Coventry. The mere mention of the word makes any Phish fan cringe. But here we are, ten years later, on the heels of Phish’s sixth summer tour since their return and on the brink of their fourth fall tour in six years. One can say we’ve come a long way from the mud ridden disaster that was Coventry in 2004. Sometimes the universe just provides the exact combination of elements to match a particular mood, and between the traffic debocle, the mud-soaked concert field, and fans being turned away from the site in cars while others hiked in, everything about this weekend was an absolute fucking trainwreck. And then we had the band. In what was supposed to be their swan song, the came out in arguably the worst form of their career—in every way. Despite a few highlights over two days, the music, overall, matched the vibe of the festival as well—an utter fucking mess. Calling Coventry a travesty would be the understatement of the century. It was really that bad. If you need any memory of just how bad it got, watch some footage of the final night. Viewer discretion is advised. There wasn’t much takeaway from that weekend in Vermont, other than Phish was gone, and this time it was for good.
And somehow, I was ok with it all. I was devastated when Trey announced that they were done, but at Coventry, everything was already a foregone conclusion for me and I wasn’t all that traumatized by the events. I just knew things couldn’t be right with the band, because they just played their farewell festival without dropping “Tweezer.” And that’s not a joke, but a funny truth. There was no stepping into anything that weekend except mud, and lots of it. I remember walking back to our RV after the final show and just seeing abandoned shoes stuck in the mud, and somehow it felt like an apt analogy for the entire weekend. You had to just let go to enjoy yourself at all, even if it meant leaving your shoes behind. Phish was done and this was one last hurrah. But the irony was that there was very little joy at Coventry, and it was hardly a hurrah.
Coventry (sensiblereason.com)
When they say the crowd went the way of the band in this era, its no joke. I didn’t have to look further than my own RV and my closest tour friends to see the effect that oxycontin and other hard drugs had taken on our scene. I was always someone who kept it lighthearted, I got spun and smoked weed all night, but I never saw the point in the “post-show” drugs. At some point, things shifted for some of my friends, as I’m sure they did for the band, and the entire tour experience became intertwined with hard drug use that went far beyond any recreational habit. Band members, my friends and way to many people in our community were in the grips of the same drug that had its grips on the nation, the semi-synthetic opiate named oxycontin that had become easily attainable in America during this time. It is a drug that chips away at one’s character and zest for life as quickly as it does their health, and in retrospect, it’s amazing Phish cranked out the music they did that summer. Leg one was solid the whole way through, and they had even played a fairly strong two-night stand at Great Woods just before Coventry. Through all the substances and internal issues, the band could still jam. Their composed playing had gone the way of the wind, but those guys could jam up until the end. Just about.
Many people say that they knew Phish would be back. I wasn’t one of those people. I took it at face value. Phish was done. I had to in order to put it all behind me and move on. After a little bit, it almost became easier to live a normal life without Phish, because I didn’t want to leave town every couple months for weeks on end. I didn’t have to make excuses to families, employers, schools and beyond in order to sneak off onto the astral plane with Phish. But throughout the band’s five year absence, I never found something that spoke to me as personally as Phish had, thus when I heard they were coming back, this entire blog began as a place to simply process my thoughts. I guess those people were right, because Phish came back, and they came back in a big way. Though it took a couple years to shake off the rust, Phish had climbed back to prominence, adding chapters upon chapters to their legacy that few dreamed possible. Thinking back to Coventry now is like remembering a bad dream from long ago. I can still relate to the emotions of the weekend, but they don’t sting any more because we are six years into a new era. Now we can all legitimately say, imagine what our lives would be if Phish hadn’t come back? And that, my friends, is pretty damn sweet.
Coventry (fredshead.org)
Coventry. The mere mention of the word makes any Phish fan cringe. But here we are, ten years later, on the heels of Phish’s sixth summer tour since their return and on the brink of their fourth fall tour in six years. One can say we’ve come a long way from the mud ridden disaster …
I must admit, in ranking shows, I am essentially ranking second sets. There were a couple first sets that stood out over others this tour, but at the end of the day, when thinking back and spinning these shows, it’s all about the second sets. There were no first sets that were strong enough to sway my decision making process, so there’s my disclaimer. And therein lies the reason for a couple of rather tight calls on this list of shows. As always, thanks for reading!
Honorable Mention: 7/3 SPAC, 7/5 SPAC, 7/18 Chicago, 7/19 Chicago
10) 7/8 The Mann Music Center, Philadelphia, PA
This show breaks into the top ten on the strength of its “Fuego,” the second best jam of tour, and its late-set sequence of “Ghost > 2001 > Harry Hood.” Though Trey shanked the “Tweezer” jam, there is more than enough meat to carry this one. The story here, however, is the monumental “Fuego” jam that still stands as the song’s most developed and prolific outing.
I: Axilla, Gumbo, Taste, 555, Tube, Halfway to the Moon, Camel Walk, Sparkle, Halley’s Comet > It’s Ice, Ocelot, Walls of the Cave
II: 46 Days, Fuego > The Line, Backwards Down the Number Line, Tweezer > Ghost > Also Sprach Zarathustra > Harry Hood > Tweezer Reprise
E: Possum
***
7.16.14 (Jesse Herzog)
9) 7/25 PNC Amphitheatre, Charlotte. NC
Living in the shadows of the Merriweather stand since the weekend they both happened, Charlotte’s performance actually has quite a bit to offer. This show’s centerpiece is a long form “Chalk Dust” that stands second only to Randall’s in summer’s top versions. The seamless sequence of “Fuego -> Twist -> Circus” boasts tour’s most impressive segue between the latter two songs, and summer’s most intricate and variant “Reba” popped up late in the second set. Trey’s “riftcord” in the “Piper” jam was the only blemish in this set, and Charlotte has one has one of my favorite first sets taboot.
I: Mike’s Song > Back on the Train > Weekapaug Groove, Wingsuit, Possum, Tube, My Friend, My Friend, Winterqueen, Beauty of a Broken Heart, David Bowie, Golgi Apparatus
II: 555, Chalk Dust Torture > Fuego -> Twist -> When the Circus Comes, Piper > Rift, Waiting All Night > Reba > Character Zero
E: Loving Cup
***
8)8/1 Amphitheatre at the Wharf, Orange Beach, AL
Phish’s first visit to the Gulf Coast resulted in a smoking second set that featured the jam of the south in “Down with Disease” and an original “Tweezer” that reached a gorgeous musical space. Pairing “Fuego” and “Slave” in the middle of the set and then closing things out with a seamless mashup of “Boogie On” and “Antelope,” Phish brought their best Southern effort on the three-night run’s opening night. A rock solid set of music gave the Phish-starved deep South something to write home about.
I: Chalk Dust Torture, The Moma Dance, Heavy Things, 555, Rift, 46 Days, Tube, Devotion To a Dream, Wolfman’s Brother, The Ballad of Curtis Loew, Free, Character Zero
II: Down with Disease > Theme From the Bottom > Tweezer > Prince Caspian, Waiting All Night, Fuego > Slave to the Traffic Light, 2001 > Boogie On Reggae Woman -> Run Like an Antelope
E: Bouncing Around the Room > Tweezer Reprise
***
7)7/26 Merriweather Post Pavilion, Columbia, MD
This second set flowed like water from start to finish and boasts plenty of high quality improvisation throughout. The jam of the show is a toss up between the ‘70s-rock infused “Ghost” jam and the avant-garde fusion that went down in “Light.” Each of these jams is quite good and of completely divergent feels. The opening run of “Carini -> Ghost -> Steam” came off without a hitch and a contained but blistering “Harry Hood” capped things off. A true powerhouse Phish set.
I: Sample in a Jar, The Moma Dance, Wombat, Backwards Down the Number Line, Roggae, The Wedge, Wolfman’s Brother, Nellie Kane, Lawn Boy, The Line, Stash, Suzy Greenberg
II: Carini -> Ghost > Steam -> The Mango Song, Monica, Light -> Also Sprach Zarathustra > Harry Hood
E: Julius
***
Portsmouth Official (Kelly)
6)7/30 nTelos Pavilion, Portsmouth, VA
Portsmouth’s second performance was far and away the best show Phish has ever played in the intimate nTelos Amphitheatre. It was always a treat to see Phish in such a small outdoor venue, but the shows there have always been medicore. That changed this year in a big way on night two, as Phish dropped only the third “Fuego” jam of tour (and first since Philadelphia almost three weeks earlier) and it was a keeper. The band was locked on this night and it showed in “Fuego’s” deep groove throwdown, a vibe that continued with the second-ever “Meatstick” jam (and first since 7.15.99), a funktastic piece that eventually bled into one of tour’s “Pipers.” This set boasted flow, bust-outs, surprise jams and just about everything you’d want in a Phish set (except a powerful closer).
I: Bathtub Gin, Devotion To a Dream, Yarmouth Road, Guelah Papyrus, Alaska, It’s Ice, Poor Heart, Mountains in the Mist, Meat, Stealing Time From the Faulty Plan, David Bowie
II: Fuego > Gotta Jibboo, Meatstick > Piper > Billy Breathes, Seven Below, Waste, Backwards Down the Number Line, First Tube
E: The Lizards
***
5)7/20 Northerly Island, Chicago, IL
I’ve totally come around on this show, as I was in a poor headspace that night, and the back half of this set completely smokes! This is a “Mike’s Groove” to be reckoned with, as the band not only split open “The Wedge” like never before, crafting one of tour’s best jams out in the unlikeliest of places, but they followed it up with an incredibly unique “Ghost” jam that was as dark as “The Wedge” was light. A smoking “Weekapaug” this closed the “Groove” emphatically and an above average “Disease” kicked things off in a set that flows from start to finish, despite an unneeded “Theme.”
I: Gumbo, Runaway Jim, Tela, The Line, Scent of a Mule, Bathtub Gin, Silent in the Morning, Maze, Ocelot, Walls of the Cave
II: Down with Disease > Winterqueen, Theme From the Bottom, Mike’s Song > The Wedge, Ghost -> Weekapaug Groove, First Tube
E: Character Zero
***
4)7/12 Randall’s Island, New York City, NY
When this second set ended I called in perfect. With everything it its right place, Phish played an airtight frame of music with highlight jams all over. “Ghost” is the true centerpiece of the set, a patient journey through rock and downtempo realms. A stunning “Harry Hood” closes things out, and an intricate and ambient “Carini” started things off. Tour’s only “Punch” opened the set and tour’s only “Rock and Roll” came as a blistering contained rendition. Throw in a strong “Wingsuit” in the middle of the set, and you’ve got—well—a perfect frame of Phish.
I: AC/DC Bag, 46 Days, Yarmouth Road, Devotion To a Dream, Free, My Sweet One, Back on the Train, Halfway to the Moon , Sparkle, A Song I Heard the Ocean Sing, The Line, Run Like an Antelope
Set 2: Punch You In the Eye, Carini > Ghost > Wingsuit, Rock and Roll, Harry Hood
E: Tube, Joy, First Tube
***
7/4 Official (Mumford)
3)7/4 SPAC, Saratoga Springs, NY
Rarely does Phish open a second set with an hour of top-shelf improvisation but on July 4th that is exactly what happened. And they did it in grand style, debuting “Fuego’s” jam with an exploratory, twenty-minute excursion that peaked in tour’s most sublime moment. From the new to the classic, the band slid into a run of “Disease > Twist > Light” before ever looking up for air. They coasted to the finish with “Theme,” “Number Line” and “First Tube,” but the damage had most definitely been done. This one was a holiday show to remember, and—easily—the best July 4th show in since 7.4.00.
I: The Star Spangled Banner, 555, Kill Devil Falls, The Moma Dance, Reba,Waiting All Night, Runaway Jim, 46 Days, Rift, Split Open and Melt, The Squirming Coil
II: Fuego > Down with Disease > Twist > Light > Theme From the Bottom, Backwards Down the Number Line, First Tube
E: Character Zero
***
2)7/27 Merriweather Post Pavilion, Columbia, MD
MPP Official (J.Callos)
Night two of Merriweather was a different kind of Phish show. Though breakthrough jams took place in “Tweezer” and “NICU,” the take away from this night was about energy. But not the balls to the wall energy one would associate with a rock show, but the wacky, Phishy energy that was necessary to pull off such a second set at all. This type of setlist trickery and antic/comedy driven show was part of the band’s repertoire in the early-Ninties, and here we were in 2014 witnessing a performance every bit as musically inspired and energetic. Watching the band perform this show was like watching them rediscover their youth. As if shot into some alternate zone by Fishman’s abrupt change of direction in “Tweezer’s” jam, the guys became possessed with a spirit of old—but a spirit that clearly still burns brightly in their hearts today, driving the modern version of Phish. We’ve all seen a lot of shows, and we’ve all seen the guys have a great time on countless occasions, but something was different on this night, they were having a whole ‘nother level of fun as they wove in and out of songs, stopped to jam where the spirit moved, and generally carried on with a zaniness that has lied just below the surface for the most of the modern era. This night was special for us, no doubt, but far more significantly, this night was special for them.
I: Fee, The Curtain With, 46 Days, 555, My Sweet One, Sand, Bouncing Around the Room, Saw It Again, Fuego, You Enjoy Myself
II: Wilson > Tweezer -> Back on the Train -> Tweezer > Back on the Train -> Tweezer > Waiting All Night, Free -> Tweezer -> Simple -> Tweezer -> Free, Catapult -> Slave to the Traffic Light, Down with Disease -> NICU -> Hold Your Head Up > Jennifer Dances > Hold Your Head Up, I Been Around
E: Boogie On Reggae Woman > Tweezer Reprise
***
7.13 Official (J.Flames)
1)7/13 Randall’s Island, New York City, NY
No antics in this one, just the best improvisation of the entire tour in a Hall of Fame hour of music that went “Chalk Dust > Light > Tweezer.” “Chalk Dust” is up there with Phish’s all time jams, easily cracking the upper echelon of that discussion. A true masterpiece that soars out of the gates and then settles into the most intuitive and connected jamming of the summer, this one has replay value for days as it continues to wow with every spin. Showing ultimate composure and exhibiting patience rarely seen in this day and age, the band navigated a near half-hour piece of music that is ridiculously dense and rich, featuring countless feels and soundscapes. But that’s just the first half of the coin. On the backside Phish dropped “Light > Tweezer,” each a standout highlight of its own. The band dripped into a surreal “Mind Left Body” jam in “Light,” and packed the tour’s best “Tweezer” with totally inventive playing, building to a group-wide peak that saw brains explode across Randall’s Island. This first hour of the second set was real-deal Holyfield, sashimi grade Phish that will stand up to anything. Finishing the set with “Velvet Sea,” “Monica” and “Slave,” this one was airtight through the end. Randall’s final performance also boasts my pick for best first set of tour, featuring several juicy selections.
I:Sand, Winterqueen, Reba, Birds of a Feather, Water in the Sky, Possum, Runaway Jim, Bouncing Around the Room, Maze, Split Open and Melt
II: Chalk Dust Torture > Light > Tweezer, Wading in the Velvet Sea, Monica, Slave to the Traffic Light
E: Backwards Down the Number Line > Tweezer Reprise
I must admit, in ranking shows, I am essentially ranking second sets. There were a couple first sets that stood out over others this tour, but at the end of the day, when thinking back and spinning these shows, it’s all about the second sets. There were no first sets that were strong enough to …
This summer tour felt very much about integrating the band’s new material into their live show. Having debuted all but one of the songs in a single set lasst Halloween, Phish played seven of their new pieces over the New Year’s Run, but their roles were totally unknown going into this summer. And after twenty-two shows, the guys have sorted most things out, with only a couple selections whose placement remain elusive. Let’s look at a track-by-track analysis of how Phish has worked their newest batch of songs into their summer performances.
“Fuego”—After much speculation, “Fuego” was the only true jam vehicle that developed from Phish’s newest album. Though the song spawned three of tour’s most significant highlights with its SPAC, Mann and Portsmouth outings, “Fuego,” was still hard to pin down, as it was played far more times without a jam than with one. Perhaps this was due to the band’s “Everyone Gets a ‘Fuego’ (Except Pelham)” policy, and they decided that it would be overkill to improvise from the song at every tour stop. Perhaps they didn’t even think this deeply about the issue at all. But when the promotional dust settles on Fall Tour and “Fuego” slides back into regular rotation, I bet we see it extend into a jam more regularly. The band has already proven how prolific a springboard it can be, as they crafted three twenty-minute excursions from the title track, all plunging different musical depths. One commonality between all three jams, however, was the group-wide patience that allowed the guys to collectively explore and discover some awesome spaces. Between SPAC’s unforgettable peak, the Mann’s bliss-turned-funk theatrics and Portsmouth’s clav-laced groove workout, “Fuego” has certainly proved its value quickly this summer. And we have only begun to see what this piece has in store. (Check out Philly’s version here.)
Chicago (Graham Lucas)
“The Line”—Despite placing “The Line” just about everywhere in their show this summer, Phish still hasn’t found a routine use for this song. The two most common placements have been in the middle of the second set as an interlude between lager improvisations, and as a standard first set song. I can’t say it has totally failed in its second set role, but its natural place in a show seems to lean towards the first. “The Line” appeared nine times this summer, trailing only “555” and “Fuego.”
“Devotion to a Dream”—This upbeat tune was used solely as a first set song this summer and that seems just right. Phish paired “Devotion” with “Wolfman’s Brother” on three of its last four outings of summer, using the two songs as a stylistic juxtaposition within the opening half of shows. I foresee more of the same for “Devotion,” as its structure and vibe don’t lend themselves to the second set.
“Halfway to the Moon”—Unfortunately, I have nothing of interest to report on “Halfway to the Moon.” The band has kept the song harnessed to the first set and has showed no interest in opening up what could be a promising jam vehicle. As previously noted before tour, Mike’s and Page’s songs don’t usually get jams in this era, and the trend continues with this number.
“Winterqueen”—Phish seamlessly integrated “Winterqueen” into their repertoire during SPAC’s opening show as a second set landing pad for the sequence of “Bathtub Gin > Limb by Limb.” “Winterqueen” was also used in this vein following Chicago’s “Down with Disease,” as it appeared in set two on three of five occasions this summer. Its most improvised version, however, came in Charlotte’s first set when Phish pushed the piece beyond its traditional contour for the only time of tour. This song translated incredibly well this summer and brought us “Fuego’s” most pleasant surprise. (Check out Charlotte’s version here.)
7.16/14 (J.Herzog)
“Sing Monica”—Another one of summer’s surprise developments was the emergence of “Monica” as a late-second set rock breather in smoking stanzas of music. Trey called for the song in both Randall’s iconic final set and Merriweather’s opening, jam-heavy performance. “Monica” also appeared in a SPAC encore before “Tweeprise” in much the same vein. But after Merriweather the song disappeared—perhaps because Trey didn’t feel another set of tour was hot enough to warrant the kickdown? Maybe that’s where this song has settled, and who’d have thunk it?
“555”—When Mike’s newest song opened up Charlotte’s second set, the potential of a jam loomed momentarily in the air. But it wasn’t to be, as the song simply kicked off the set before a long-form “Chalk Dust.” Every other appearance of “555” came in the opening set of shows, and that certainly seems to be where Trey likes the song the most. This one could get dirty if they opened it up, but as predicted before tour, it doesn’t seem like that will happen. “555” was performed 11 times in 22 shows, trailing only “Fuego” (12).
“Waiting All Night”—This was another song that slid into rotation with ease, as the band used it effectively as both a second set cool down and a first set single. Interestingly, the band paired “Waiting All Night” with “Reba” on three occasions this Summer, twice being placed poignantly after the revitalized classic. Mike’s bass lines give this one a smooth and groove-based feel in the live setting, and Trey seems to like playing the song quite a bit, as he called for it eight times this summer.
7.16.14 (J.Herzog)
“Wombat”—“Wombat” was just getting loose when Phish shelved it for the tour. In Canandaigua’s first set, the band stretched out the funk number into its most significant incarnation to that point in tour. And then days later they blew it wide open on the first night of Chicago, taking the jam out of the groove realm and into the spiritual and wide open. Phish fully broke through with Chicago’s “Wombat” jam, and then we never heard from the song again. As we left it, however, the jam was just growing legs—and that is an excellent sign for the future. (Check out Chicago’s version here.)
“Wingsuit”—“Wingsuit” found a couple effective slots in shows this summer, most significantly used as a landing pad for improvised, second set passages. Beginning in Randall’s middle performance, the band opened up the end of the song into a “Curtain With”-esque jam, and it became all the more worthy of its second set employment. “Wingsuit” truly came into its own this summer, featuring massive, emotionally-laced crescendos and serving as a powerful infusion of psych rock into the live show. Phish also used “Wingsuit” as a first set closer a couple times this summer, a slot that also felt fitting for the dramatic piece. One place it didn’t work so great, however, was as a mid-first set song, as it seemed a bit too slow as shows were building momentum. (Check out Randall’s version here.)
Alpharetta (Chris LaJaunie)
This summer tour felt very much about integrating the band’s new material into their live show. Having debuted all but one of the songs in a single set lasst Halloween, Phish played seven of their new pieces over the New Year’s Run, but their roles were totally unknown going into this summer. And after twenty-two …
Phish returned to Summer Tour with a monster weekend comprised of two standout shows and one for the record books in the mid-Atlantic last weekend. Following a four-day break, the band has made a concerted effort to deliver the whole package each night to each audience and were successful on three consecutive nights to begin the second half of Summer Tour 2014. Phish certainly hit a stride with these performances and their fluidity has stepped to the forefront of their shows to compliment their already present jamming. Everything has now fallen into place and the guys are in the zone as they approach the final week of a tremendously successful run.
7.16.14, Detroit (J.Herzog)
It became quickly apparent this past weekend in Charlotte and Merriweather, that Phish is serious about their segues again. I’m not sure what, if anything, transpired during the four day break, but the band came back firing off seamless transitions at almost every juncture. Beginning in Charlotte’s second set, the guys wove “Fuego” “Twist” and “When the Circus Comes to Town “ into a seamless suite of music. Even with all of the segues that transpired at Merriwether, the slyest of them all happened when the guys unsuspectingly transformed the “Twist” jam into the tour debut of Los Lobos’ “Circus.” A definitive musical segue with not a momentary glitch, this shift actually deserves consideration beyond just its all-tour status. The transitions continued to fly on the first night in Columbia as the band slithered through a second-set sequence of “Carini -> Ghost > Steam -> Mango” with notable flow. But this second-“leg” trend, though only three days old, came to an immediate head in Sunday’s retro segue-fest, the likes of which hasn’t showed its face in oh, about two decades! Bobbing and weaving in and out of songs with spontaneity and precision, the band treated the audience to an old-school affair in which the excitement generated was as much about what would happen next as it was about the music. Totally in the moment and having a blast, the band tore off countless segues, but the most seamless movement of the night came in the musical palindrome of “Free -> Tweezer -> Simple -> Tweezer -> Free.” Delivering three songs a single piece of music, the guys took the early-set mashup theme to a whole new level with this clever vignette. The entire vibe of a set changes when the band makes smooth transitions between songs, and one would expect this trend to continue through the south.
7.20.14 (G.Lucas)
These artistic transitions helped contribute to the second Mid-Atlantic take away—Phish’s delivery of complete second sets. Though Summer Tour started out strong in this regard, the band’s set craftsmanship took a small dip after Randall’s Island. Phish began to bounce back in Chicago, specifically with their third-night performance, and continued this upward swing with these past three shows. With only one blemish in three main events (Charlotte’s harshly “Rift”-corded “Piper” jam), Phish’s second sets have not only been proficiently smooth, but exceptionally so. This arc was highlighted by Merriweather’s Saturday night performance in which the band threw down a bulletproof second frame. Each segue was considered and artistic, virtually every song contained a legitimate jam, and the entire set went off without hitch. Even Sunday’s wild ride was notably smooth as the band worked through countless shifts between songs and schticks. Phish’s sense of the moment—one of their defining characteristics throughout their career—has returned in full this summer, and no performance illustrates this more than Sunday’s unforgettable affair. The best versions of Phish instinctually know when to pull back and when to push things far over the edge, surfing the energy of the crowd and the moment as well as any performers in history. Sunday night’s show at Merriweather showed us that, even while pushing age 50, the guys can still blend their musical acumen with their sense of the absurd to craft a wacky though virtuoso ride through a unique universe called Phish.
7.16.14 (J.Herzog)
And don’t look now, but two of the weekend’s three first sets were great too! Both Charlotte’s and Sunday night Merriweather’s opening frames popped with energy and musicality. Friday’s first set featured powerful versions of crowd favorites including “Mike’s Song,” “Back on the Train,” “Weekapaug,” “Possum,” “Tube” and “David Bowie,” as well as a quality version of “Wingsuit” and the most improvised “Winterqueen” to date. This amounted to a virtual non-stop barrage of serious Type I jamming throughout Charlotte’s opening set. Sunday’s first frame contained legitimate improvisational highlights in “Curtain (With),” “Sand” and “You Enjoy Myself” and also derived energy through the rarities of “Fee,” “My Sweet One” and “Saw It Again.” On each night, as the setbreak lights came on, one felt like he had already been through a legitimate musical experience, and in the modern era of Phish shows, that makes all the difference.
Meanwhile, the jams have continued to roll. This weekend’s improvisational Dean’s List has two tiers. The first is headed up by Charlotte’s “Chalk Dust Torture” and Merriweather’s “Tweezer” while also featuring Saturday’s “Ghost” “Light” and Sunday’s “NICU.” The second tier includes Merriweather’s “Carini,” “Harry Hood,” and Charlotte’s late-set “Reba.”
As we turn to the final five shows of tour, Phish has their feet solidly under them and the creative faucet locked in the on position. They certainly seem like a band that is primed to slaughter the south in a victory lap of a successful summer tour. Crushing it night after night creatively and consistently, and having the time of their lives, this is Phish live without a net and in their prime once again. Or simply put—this is Phish en fuego.
7.12.14 (Chris LaJaunie)
Phish returned to Summer Tour with a monster weekend comprised of two standout shows and one for the record books in the mid-Atlantic last weekend. Following a four-day break, the band has made a concerted effort to deliver the whole package each night to each audience and were successful on three consecutive nights to begin …
Best Show: 7/13 Randall’s Island Runner up: 7/4 SPAC Best Set: 7/13 Randall’s Island Set II Runner Up: 7/12 Randall’s Island Set II Best First Set: 7/13 Randall’s Island Runner Up: 7/11 Randall’s Island Best Stand: Randall’s Island Runner Up: SPAC MVP of Tour: Jon Fishman Runner Up: Page McConnell Jam Vehicle of Tour: “Harry Hood” …
