Wow. That felt incredible. The modern world of webcasts and audio streams is an amazing luxury to have when you are at home, but there is just no substitute for the live Phish experience. That goes without saying, as it is the basis of what I’ve written about for years. But having been away for so long, I forgot the visceral feeling of the music moving through you—the immersive three-dimensionality that envelops your being. It is the most beautiful experience I know.

But what happened with the band? Well, they dropped an absolutely monstrous show anchored by an all- time jam in “Simple” that immediately became one of my favorite pieces of music that Phish has ever played. The second set, as a whole, was dripping with elite improvisation, and the first hour of the opening frame set the night aflame with non-stop action. Phish certainly brought its A+ game to the midwest, and kicked off their trifecta at Deer Creek with an explosive affair.

A show opening sequence of “Carini,” “Wolfman’s” and “Sand” reads like a misprint, but the reality was anything but, as Phish came out of the gates with a purpose. “Carini” quickly transformed into an engaging and uplifting passage that instantly set an improvisational tone for the evening. “Wolfman’s” offered some silky and connected funk playing straying just enough from structure to keep it interesting throughout. “Sand” built upon the show’s opening couplet and elevated into another stratosphere all together, as Trey and Page converged in glorious interplay that brought the jam into gorgeous, major-key territory. Page’s piano work really stood out here, anchoring the groove in blissful pastures before Trey took the piece to the mountain top.

Short but legitimately well-played versions of “We Are Come to Outlive Our Brains” and “Tube” rounded out a gripping opening hour of the show. At this juncture, Trey pulled the Delorean out and set the flux capacitor for 1993, resulting in the run of “Nellie Kane,” “Horn,” “Rift,” and Wedge.” The set then concluded with a really hot version of “Walls of the Cave,” and that is something I’m not sure I’ve said before.

But as the bell rang for the main event, Phish came out ready to rumble. And, boy did they ever. Following the set opener of “AC/DC Bag,” the band decided to get the show on the road with a gargantuan version of “Blaze On.” This jam grew unique in that for a long time, the improvisation remained loosely anchored to the rhythms of the song and didn’t posses distinct thematic sections, yet amidst this context, the band was immersed in an elite and free-flowing conversation. In relistening, this extended section struck me as a jazz-based improvisation, not necessarily musically-speaking, but structurally.

After experimenting with alternate tones and effects, Trey emerges with clean, melodic leads, taking the “Blaze” jam into a second stage in which his playing creates a more distinct musical narrative. Following a peak to this section, it became apparent that this would be the jam that kept on giving. The band navigates several more distinct sections ranging from experimental to melody-driven, finally concluding with an extended victory lap in which the band takes the mega long form piece to the top.

Those are a lot of words before getting to the the most epic piece of music I’ve heard Phish play any time in recent memory. Tonight’s “Simple” jam is so astronomically bonkers it had Trey giddily laughing as he brought the band back into the song after plunging the depths of the underworld and the outer reaches of the universe. Fusing space-aged disco, psych-abstraction and seriously heavy groove, Phish crafted a piece of utter lunacy that instantly jumps into the upper-most echelon of all-time jams. I’m not going to even attempt to give a detailed account of this, because frankly it defies any semantic description. It is, in a nutshell, Phish incarnate.

“Harry Hood” felt like the perfect encore for “Simple’s” headlining performance, and the band played a concise and on point version of the hallowed classic to cap off a fantastic evening of Phish. But in a surprise add on, Trey called for “I Never Needed You Like This Before,” which I can see settling into a rocking, set closing utility moving forward a la “Zero” and “S.A.N.T.O.S.”

Damn. What a night. This new era of Phish has quickly become some serious business. As Ron Burgundy said, “Boy, that escalated quickly!” If the current trajectory holds, what is going to be happening by the end of the year? You can save the whales and you can save the toads, but I don’t care if the world explodes…

I. Carini, Wolfman’s Brother, Sand, Lawn Boy, We Are Come to Outlive Our Brains, Tube, Nellie Kane, Horn, Rift, The Wedge, Walls of the Cave

II. AC/DC Bag, Blaze On, Wilson, Simple, Harry Hood, I Never Needed You Like This Before

E. Sanity, Limb By Limb, Say It To Me S.A.N.T.O.S.

Every now and then, Phish crafts a perfect set of music. Such statements are filled with top-shelf improvisation from start to finish, contain an impeccable set list, and feature jams that are stylistically diverse, illustrating just how dynamic this quartet can be at the peak of the their powers. On Wednesday night in Nashville, Phish dropped one of these sets. Twenty-four hours after playing a modest show to open their twin bill in Tennessee’s capital, the band returned to the stage and knocked it out of the park in what has to be considered the best frame of music of their young summer tour.

At their best, Phish are master set crafters who create flowing musical experiences that bring their audience on a thoughtfully contoured journey. Their once drill-bit focus on set crafting has fallen by the wayside a bit in the 3.0 era. These fully realized sets still happen, but they are fewer and further between than in Phish’s hey day. A number of variables create requisite flow for such an artistic statement—set list, transitions, jam length, and musical contrast to name a few. Once again, the band’s second performance in Nashville’s provide an illustration of all of these elements.

Phish sparked the night’s musical fire with an incendiary take on “Mr. Completely.” The band members immediately sounded in sync as they splashed into this jam, and they built a spirited journey that ran the sonic gamut from clean, delicate and nuanced interplay to vigorous, heavily effected soundscapes. Navigating this piece with notable patience, the band members listened and responded to each other diligently.

Breaking out of a quiet ending of “Mr. Completely” with a raucous jolt into “Birds of a Feather,” Phish injected some straightforward rock and roll into the set before stepping right back into adventurous jamming with “Ghost.” A creeping version of the late-‘90s groove machine saw Trey feature his Leslie cabinet to voice his contributions, giving the jam a notably eerie feel. Only towards the end of the piece did he pop back into his clean tone as the band began to consider their next move. It sounded like Mike and Fish initiated the pocket of “Bathtub Gin” well before the band moved into the song, but Trey responded with a tease of “Mr. Completely,” possibly suggesting a return to the set opener. Fish then went along with Trey, bringing back the song’s signature rhythm, but the band didn’t commit, continuing their open-ended jamming. Minutes later, however, they executed a smooth group-wide segue into “Gin” without breaking stride.

A fiery, guitar-led group romp through “Bathtub Gin” provided a stark juxtaposition to the more outward playing heard in the set’s opening two excursions. The clean, largely effect-less interplay invigorated the set with an rollicking energy that really hit the spot.

The final hit of “Gin” transformed into the opening hit of a syrupy “2001” with a tempo that likened the slower grooves of Deodato’s original composition and the Phish’s earliest takes on it. The thickness of the groove even translated through the audio stream, which means that shit was pure goo on the dance floor.

But even after all this action, the best was yet to come as Trey called for the set closer of “Split Open and Melt.” “Split” saw quite the renaissance in 2018, highlighted by the mind-bending epics from The Gorge, Hampton, Las Vegas and MSG. And Nashville’s master work belongs right along side these in the annals of all-timers. At its best, a “Split” jam will blur the line between pure dementia and tight cohesion, as its odd time signature, dark tonal color, and penchant for abstraction create a disorienting psych-laced adventure. This version did all that and then some. The set closing jam began with very intricate and connected interplay in which one could easily follow the conversation, though it ultimately reached a symphonic crescendo where the band collectively played one sound, muddying the boundaries of their four individual contributions into a whole far greater than the sum of its parts. This jam popped out of my speakers live, and held up just as well on multiple relistens —this is a truly elite Phish and the perfect exclamation point on a monstrous set of music.

As the first leg of Summer Tour 2021 reaches its halfway point this weekend, Phish has fully regained their footing after 17 months away. It feels like Nashville’s second performance is ushering us into the second stage of this comeback tour, where the sheer excitement of their return of a crowd has moved through the band and they are back to business in earnest. It is an exciting prospect to think of what the next week plus will bring to fruition, especially as they prepare to step into the hallowed cornfields of Deer Creek. The round two bell is ringing and we are here for it.

I. Evolve, Free, Ocelot, My Sweet One, Cool Amber and Mercury, Halfway to the Moon, Water in the Sky, Theme From the Bottom, Suzy Greenberg, Fluffhead

II. Mr. Completely > Birds of a Feather, Ghost -> Bathtub Gin > Also Sprach Zarathustra > Split Open and Melt

E. Character Zero

*debut

***

I am writing this piece in the air as I travel from the Bay to Indianapolis for Deer Creek and beyond. I made my decision before this show happened, but if there was ever anything to support it, this set was certainly it. I will wear a mask at the shows, first and foremost, by choice, but just as importantly, to respect the band’s wishes. If I feel comfortable at these shows, I will also be going to Hershey and Atlantic City. Thus, I am not sure if I will continue writing or at what pace. But it has certainly been fun to revisit this space after so many years away, so I suspect I will continue in one form or another.  Hope to see some of you out there this weekend!

After bursting from their pandemic-induced hiatus over the weekend as if shot out of a cannon, Phish exhaled on Tuesday night, playing a solid but unspectacular show to kick off their two nights in Music City. One had to expect some element of a hangover after three monumental efforts over tour’s initial four nights, thus I don’t suspect this is much more than a speed bump in the road of summer tour. Each of the band’s second-set improvisational swings bested the one before, culminating with an outstanding, meditative take on “Light” in which they achieved a fully flowing conversation bubbling with ideas. Alpharetta’s “Tweezer” was a hard act to follow, and while fans were primed to digest another epic, Nashville’s opener saw the band regress to the mean a bit.

Following the peak of its composed jam, “No Man’s” pushed forth into some collectively crafted, space-aged textures, but the jam possessed a searching quality without ultimately cohering in any true direction. “Ruby Waves,” however, was played with notably more gusto and purpose, growing into an engaging and satisfying piece of full-band improv. After a choppy and unexpected mid-set coupling of “Possum” and “When the Circus Comes to Town,” Trey decided to give the band one more swing at connecting—and they did.

“Light’s” jam immediately sounded more cohesive than the band’s previous two attempts, and took off in earnest as Trey then Page echoed an eclectic bass offering from Gordeaux. The band reached a different level of communication in this passage, and the rolling, repetitive nature of Fish’s rhythms and Mike’s bass lines created a cerebral tone to the music. Trey played his best leads of the night within “Light,” providing a current to the jam that carried the listener along an inner path. Phish allowed this piece to breathe, leaving more space in the music than in “No Man’s” and “Ruby Waves,” and, as a result, they were able to step back and really listen to one another.

The band capped the set with a standard run through of “You Enjoy Myself.” I am sure it was fun in person, but from the sidelines—outside of “Light”—night one in Nashville just didn’t pop with the same energy or ideation that we heard over the weekend. But such is the nature of human endeavors. Tours always contain fluctuations in output and while we all wanted to see Phish crank out 25-30 minute jams every night, that felt more like a pipe dream than a real possibility. I predict that night two will be more musically significant as the band ramps up towards their three-night stand in Deer Creek this weekend.

I. Punch You in the Eye, Strawberry Letter 23, Sample in a Jar, Halley’s Comet > Backwards Down the Number Line, Undermind, Divided Sky, Mull*, It’s Ice, About to Run, The Squirming Coil

II. Party Time, No Men In No Man’s Land > Ruby Waves > Possum, When the Circus Comes, Light, You Enjoy Myself

E. Loving Cup

*debut

Anyone following Phish’s first week of tour could feel a Sunday night “Tweezer” coming from a mile away. And given the band’s current proclivity for extended jaunts through their second-set centerpieces, one could only imagine what might happen if these two things collided. When they did, the results were drool-worthy. The band set shifted into high gear and let it rip for over 30 minutes straight, crafting a full-throttle epic that has the Phish world buzzing.

Jams this long usually have an ebb and flow to them with distinct thematic sections and movements, but aside from one gorgeous synth-drenched, quasi-ambient passage early in the jam, this “Tweezer” became a relentless groove fiesta through and through. Fishman really pushed the pace and drove this jam, maintaining hard-hitting, punchy rhythms for a mind-numbing length of time. Coupled with Mike’s otherworldly bass work, the two of them maintained a dynamic pocket for far longer than we usually hear. This foundation of groove provided a playground for Page and Trey to play liquid lead lines and funk-laced dance patterns that kept the vibe at 11 for the entirety of the monstrosity.

Though there are subtle shifts within the jam, once the band is in the zone—which happens after a blatant tease of “Esther” in the 15th minute—they achieve a one-minded flow state for the duration in which they channel groove ambrosia directly from Mt. Olympus. During this second half of the jam, it sounds as if their minds shut off and they reach improvisational zen, allowing the music to move through them from the subconscious realm out into the world.

Much like this “Tweezer,” Phish’s three mega-jams thus far in tour, have been more straight forward and energetic rather than abstract and deep. One can hear the band’s enthusiasm and emotion dripping from each melody, beat and bass line. It feels as though they are trying to make up for time lost over the past year and a half, jamming more with instinct and inspiration rather than calculation or thought. Their impassioned improv is jumping off the stage and translating loud and clear, even through audio streams and webcasts far and wide. It almost sounds like the band members have just been released from captivity and are re-discovering what fun it is to jam together. Wait…

It will be interesting to see how second-sets develop moving forward. Will the band’s improv largely come in these larger-that-life packages or will it become more evenly dispersed throughout second sets to which we are accustomed? I’m not saying one is preferred but just observing a shift in contour. Though their have been secondary jams that have encompassed the improvisational fallout from these main events, aside from “Prince Caspian” these supporting excursions haven’t really reached original places. “Twist” kept the jamming going last night, and was certainly engaging if less than groundbreaking. “Piper,” however, did reached some inventive, collectively-built spaces by its ending. The main improvisation of each past three shows, however, has primarily come via the macro-jams of “Carini,” “Chalkdust,” and “Tweezer.”

Sunday night’s vibe was set early on with the one-two punch of “Set Your Soul Free” and “Reba.” “Set Your Soul Free” reached a blistering, feel-good peak that foreshadowed what would follow throughout the night. A particularly slow take on “Reba” and a creative version of “Jibboo” both featured very patient interplay between Trey and Page and carried the clean, emotive soloing that is quickly characterizing much of Trey’s post-pandemic work. Each also provided cathartic peaks that pointed to the more monumental ones that would come in “Tweezer” after setbreak.

That was quite the comeback weekend for the Phish from Vermont! With a full-slate of shows scheduled for this summer and fall, it feels like the sky is the limit for the band right now, as they are—in essence—just getting warmed up. And if crushing 30+ minute “Tweezers” is what they are doing on their first weekend back, what is to come at Deer Creek, Atlantic City and beyond? Time will tell. But first, a stop in Nashville.

I. Buried Alive > Set Your Soul Free, Reba, My Friend, My Friend, 555, Kill Devil Falls, Gotta Jibboo, Sparkle, Thread, Meat, Run Like an Antelope

II. More, Tweezer > Twist > Piper > Farmhouse, Waste, First Tube

E. Sleeping Monkey > Tweezer Reprise

Phish’s third show back from their pandemic-forced hiatus was filled with fiery improvisational highlights, notably anchored by the impeccable guitar playing of our favorite six-string assassin. Armed with his new “4.0 Guitar,” Trey’s tone and dexterity really stood out tonight as he took the helm on most all of the band’s excursions, guiding the music with clean, emotive soloing. Tonight’s shining example of this style of play came in the band’s marathon take of “Chalkdust” that opened the second set. Throughout the jam, Mike and Fish shaped an uptempo, chugging rhythmic course not unlike many “Chalk” jams of lore, while Trey’s inspired guitar narration pushed the plot of this jam into enchanting pastures—a golden thread woven through a captivating musical journey. And when he sometimes backed off into rhythm playing, Page was right there to carry the melodic path with an array of his new school sounds. Though the synergy of the band underlined the entirety of this piece, their one-minded play really popped in its second half where Phish navigated some authentically original textures and Trey’s inventive, melodic eruption reached its pinnacle.

While “Chalkdust” was the jewel of the show and of Trey’s individual showcase, the most boundary-pushing improv of the show came two songs later. After a swanky version of “Steam” came out of “Chalkdust,” the band started up what seemed to be a cool down interlude of “Prince Caspian.” But clearly feeling the flow, the band blew out the jam into a drone, collective sound sculpture that is right up my alley. Hearkening back to their millennial sound of ’99, Phish employed layers of distortion, feedback and blurred, shoegaze effects to craft a sonic exploration that drastically veered from the clean, melodic vibe that has characterized most of their improv of this young tour. Page unfurled more of his modern synth offerings that lent an almost prog-rock element to the tonal psych-art. I really dug this mid-set surprise and would absolutely love to hear further jaunts into this realm this summer.

Phish came out with guns blazing in Alpharetta, playing an improv-laden first set filled with choice bangers. Absent of filler material and stacked with classics and crowd favorites, the opening set illustrated the band’s burgeoning confidence while immediately gripping their audience. When Trey’s playing is really on point, it elevates the band’s structured jamming, creating engaging excursions that are otherwise susceptible to the generic. Examples of this came in the set’s final pairing of “Stash” and “Bathtub Gin,” the two brightest highlights of the first half for me. His playing in “Stash,” specifically shone. Trey, and the band as a whole, built momentum throughout this set, coming out of the gate strong with “Sand” and an extended run through “Everything’s Right,” but gaining cohesion and tightness as they progressed through the opening frame. Trey’s precision with the intricacies of “Foam” provided a signpost of what was to come from him throughout the rest of the show.

As expected, it has not taken long for Phish to find their way again. Possessing telepathy like few bands in history, the band has gotten right back to business and is excelling within days of hitting the stage. After playing together for over 30 years, what’s a year and a half?

I. Sand, Everything’s Right, Turtle in the Clouds, Maze, Destiny Unbound, Foam, Stash, Bathtub Gin

II. Chalk Dust Torture > Steam > Prince Caspian > Golgi Apparatus, AC/DC Bag , Shade, Mike’s Song > Silent in the Morning > Weekapaug Groove

E: A Life Beyond The Dream, Cavern