Third-Set Thunder

7.1.11 - Watkins Glen (Graham Lucas)

Of all the stellar musical sequences that took place over Super Ball weekend, the opening segment of Saturday night’s third set—”Golden Age” > “Caspian” > “Piper” > “Tweezer”—represents one of the improvisational best. Combining four flowing and creative pieces, the band kicked off the nighttime festivities with a run of music that showcased a broad spectrum of their styles while blowing just about everyone out of the water.

7.3.11 (G.Lucas)

It’s no coincidence that “Golden Age” has emerged as one of this era’s defining covers. Lyrically poignant for Phish’s modern renaissance, this song has grown in each outing since its Albany ’09 debut (11.27), and this summer “Golden Age” has broken out of its shell. In Darien, not only did the band take the jam further than it had ever gone, the song became the theme of the set, reemerging prominently in “Weekapaug” and “2001.” But when the guys dropped into the dance anthem at Super Ball, the piece took on a whole new life. Transcending the rhythm grooves that dotted Darien’s excursion, Phish explored demented and percussive planes while launching into genre-defying improv at Watkins Glen. All of a sudden, the fun cover became a trampoline into the void as its jam became more abstract and psychedelic by the minute. Mike completely owned the latter portions of this piece, acting as the musical rudder while Trey and Page bubbled at the water’s surface. Fishman’s quickened and precise break-beats bordered on inhuman as the band delved into a tightly-laced musical jigsaw puzzle. And each piece was exactly in the right place.

Upon conclusion of “Golden Age’s” adventure, Phish dropped into “Prince Caspian” but, applying their teeming creativity to the song, played an alternate take of the usually straightforward ballad. Trey started his solo with less notes, carrying each out for longer and creating an incredibly emotional feel over the band’s slowed, festival-sized canvas. But instead of bringing the song to a peak, Trey backed off and the band moved with him into a more delicate conversation. As the band brought the piece down an intricate path, Trey briefly hinted at the heavy chords that typically end the song, before they slid right into “Piper” without stopping.

Watkins Glen (Graham Lucas)

Phish barreled forth with enormous energy built from the set’s opening combo, and “Piper” took little time to reach soaring planes. As soon as the lyrics ended, this version burst wide-open with instinctual jamming—the kind where the music commands the band and all becomes one energetic blur. Chugging as a single-minded monster, the guys poured laced this high-paced jaunt with passionate interplay. Mike continued his mastery with accelerated bass lines that bled musical darkness. Trey fed off Gordon’s energy, soon sprouting melodic cries while Fishman annihilated his set like there was no tomorrow. Page filled in on piano and the band was off and sprinting through fields of psychedelic debauchery. As Trey inserted rhythmic chops to ease the mania, the band leaped on his idea, creating sparse and connected percussive textures. But before long, Phish collectively constructed another wall of sound—a wall that Trey tore down with the opening lick of “Tweezer.”

Super Ball (B.Ferguson)

From the get-go, this “Tweezer” had IT. Infused with creative fills, hits and stops during the composed section, when the jam dropped everyone knew things were gonna’ get buck wild. Dripping with over-sized grooves and an aggressive growl from Big Red, the band applied their retro-stop/start jamming to this festival sized monster, creating even more gooey, rhythmic tension. This was one of those versions that one lived rather than listened to—the shit was just raw. And as the colossal textures threatened to envelop the concert field, Trey initiated a pattern of seething guitar cries—which he echoed himself—before chopping the jam with his seismic, orbit-altering effect and oozing into jam’s next segment. Mike twisted teases of “Scents and Subtle Sounds” into this mellower groove as the band methodically moved towards a guitar-led build. The piece seemed to be winding to natural conclusion, but Trey jumped the gun a bit, rushing into the beginning of “Julius.” But after a such a stellar four-song run, everything else felt like gravy.

Though Sunday’s show would prove to be a more complete effort through and through, this segment from Saturday’s night’s third set provided one of the unquestionable high points of Super Ball’s unforgettable weekend.

The age of miracles.
The age of sound.
Well there’s a Golden Age
Comin’ round, comin’ round, comin’ round!


Jam of the Day:

Piper > Tweezer” 7.2.11 III

The latter half of this next-level run of music.


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465 Responses to “Third-Set Thunder”

  1. halcyon Says:

    This Radiohead Video that was posted earlier is sick!

    Thanks for posting!

  2. BingosBrother Says:

    “So, saw something fairly disturbing at the gym today. 80+ year old man blow drying his balls. Then when he was done, he sprayed axe deodorant on. I shit you not.”


  3. SillyWilly Says:


    holy shit that’s funny

    Did you laugh out loud right then and there?

    every once in awhile when I see shit like that I can’t help it, I just bust up

  4. SillyWilly Says:

    my mom works as a pharmacy tech in walgreens and she says far and away the biggest purchasers of condoms in walgreens are 65+ yr old men

    everyone’s just trying to get theirs.

  5. Mr. Palmer Says:

    umm..wait.. you guys don’t blow dry your balls?

    what’s the deal with this Radiohead release. one or two additional songs to KoL. Remixed? Just pressed play.

  6. Mdawg Says:

    lol GP420!!!!!

  7. Mr. Palmer Says:

    ok, i get it. I like the new version of Bloom 10x better than the first.

  8. RamblinMind Says:

    where’s that blissed out monkey meme? didn’t see it on the wookipedia

  9. SillyWilly Says:

    I watched a pretty funny movie this weekend:

    Dead Man

    jim jarmusch film

    it came out in 95, so maybe many of you already have seen it, but if anyone’s looking for time to kill, I thought it was one of the best movies I’ve seen in awhile.

    Oh yeah, and Neil Young does the music. He improvised it all while watching the film alone in a recording studio

  10. Mr. Palmer Says:

  11. DukeOfLizards Says:

  12. SillyWilly Says:

    fight the swamp

  13. DaNcInG fOoL Says:

    great film silly

  14. DukeOfLizards Says:

  15. Mr.Miner Says:

    Bethel Waves is best piece of music if this era imo…without a contest..just shows that when Trey cuts off jams its all his perception of what the crowd wants…other wise we’d be raging to Lou Zealand

  16. Mr.Miner Says:

    anyone have the FTArchives links handy?

  17. SillyWilly Says:

    I’m pretty sure that Bethel was so hot because the townies were killing all the obnoxious drunk yellers and screamers

    I heard the automatic weapons fire to prove it. Ask KWL and Jtran.

  18. SillyWilly Says:



    i watched it back to back I thought it was that good.

  19. Mr. Palmer Says:

    miner- hear anything about a couple dates at the end of August?

  20. DukeOfLizards Says:


    What did you hear?

  21. DaNcInG fOoL Says:

    jarmusch is awesome. “down by law” is another great one by him

    last 10 minutes of the bethel waves soundcheck is some of the best music ever, any era

  22. SillyWilly Says:


    I love how they call it “Acid Western”

    as close to Beckett as I’ve seen American cinema ever get.

    except for rosencrantz and guildenstern are dead I guess

  23. SillyWilly Says:

    I heard that my face would be a puddle at the end of August after Tahoe and UIC


  24. angryjoggerz Says:

    Mystery Train!

  25. Mr.Miner Says:


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