of the most refined variety, Trey broke through these liquid patterns, chopping in with a distorted effect. Leading the jam away from straight groove into a collaborative build that stayed largely within the context of “Tweezer’s” structure, Trey, again, showcased seriously passionate leads. Trey, Page, and Mike peaked the jam with a gorgeous chord progression, naturally moving into the rhythms of “Slave.” But instead of moving right along, they brought “Tweezer” to a conclusion before gracefully moving into the cathartic anthem. A stunning combination, this – somehow – was the first time in history Phish had ever combined these two classic pieces. And it worked perfectly, providing the musical highlight of the holiday weekend.
A two-set throwdown with a revamped, booming sound system and a rubberized dance floor. More Hershey shows please?
I: Gotta Jibboo, Chalk Dust Torture, Fluffhead, Funky Bitch, Runaway Jim, NICU, Horn, It’s Ice, Bouncing Around the Room, Sparkle, Split Open and Melt
II: Drowned > Tweezer > Twist > Piper > Free, Wading in the Velvet Sea, You Enjoy Myself
E: Bold As Love
Source: AKG C460Bs/CK 63-ULS
Since Phish came back last year, no song has been as consistently eventful as “Tweezer.” Old reliable, “Tweezer” has remained a central jam vehicle for the band’s entire career, and 3.0 has been no exception. A song that musically defines the unknown adventure that underlines the ethos of Phish, “Tweezer” has been one constant throughout …
Viewing Phish tour as a quest for the transcendental unknown through improvisational portals, “Light” emerged as the unquestionable centerpiece of summer’s opening leg. The only song that routinely pushed the band into unique, uncharted realms, with each summer version came another risk into lush, textured psychedelia. During a month that didn’t focus on musical abstraction, “Light” routinely provided an experimental lens through which Phish explored the newest frontiers of their sound. On the heels of a stellar fall tour for the song, Phish’s philosophical anthem quickly became the springboard for the most profound jamming of summer. Each excursion surfed an emotional wave into an ever-darkening mystery, but what took place once the band got there depended on the evening.
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6.11 II – Toyota Park, Chicago, IL
7.4.10 (W.Rogell)
Making no bones about their where their focus lay, Phish opened up the summer’s initial second set with an expansive and abstract version of “Light.” Showcasing a fluid style of experimentation, Phish introduced their new sound of 2010. As Trey faded from soloing into his whammy-induced whale tone, the music transformed into an impressionistic canvas, and Phish became a musical Monet. As Mike and Fish locked into a groove, Trey abandoned his lead to become a part of this textured painting. He and Page continued to push the jam outwards, and soon Phish sat amidst a full-band exploration of the deepest variety. Moving into experimental waters to kick-start the tour, this version reached the essence of the “Light,” which, ironically, is quite dark. Chicago’s version passed through several gorgeous segments on the way to a summer-opening mind-fuck .
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6.18 II – Comcast Theatre, Hartford, CT
7.4.10 (W.Rogell)
This version, springing from a set-opening “Halley’s Comet,” remained a bit more contained than most “Lights” of summer. Page began to bring the composed jam outwards by alternating his piano leads with growling synthesizers. Trey kept this one anchored to structure with his insistent leads, before finally breaking form to join the band’s already developing patterns. Over a sustained effect by Page, Phish swam into a forward-looking milieu. Trey soon exchanged searing leads for choppier rhythm licks, while Mike and Fish formed an eclectic pocket. With Trey’s shorter offerings, the band briefly locked into a unique groove before pushing into an effect-laden outro and gently sliding into “Billy Breathes.”
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6.22.II – Great Woods, Mansfield, MA
The third “Light” of summer came on a Tuesday night at Great Woods, and reached some serious full-band theatrics before Trey pulled the plug for “46 Days.” Coming out of “Sneaking Sally” via an abrupt segue, Phish launched into the jam with fury. Carrying a slightly faster pace than usual, Trey led the band’s composed jam with notably impassioned soloing. The band exited the shreddy section together, somersaulting into a “Timber-esque” palette. Page hopped on his Rhodes and Mike turned on his envelope filter, while Fishman’s beat became sparse and percussive. Trey began accenting the music from behind the scenes, and in front of our eyes, the band splashed into a completely new-sounding pond. Page took the melodic lead, as this version became subtly demonic, reaching more exploratory places by the minute. When the band settled in a mellow psychedelia, a point where they could have taken the jam to the next level, Trey disengaged, awkwardly cutting off the captivating excursion with “46 Days.”
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6.25 II– Susquehanna Bank Center, Camden, NJ
6.25.10 (G.Lucas)
Carrying colossal momentum from Camden’s Jackson-laced “2001,” the band launched into one of the more exploratory “Lights” of summer. A gorgeous composed jam, with notably less in-your-face guitar, descended into a secondary section of improv without compromising fluidity. Trey took his solo into calmer waters while the band molded a percussive backdrop. The music turned more abstract as Trey relinquished the lead and Mike stepped up to direct traffic. Turning in some slick leads over this increasingly ambient texture, Trey then began playing staccato, “Pong-esque” notes (reference 8.14.09), as he, Page, and Fishman locked into a rhythmic interchange. Over this texture, Mike unleashed resounding bass leads, spicing the groove with spontaneous dashes of melody. This version reached a deeper-than-usual psychedelia before releasing into “Possum.”
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7.1. II – Walnut Creek, Raleigh, NC
7.4.10 (W.Rogell)
In Raleigh, Phish unveiled “Light’s” defining performance of summer, weaving an intricate tale that flowed naturally from beginning to end. As the band entered the final four nights of tour, their finest musical trek of the south would transpire in their opening show. Whereas Trey had a propensity to layer his opening solos of “Light” atop the band’s groove, in this version he played very much within the music, giving the composed jam an enhanced feel of beauty. Fusing impressive lines into the musical fabric, Trey’s melodies carried more tasteful and creative phrasing, differentiating the onset of this rendition. As Trey began stretching his notes into sheets of sound – signifying a break from structure – the band was fully locked and moved together into the abyss. Page’s piano lines led a march into a mysterious, blackening brew, as Trey turned from Jedi to Sith, intertwining sinister sounds in this devilish trek. A stunning example of what Phish can accomplish with patience, this version represents the most cohesive jamming to stem from “Light” this year and certainly deserves consideration among the top jams of tour. Within this darkening context, Trey initiated a composed-sounding solo over a complex, thickening pocket, entering the most engaging musical plane of night – and, arguably, the most exquisite place reached by “Light” all summer. Trey’s soulful notes continued amidst an emerging ambience from the rest of the band. Finally, as his solo bled into the ominous soundscape, Trey brought back the song’s theme, coming full-circle in a mind-melting epic.
This clinic in groove has been unduly overshadowed by Merriweather’s diabolical depths and the holiday version’s sublime partnership with “Slave.” Nonetheless, Hartford’s “Tweezer” presents the Yin to Merriweather’s Yang.
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DOWNLOAD OF THE DAY:
Official Great Woods Poster
Following the theme of Weekend Nuggets, here is the third Tuesday show from tour. “Sneakin’ Sally > Light” highlighted a second set that was book-ended by Phish classics, “Mike’s Groove” and “Slave.” The first set contained one of summer’s stronger versions of “Kill Devil Falls as well as the debuts of Rita Clarke’s “Lit O Bit” and the now-infamous “Dr. Gabel.” Enjoy looking back, because in a couple weeks we’ll be looking forward again.
I: Lit O Bit*, Camel Walk, Possum, The Divided Sky, Dirt, Sample in a Jar, Kill Devil Falls, Dr. Gabel**, Run Like an Antelope
II: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Sneakin’ Sally Through the Alley > Light > 46 Days, Limb By Limb, Golgi Apparatus, Slave to the Traffic Light, Loving Cup
Viewing Phish tour as a quest for the transcendental unknown through improvisational portals, “Light” emerged as the unquestionable centerpiece of summer’s opening leg. The only song that routinely pushed the band into unique, uncharted realms, with each summer version came another risk into lush, textured psychedelia. During a month that didn’t focus on musical abstraction, …
