With all of the hubbub surrounding Fall Tour, Phish’s release of their December ‘95 stop at Niagara Falls Convention Center flew way under my radar. I just recently listened to the discs for the first time and I must say, it’s another winner in a recent hot streak of Live Phish drops. This show—a classic even within a classic month—had been begging for the re-master treatment for years, and this shimmering two-setter has finally gotten its due. What a treat it is to get a Live Phish release from such a hallowed era in band history. Much like Hampton/Winston-Salem provided a glimpse into Fall ’97, and Ventura opened a portal to Summers ’97 and ’98, Niagara Falls brings us back in time to December ’95, the home stretch of legendary two-leg, 54-show fall tour on which the band truly realized all the skills they had been honing for years.
Having stretched the limits of abstraction over the courses of Fall ’94 and Summer ’95, Phish spent the fall of ’95 selecting the best elements of this growth spurt and tightening things up into a full-throttle, psychedelic arena rock show. In a matter of weeks following Niagara Falls, the band would play a career-defining show at Madison Square Garden, but on this night on the other side of New York State, Phish cemented another golden block in their yellow brick road of December.
Though this show isn’t a masterpiece of set craftsmasnship, it contains elite, jaw-dropping versions of “Slave to the Traffic Light,” “Split Open and Melt,” “Reba,” “Mike’s” and “Weekapaug.” Additionally the we hear an early incarnation of “Taste” in the second set, at this point called “Taste That Surrounds.” Phish showcased their free form creativity of the era throughout this show, as they dove deep into second-set versions of “Split,” “Mike’s” and “Weekapaug,” taking each jam far off course and forming tour highlights out all three. A “Reba” that sounds like it’s in fast-forward compared to recent versions highlights the middle of this second set, as Trey’s comically confident and exceptionally emotive soloing evokes the sound and intensity of days gone by—a true gem that is often overshadowed by Niagara’s copious highlights.
The first set features an out-of-nowhere version of “Slave” that sounds like it’s plucked from the end of a hugely dramatic frame of music. Unfurled in between “Rift” and “Guyute,” this standout version—which sits in an incredibly delicate space for quite some time—could anchor the opening half all by itself. However, a unique “Curtain > Bag,” a bust out of “Demand” and a full-throttle “Possum” provide solid support.
In short, this Niagara Falls release provides a stellar portrait of Phish’s sound and jamming in one of the most historic months of their career. The band brought all sorts of furious jams to Niagara Falls that December night, though they delivered them within a less-than-artistic setlist. But when Phish drops so many Grade-A excursions on a single audience, how they unfold becomes largely irrelevant. This one is a keeper.
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Niagara Falls CD Giveaway!
Just in time for Christmas, and thanks to the kind folks at Phish Inc., I have three copies of this release to give away! If you’d like to enter your name into the ring, please write a haiku that touches the essence of December ’95. I will pick my favorite 10 entries (and post them), put the names in a hat and draw the three winners. Please have your haikus in to mrminer@phishthoughts.com by 7:30 pm Tuesday (tomorrow) night! Thanks for playing and Happy Holidays from Phishthoughts.com!
