First sets—though fun all tour—never made or broke a show. Comprised of bust-outs—large and small—and one or two contained jams, firsts sets largely spoke to people based on song preference. Phish never botched a set this summer, using most opening halves to get some songs under their belt before the main event after dark. But on a handful of occasions, the band dropped first sets that contained plenty of action of their own. These four first sets not only flowed well and contained some legit jamming, if any rarities were included, they didn’t seem sprinkled in just for novelty’s sake. And when the band starts off the show with an power-packed opening half, only good things result.
****
6/8, Worcester
Free, Kill Devil Falls, Roses Are Free > Theme, Axilla, Julius, Bouncin, Maze, Bathtub Gin
Long forgotten in tour’s second show, this first set may just be the best of tour. Following the first night’s monumental throwdown, the band and crowd came ready to rumble on night two. Jumping right into the thick of things as if coming off an extended setbreak, Phish cranked through “Free” and “Kill Devil Falls” before starting up “Roses.” Out of nowhere, Phish slid into a “type II” wonderland, and nearly fifteen minutes later, everyone—us and them—emerged from only the third improvisational escapade to ever stem from the Ween cover. Though many would select Alpine’s “Fee,” this “Roses” certainly gets my pick for the first set jam of tour. Coming down into “Theme,” the guys kept the energy high with “Axilla” and “Julius” before punctuating the set with “Maze” and, arguably, the finest “Bathtub Gin” of tour.
****
6/22, Riverbend
Wolfman’s, Peaches, Shaggy Dog, Runaway Jim, Light Up Or Leave Me Alone > Wilson, Alaska, Stash, Llama, Buffalo Bill, Saw It Again > David Bowie
Phish stepped off the East Coast and into the “Rust Belt” with a smoking first set in Cincinnati. Lacing their jamming shoes tightly from the jump, the guys dug into a thick “Wolfman’s” to spark the show. The annual bustout of “Peaches” was followed by the first version of “Shaggy Dog” since Fall ’95—and only the third since 1988. A fine-tuned “Jim” led into a dense groove collaboration in, “Light Up or Leave Me Alone.” Phish followed a strong “Stash” with two botched song beginnings, prompting Trey to invite Fishman to play all the songs that start with the drums. Stringing together three rarities—”Llama,” “Buffalo Bill,” and “Saw it Again”—with a “Bowie” closer, the band had clearly come to play on this Friday night.
****
6/28, Deer Creek
Birdwatcher, The Curtain With, Fuck Your Face, Old Home Place, Pebbles and Marbles, Weigh, Chalk Dust, Wolfman’s, Cool It Down, Tweezer, Tela, Stealing Time
One hundred plus degree weather and ridiculous levels of humidity made the first set on Deer Creek’s first night almost unbearable. Sweating by doing nothing at all, one had to pick and choose his place to rage in this opening frame, less he didn’t fall flat on his face. Recognizing the circumstances, Phish responded with one of the more powerful first sets of the tour. Battling the heat with the serene stylings of “The Curtain With,” the band wouldn’t stay relaxed for long. “Pebbles and Marbles” upped the momentum of the set, while “Weigh” and “Chalk Dust” maintained the flow. But when the ferociously danceable trifecta of “Wolfman’s,” “Cool It Down,” and “Tweezer” hit, everything transformed into moisture. The rare Gamehendge ballad, “Tela,” gave everyone a figurative breath of fresh air, before the guys closed the set—a bit anticlimactically—with a standard “Stealing Time.”
****
7/6, SPAC
Runaway Jim, Ocelot, Heavy Things, Back on the Train, Funky Bitch, Tube -> Psycho Killer -> Tube, HYHU > Cracklin’ Rosie > HYHU, Stash, Bouncin, Paul and Silas, Horn, Corinna, Light Up Or Leave Me Alone
Coming off two holiday shows at Jones Beach, things felt primed to explode when Phish got into the woods of SPAC—and explode they did. The band loosened up with a couple tight jams in “Jim” and “Ocelot” before picking up the pace with “Back on the Train” and “Funky Bitch.” Things got nasty, however, as Trey led the band in a “Tube -> Psycho Killer -> Tube” dream sequence. Placing Fishman in the first set, a welcome trend of 2012, the band followed his best Neil Diamond with a demonic “Stash.” Rarities “Paul and Silas” and “Horn” filled the gap before a stellar and unconventional, one-two punch of “Corrina” and “Light Up or Leave Me Alone” slammed the door on the opening frame. The band really let loose on “Light Up,” stretching out the piece into a rousing set closer.
****
Honorable Mention:6/7 Worcester, 6/19 nTelos, 6/30 Alpine Valley, 7/1 Alpine Valley, 7/3 Jones Beach
Though I didn’t select its set as one of the top first frames of summer, Alpine’s “Fee” goes head-to-head- with Worcetser’s “Roses” for frist set jam of the tour. It’s amazing Trey lasted so long without a beat.
****
7.4.2012 – Jones Beach (Graham Lucas via webcast)
First sets—though fun all tour—never made or broke a show. Comprised of bust-outs—large and small—and one or two contained jams, firsts sets largely spoke to people based on song preference. Phish never botched a set this summer, using most opening halves to get some songs under their belt before the main event after dark. But …
While gazing over the summer setlists this past weekend, there were so many great second sets that ordering them one-by-one seemed like an exercise in futility. But as I looked a little longer at the second sets of Leg One, I found that four “tiers” of shows emerged. Using nameable qualities—or lack thereof‑—to separate these tiers, a macro picture of summer emerged. But before we get into analyzing—and overanalyzing—what shows should be where, let’s take a step back to recognize that even the Tier Four shows have solid chunks to offer, and in some cases, more than one. Point being, Phish just played an amazing tour.
The main elements that separated shows were lack of flow or the “fizzle factor.” The first is self-explanatory, while the second refers to a set that started out strong but didn’t finish with authority. The elite sets that made the top tier of Leg One, in my opinion, contain outstanding improv—most often with a centerpiece jam, possess an undeniable flow from beginning to end, and have supporting jam sequences that could be no-brainer highlights of lesser shows. Let’s take a look at these four groupings and then inspect a couple takeaways. Each tier is listed in chronological order. (I wasn’t at Bonnaroo, thus it isn’t included.)
*****
TIER ONE
6/7, Worcester:
Carini -> Taste > Ghost > Boogie On > If I Could, Quinn, Hood > Cavern > Buried Alive Reprise
The opening night of tour featured a second set that can stand up to any of summer. The opening sequence of “Carini” through “If I Could” is pure improvisational gold. Juxtaposed against the mediocre MSG shows over New Years, this tour-opening set felt like an indoor soul cleansing. With central jams of “Carini” and “Ghost -> Boogie On,” there is no question that this set belongs in the upper echelon of 2012.
6/15, Atlantic City:
My Soul, Birds -> Back on the Train > Heavy Things > Twist > Piper > Billy Breathes, Sneakin’ Sally > David Bowie
Atlantic City’s first night has everything I look for in a second set. Start-to-finish flow, a centerpiece jam in “Birds” and incredibly strong supporting sequences of ‘Twist > Piper” and “Sally -> Bowie.” A scorcher through and through, and a set of non-stop adventure, AC’s opening night stole the show down the shore.
This unbelievably cohesive frame of music is centered on a sublime, 45-minute chunk of jamming—“Simple > Light > Weekapaug > Seven Below.” Interlacing “Light’s” jam in “Weekapaug,” and “Weekapaug’s” in “Seven Below,” Phish was flowing like lava on this Saturday night with a modern-sounding symphony. Sparked with “Jibboo,” “Mike’s” and brought home with “Bouncin,” “Julius,” and an outstanding “Slave,” Star Lake stopped for nobody.
6/28, Deer Creek:
Mike’s > McGrupp, Back on the Train -> HYHU > Bike > HYHU > Weekapaug, Caspian > Waves > Bug > Bowie
With an unconventional setlist and a Fishman appearance in the middle of the frame, Phish pulled of one of their most musically impressive second sets of summer. Served in wonderfully packaged pre-and post-Fishman suites, this set flowed particularly well, and several jams jumped off the deep end. Pairing the greatest “McGrupp” that I know with a deeply psychedelic “Back on the Train,” and following Fishman with the seamless sequence of “Caspian > Waves > Bug > Bowie,” this set is an absolute gem. The “Waves” is a tour highlight, and in the running with best versions ever played.
7/6, SPAC:
Chalk Dust, Carini > Sand, Roses Are Free > Punch You In the Eye > Sneakin’ Sally > Ghost > Suzy, Antelope
Phish took no prisoners on the first night of SPAC, putting together one of the finest second sets of tour. Opening with a scathing combo of “Carini > Sand” and focusing on the even more adventurous combo of “Sally > Ghost,” Phish played live without a net on this night. Using “Roses” to ground the set before utilizing “Punch” to launched into its second half, Phish didn’t come close to a ballad in frame of fire. Capping their performance with aggressive runs through “Suzy” and “Antelope,” Phish had the pavilion buzzing long after they left the stage.
This set was hard to keep out of the top tier, but I just didn’t feel it held up to the crème de la crème. Centered on the stellar “Lighteca,” and supported by a “Crosseyed” that all-but-seamlessly segued into a knee-buckling “Slave,” the only other piece of interest was a late-set “Sand.” With songs like “Theme,” Golgi,” and “Number Line” compromising the flow of the set, this one just missed the bar.
Laced with magical interplay throughout, including one of the jams of tour in “Twist,” Cincy’s second set was kept in the second tier due its choppiness. Though “Disease” was glorious, Trey ended it quite abruptly with “Guelah Papyrus,” and after “Roggae,” the final three songs of “Carini > Chalk Dust,” and “Golgi,” felt like they were picked out of a hat. But when focusing on the jams—“Disease,” “KDF-> Twist,” and “Sand > Roggae,” this set packs plenty of improvisational gold.
6/30, Alpine Valley:
Number Line, Carini > Wilson > Golden Age -> 2001 > Rock and Roll > Steam > Piper > Quinn, Hood > Zero
What the first night of Alpine lacks in a centerpiece jam, it more than makes up for with relentless momentum, non-stop flow and several 10-minute gems. Never stopping for air, the band crafted an ultra-groovy first half of the set through “2001,” including a plinko-funk throwdown in “Golden Age.” And then the guys sculpted two standout excursions in “Rock and Roll” and “Piper,” highlighting exploratory playing during the second portion of the set. Filling in the gaps were the only version of “Steam” this year and a show-capping combo of “Harry Hood” and “Zero.” If I weren’t being so stingy with Tier One, this set one could be argued upward. Though the following night at Alpine reached higher highs, this set was a start-to-finish powerhouse. Had there been a significant closer versus “Quinn,” Hood,” and “Zero,” this would be sitting higher.
7/1, Alpine Valley:
Crosseyed > No Quarter > Light -> Ghost -> Back on the Train, Farmhouse, 46 Days, Heavy Things, Joy, Julius
This set is one of my favorite of sets summer through “Farmhouse”—but then the fizzle factor came into play in major fashion. The final segment of the show read like the middle of a first set—“46 Days,” “Heavy Things,” “Joy,” and “Julius.” Though everything was solid, it seemed like the band had shot their load during the first half of the set and coasted to the finish line. Sometimes that’s what it takes for them to reach their highest highs these days—and “Light -> Ghost” is my favorite playing of tour—but the set’s final third certainly keeps it out of the top tier.
7/3, Jones Beach:
Chalk Dust, Sand -> Golden Age, Wolfman’s -> Walk Away, Bug, Fluffhead, Wedge, Antelope
The first night of Jones Beach seems to have everything to qualify for Tier One, but is missing that intangible “x” factor. A smoking opening combo of “Chalk Dust,” Sand -> Golden Age” featured one of the jams of tour in “Golden Age.” And though the band hit a slight stumble between “Wolfman’s” and “Walk Away,” they didn’t fizzle out, following “Bug” with the summery triumvirate of “Fluffhead,” “Wedge,” and “Antelope.” “Antelope”—the first to raise a brow since Utica—provided a late set highlight, but when I had this paragraph in Tier One—and that’s where it started—it just didn’t feel right. Is it because “Wolfman’s” wasn’t allowed to breathe, cut short for a trio of jamless songs? I’m not totally sure. I had a blast at this one, but listen back boils down to “Sand -> Golden Age” and “Antelope.”
This set was one of the hardest for me to place. Though it doesn’t hold up in flow to the top sets, it is played well throughout, and centered on two monster jams in “Light” and “Piper.” Supported by a “Kill Devil Falls” with quite an interesting outro, the rest of the set is just kind of there. The awkward mid-set c0mbo of “My Friend”—best used as a set opener—and “Swept > Steep”—best used as a landing pad for improv—provided a lull in the action, and while Trey shines in “Harry Hood,” nothing else really pops to me. But, damn, “Light” and “Piper” are right up there with the jams of tour.
Kicking off with an explosive combination of “Disease > Sand -> Nellie Kane,” and supported by a late set “2001” that is one of the dark horse gems of tour, this set suffers from a case standarditis right in the middle of the second set in the form of “Mike’s > Makisupa > Weekapaug.” The only real keeper from this one is “Sand -> Nellie Kane,” hence its placement.
6/20, Portsmouth:
Rock and Roll > Tweezer > Free, Guyute, Birds, Hood -> What’s the Use? > Velvet Sea, Possum
Though compared to Portsmouth’s first show, this felt like a colossal triumph, on listen back, I feel this is a very solid tier three show. A quality—though unspectacular— opening combo of “Rock and Roll -> Tweezer > Free” set the table for a huge set, but the band hit some momentum issues with “Guyute” and a standard “Birds.”Hood -> What’s the Use?” is the highlight of the set, even though it’s a sin that the band didn’t follow Fishman back into “Hood.” A “Velvet,” “Possum” pairing closed this night with a whisper.
6/24, Blossom:
Golden Age > Ghost > Sweet Virginia, Rift, Tweezer -> Walk Away > Horse > Silent > Piper > Waste, Antelope
A fun-filled and powerfully-played set peaked with the opening pairing of “Golden Age > Ghost.” Though this sequence was great, albeit chopped a bit too soon, there was little other true meat to the set. The “Tweezer” was pure fire until antics ensued and “Piper,” though short, was notable. A hell of a lot of fun to be at, this isn’t a set with timeless playback quality from top to bottom.
7/4, Jones Beach:
Boogie On, Tweezer > Twist > Taste, Quinn, Julius, Rock and Roll > Horse > Silent, Hood, Shine a Light, Show of Life, Slave
Another front loaded set, Phish’s July 4th edition was centered on a blissful “Twist” and a gorgeously divergent “Harry Hood.” “Tweezer” seemed destined for the stars before the band slipped into “Twist,” and after “Taste,” the guys played an hour of completely standard music, less “Harry Hood.” And when the band followed “Hood,” with similarly mellow song selections of “Shine a Light,” “Show of Life,” and “Slave,” it made me wonder why they no longer use setlists.
*****
TIER FOUR
6/17 Atlantic City:
Drowned > 2001 > Reba, Roses > Chalk Dust > Caspian -> Silent, Bug > A Day in the Life > Disease
Bursting out of the gates with “Drowned > 2001 > Reba,” this set caught the first train to Fizzletown as soon as that sequence was over. Fine versions of mellow songs provide a nice soundtrack to a Sunday night while doing something else, but that’s not what we’re looking for here.
6/19 Portsmouth:
Back on the Train, Rift, Split, Mango, Number Line, Limb, Shine a Light, Lengthwise -> Maze, Cavern, Fire
Portsmouth’s second set amounted to a ninety-minute extension of its first, and were it not for Trey’s entertaining light saber antics, this set would have fallen fairly flat. The show that birthed “tucking” was focused far more on fun and songs than any sort of cohesive jamming. “Split Open” stood out, but that’s about it.
Though the front of this set is front-loaded with a one-two punch of “Disease” and “Sand,” I haven’t found myself revisiting either version very much in favor of others. “Disease” is jammed to completion without ever getting anywhere super-engaging, and after “Sand,” the set kind of fell apart. Trey was certainly having a blast, but when he aborted “Twist” for “Rift,” and the band cut an intriguing “Gin” far shorter than first set versions for a midset “Fluffhead,” serious music didn’t seem to be their concern on this night. A fun Phish set—kind of—I haven’t found much playback value in this one.
7/7 SPAC:
Disease -> Blister in the Sun > Disease > Boogie On, Golden Age -> 2001 > Number Line, Caspian -> Scent of a Mule -> Blister in the Sun -> Scent, Mike’s > Contact > Weekapaug
This is one of those gimmicky sets—like the Moby Dick escapade of 2000—that some fans will treasure and some will yawn at. After a very significant “Disease” stopped off in “Blister in the Sun,” the rest of the set amounted to a standard performance with countless “Blister” teases. Showcasing the playful side of Phish in between two more musically-focused second sets, this one fit fine in SPAC’s three pack, but doesn’t stand very well on its own.
=====
TAKEAWAYS:
It’s pretty clear that the first night of any given stand exploded, and the following shows were composed of its fallout. There were no occasions over the summer where subsequent nights of any given stand clearly outshone the first, less Portsmouth. What’s the reason for this? Who knows. But don’t miss those first shows! It was also pretty crazy to me to have a high-quality set like Blossom’s in the third tier of tour, but that speaks to the consistent greatness of Phish these days. I would genuinely say that there were no bad shows this tour, just varying qualities of good, and that is exactly where we want to be. Phish 2012—it’s been a long ride, but it’s great to be here!
While gazing over the summer setlists this past weekend, there were so many great second sets that ordering them one-by-one seemed like an exercise in futility. But as I looked a little longer at the second sets of Leg One, I found that four “tiers” of shows emerged. Using nameable qualities—or lack thereof‑—to separate these …
Michael Stein is one of the premiere concert photographers on the scene today. With an impeccable sense of the moment, Stein captures priceless portraits of his subjects time and time again. It just so happens that he is also a huge Phish fan. Hitting the road with the band for most of Leg One, Stein has hand selected a 38-shot gallery that represents his favorite shots of 2012 to share with Phish Thoughts today. I want to personally thank Michael for sharing his work with this site for over three years, and here’s to future collaboration! This post provides a preview, but be sure to CLICK OVER to view the rest of his Leg One gallery!
Michael Stein is one of the premiere concert photographers on the scene today. With an impeccable sense of the moment, Stein captures priceless portraits of his subjects time and time again. It just so happens that he is also a huge Phish fan. Hitting the road with the band for most of Leg One, Stein …
Anyone who paid attention to Leg One of summer tour can attest to the incredibly fresh and dynamic jamming on display throughout. Improvisational passages covered insane amounts of ground in a limited time frame, while still moved fluidly between ideas. Though laced with a distinctly modern sound, jams throughout tour, simultaneously, carried a retro feel. The main reason for all of this was the re-emergence of Phish’s central axis: Trey and Fishman.
Traditionally, before the onset of the groove era in 1997, Trey and Fishman formed the improvisational backbone of the band. Fishman had a propensity to follow the ideas of his lead guitarist—an unconventional style, as drummer’s usually lock with their bassist to form the “pocket. Fishman’s co-leadership of jams pushed Trey out of his comfort zone and into original territory. And this unconventional cooperation produced unconventional results—Phish music as we knew it through 1995.
And then came The Cowfunk Revolution of 1997. As the band focused on groove-based playing for the next several years, Trey and Fish moved away from their improvisational partnership. During these years of rhythmic focus, Fish and Mike—with his new Modulus bass—linked up to form the deepest pocket Phish fans had ever heard. Instead of a consistently “moving” in a jam, the band “settled” into funk vamps as Trey, with loops and rhythm chords, and Page, with clav patterns and keyboard effects, painted the top of the music. All of a sudden, the dynamic of Phish music changed completely, ushering in a new wave of fans while many older heads grew disenchanted.
Leg One 2012 (M.Stein)
This summer, however, the axis of Trey and Fish has returned in full force. When listen to any of the jams from Leg One, one can hear Fish following Trey around time and time again. This musical dynamic, not only explains the retro feel of modern jams, but also their density, as the pocket never settles. Profoundly changing the sound of their music and enhancing the adventure of their jams, with their return to their early improvisational ways, Trey and Fish have completely revitalized the band.
When Trey stepped back from a jam this summer, and began to add effects and tonal color, Fish couldn’t fall back on the pocket—because a stable pocket was never there in the first place. More often than not, Fish shifted with Red, morphing into more abstract, minimalist textures, while coaxing fresh ideas from Mike and Page. When this movement happened smoothly, the band showed a clear intent to explore spacier and non-drum directed soundscapes. Many of tours most stunning jams stemmed from these instances—Cincy’s “Twist,” Deer Creek’s “Back on the Train,” Alpine’s “Light,” and Jones Beaches’ “Golden Age” provide but a few examples. At other times, however, when Trey downshifted within a jam, Fish seemed to lose his musical “marker.” If Page or Mike didn’t step up with a new idea quickly, the band’s engine sputtered and lost momentum, sometimes falling prey to ambient fade-outs or abrupt endings. Examples of these alternate occurances—in varying degrees—can be found in Cincy’s “Down With Disease,” Blossom’s “Piper,” Jones Beach’s “Tweezer,” and SPAC’s “Roses Are Free.” All told, however, this new-school/old-school communication has brought the band to new levels of improv over Leg One, and with a little polish, could really shoot their playing into the stratosphere come Leg Two.
The Trey-Fish axis has been central to Phish jamming from the beginning. The quirky and symbiotic musical relationship between the guitarist and drummer has always created a palpable motion within jams—the music was always going somewhere now. That time-warped adventure resulting from dense improvisation has returned in full bloom this summer. Distorting minutes into lifetimes while covering a wide spectrum of feels, 2012 Phish jams are as efficient as ever. Riding the foundation that brought them to prominence, inspired with new ideas, and playing as well as ever, the band is smack dab in the middle of making this summer one of their most memorable yet.
In honor of @RobsGonePhishin, who almost wrecked his car while raging too hard at the wheel to “Boogie On.” Glad things worked out, buddy, we’re glad, glad, glad that you’re alive!
Anyone who paid attention to Leg One of summer tour can attest to the incredibly fresh and dynamic jamming on display throughout. Improvisational passages covered insane amounts of ground in a limited time frame, while still moved fluidly between ideas. Though laced with a distinctly modern sound, jams throughout tour, simultaneously, carried a retro feel. …
Though many different songs took center stage throughout Leg One, the following four jams were undeniably the brightest stars of summer. While “Light,” “Ghost,” and “Golden Age” consistently forged innovative paths, “Sand” consistently brought down the house. Let’s take a closer look at the four improvisational pillars of Phish’s opening run of 2012.
“Light”
The signature jam of the modern era continued to grow expand this summer, as every version provided a totally unique take on the ever-changing jam. Beginning in AC with a hard-edged groove mashup with “Manteca,” and continuing with Star Lake’s new-school venture into a plinko paradise, Phish pushed improvisational boundaries with “Light” each time it hit the stage. At Alpine Valley, Phish wove a minimalist, melody-driven and ethereal tale that transformed into one of the more cerebral highlights of tour. And in their tour finale st SPAC, the guys took the jam for one last joyride, landing in a stunning melodic theme. Sculpting a tour highlight each time they played the song—less a standard run through at Bonnaroo—the boys put “Light” in strong position inb the MVP race. But its main competition would come from a revival story.
“Ghost”
6.30.12 (K.Harris)
Resurrecting “Ghost” from the dead, Phish revitalized their late-‘90s jam vehicle in profound fashion this summer. For the most part, modern-era “Ghosts” had remained a springboard into groove or guitar-led jamming, but rarely a launch into full-band exploration. That all changed on the opening night of tour with a seductively, laid-back rendition that saw the band forge original ground with the tune for the first time in ages. Remaining in the background due to its location at the beginning of tour, it deserves a rightful place at the table with any summer versions. Then came Blossom. Emerging from a standout “Golden Age,” “Ghost” settled into a sinister full-band groove before moving into the abstract on the backs of Fishman and Trey. Getting into a very creative, drone-like pattern, the band was now infusing totally fresh ideas into “Ghost.” And speaking of new ideas, out of a new-age, synth ending of “Light,” came the Alpine “Ghost.” With virtually no time in conventional realms, the band moved into a “live-tronica” sequence that knocked down yet another music door before slithering into a slow musical dungeon. The band also showcased “Ghost” in, arguably, the set of the summer, once again rising from the depths of a jam—this time, “Sneakin’ Sally.” Carving out a stunning version that spent zero time vamping, Phish used one-minded interplay to sculpt a quasi-ambient jam that covered all sorts of ground before a cathartic arrival. Easily the comeback player of the tour, the only question is whether “Ghost” brings home one trophy or two.
“Golden Age”
7.3.12 (S.Lehrman)
In 2012, the band finally decided to settle on “Golden Age” as a jam vehicle. After a demented pinko foray at Super Ball, 2011 only saw the cover come off the shelf as late-set filler. But that all changed this tour. When the song’s first summer outing fused into “2001” at Bonnaroo, the guys found a go-to combo that would come out twice more over the rest of the run. At Blossom, however, when breaking “Golden Age” to open the second set, they stretched it out far more significantly. Following an super slick rhythm sequence, Trey initiated a more intricate groove in which Fish followed right along, soon blossoming into a deep space sound sculpture. Alpine’s version featured delicate textures and plinko theatrics before smoothly moving into “2001.” Jones Beach’s version, however, may be the most complete of tour. Migrating from throw-down funk into a percussive palette, and gradually into a slowed down piece of Floydian psych-rock, Phish jammed this one to absolute completion. Entering a totally different style of music altogether, Jones Beach gets my nod out of the several of tour. Ending with a brief version at SPAC that, again, segued into “2001,” the band capped a run of standout jams from their modern era cover.
“Sand”
7.8.12 (R.MacNeil)
“Sand” has become the Phish’s preeminent launch pad to crack-like grooves. Filled with whole-band, rhythmic passion, each time the guys seeped into the millennial-era jam, everyone knew they were in for a treat. Kicking off the tour with, arguably, the most dynamic version of 2012, the band cranked through eight of the densest minutes of music you’ll ever hear. Laced with melody and evoking the sound of late-’70s Dead, the band annihilated a piece that segued seamlessly into the bluegrass juxtaposition of “Nellie Kane.” AC’s late-set version also popped out of the usual groove, and growled with a bit more guitar-focus than those sandwiching it. Cincy’s late-set version was in the dance floor, melodic variety of Worcester’s and segued smoothly into “Roggae.” But Deer Creek’s “Sand” was far more extended with outstanding—and stylistically diverse—guitar narration from Trey throughout. Jones Beach’s July 3rd version built into a second, consecutive multi-tiered scorcher that touched on several variant textures before landing in a plinkofied, looped out segment that brought them into “Golden Age.” The final version of tour came our of a gnarling “Carini” at SPAC and became the third spotlight version in a row that moved through several distinct segments of lockstep jamming.
Summer’s two heaviest hitters wrapped into one staggering sequence from Alpine.
Though many different songs took center stage throughout Leg One, the following four jams were undeniably the brightest stars of summer. While “Light,” “Ghost,” and “Golden Age” consistently forged innovative paths, “Sand” consistently brought down the house. Let’s take a closer look at the four improvisational pillars of Phish’s opening run of 2012. “Light” The …
