MR. MINER'S PHISH THOUGHTS

12.28.12, MSG (Graham Lucas)

Despite Phish’s modern renaissance, set craftsmanship hasn’t exactly been one of their strong points since their ’09 return. Their days of meticulous attention to setlist flow have gone by the wayside and, most often, their highlights come as improvisational passages within less than tenacious frames of music. Many times, the band has had a powerful second set in the making only to have its cohesion disintegrate with a haphazard second half. (See 7/18/19, or 9/1 for prime examples.) In their heyday, each song played had a purposeful role in the contour of a set, whether it was an opener, a launchpad, an interlude or a closer, but in the modern era, things have been a bit more piecemeal. Occasionally, however, Phish harnesses their artistry of old and sculpts a set that amounts to more than the sum of its parts, evoking the type of setlist continuity that was once second nature. Today, I present a handful of 2012 sets that fit such criteria. Below the capsule summaries is a poll to see which set you like the most. Enjoy!

6/7 Worcester II: Carini -> Taste > Ghost > Boogie On Reggae Woman > If I Could, Quinn the Eskimo, Harry Hood > Cavern > Buried Alive Reprise

Worcester 2012 (Vogl)

Since 2010, Phish has most often come out on the first night of tours and dropped a monster show. Last summer’s opener in Worcester followed this pattern congruently. The second set of 2012 holds up as one of the year’s best, containing several standout, stylistically diverse jams. One of the hallmarks of strong sets throughout history has been a significant jam right off the bat, and in Worcester, “Carini” provided just that. Migrating from its dark feel into atypically melodic and ambient interplay, this jam stands up as one of the year’s most impressive and overlooked pieces. Spilling into “Taste,” in an unconventional pairing that worked quite well, the band then wasted no time getting back into the thick of things with a sinfully smooth sequence of “Ghost > Boogie On.” By melding “Ghost’s” creative, open jamming with a rousing, guitar-led shred-fest in “Boogie On,” Phish touched on several aspects of their skill set within this non-stop run. After using a gorgeous rendition of “If I Could” as a come down from their improvisational theatrics, the band plugged in “Quinn the Eskimo” as an interlude before closing things out with the classic combo of “Harry Hood > Cavern.” The band brought the night full circle while adding some Phishy spice to its ending by busting into a “Buried Alive Reprise,” revisiting the song that had opened the show.

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6/15 Atlantic City II: My Soul, Birds of a Feather -> Back on the Train > Heavy Things > Twist > Piper > Billy Breathes, Sneakin’ Sally Through the Alley > David Bowie

AC 6/15 (DKNG)

This set from Atlantic City is one of the more glossed over stanzas of Summer Tour. Boasting a liquid-like flow and non-stop jamming, there is no doubting its rightful place among the year’s best frames of music. Phish has long used punchy set openers to get things moving before getting their hands dirty, and in this case they employed “My Soul” in this fashion before diving into a long-form “Birds of a Feather.” “Birds” traveled far outside its conventions into an engaging, high-speed ride that eventually morphed into transcendence, serving a hearty dose of improv at the front of this set. Crafting an unlikely and seamless segue into “Back On the Train,” Phish maintained drill bit focus as they moved into a beefier-than-usual version of their Farmhouse era staple. When they came to the end of “Back on the Train,” Trey used his looping pedal to hint at “Heavy Things” and the band hopped aboard a smooth change into the song, continuing the turn-of-the-millennium era vibe to the set. The action continued with the classic song pairing of “Twist > Piper,” replete with a band-audience exchange of “Woooos” right through “Piper’s” introduction. “Twist” received some extra love, foreshadowing Cincinatti’s break-out version a week later, and AC’s “Piper” exists as one of the year’s most underrated renditions, featuring airtight and melody-based interplay throughout. The rare ballad “Billy Breathes” served as a poignant cool down and immediately following the breather, the guys dropped a fierce set-closing combo of “Sneakin’ Sally > David Bowie.” I have been perplexed why this set hasn’t gotten more attention in the overall discussion of 2012 as it was far and away the band’s strongest Atlantic City offering. Combining high-quality jamming and out of the ordinary song choices, everything came together on the first night down the Jersey Shore.

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6/23 Star Lake II: Gotta Jibboo, Mike’s Song > Simple > Light > Weekapaug > Seven Below, Bouncing Around the Room, Julius, Slave to the Traffic Light

Star Lake (Millward)

Phish’s second set at Star Lake stood out the minute it ended. With impeccable flow, clear structural intent, and plenty of improvisation, this one had it all. Firing collectively on this Saturday night, the band dropped a timeless frame of music in their Pittsburgh-area venue of lore. “Jibboo” got the party started as the band doled out some candy grooves before the scintillating meat of the show. The following 50 minutes—“Mike’s > Simple > Light > Weekapaug > Seven Below”—contained a unified suite that could be argued as the band’s most outstanding playing of the month. Though “Mike’s Groove” dictates a certain structure, Phish hadn’t exactly given the sequence much attention in the 3.0 era. But on his night that all changed. A fiery “Mike’s” gave way to a “Simple” that dripped into ethereal textures, moving things into a more cerebral realm. As the band dissolved into a sparse canvas, Trey came in with the onset of “Light,” and in this selection Phish delivered one of the indelible jams Leg One. Migrating from atonal loops into outright grooves and then into a now-famous calypso paradise, this version set the improvisational bar quite high for the song of the year. Phish closed out the “Groove” with a retro ’97 style take on “Weekapaug” that immediately popped as the most dynamic modern version. One expected the band to insert a breather after this focused four-song run, but instead Trey initiated “Seven Below,” tacking yet another jam onto this mid-set smorgasbord. “Light > Weekapaug” has overshadowed “Seven Below” ever since the show, but “Seven Below” has plenty to offer with its cathartic, full-band exchange. Punctuating the suite with this refined jam, the band concluded the centerpiece of the set. “Bouncing” is often reserved as a classy cool down from a particularly hot sequence and it absolutely fit perfectly in this slot. It appeared that the band would close the night with a serving of blues-rock in “Julius,” but upon its ending, they moved directly into a set-closing “Slave,” thus cementing the artistic contour of the frame.

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8/15 Long Beach II: Rock and Roll > Ghost > Limb By Limb, Guyute, Dirt, Harry Hood > Good Times Bad Times

Long Beach Unofficial (Masthay)

When Phish hit the west coast to start Leg Two, everyone had Long Beach circled as a potential blowout. A tour opener in an old-school area before a high key, three-night weekend in San Francisco had all the ingredients of a must-see show. And when the dust settled, Phish had dropped another spectacular tour opening bomb that contained, arguably, the set of the year. Many of the most successful sets in Phish’s career have started out with an improvisational monstrosity, and “Rock and Roll” kicked off Long Beach’s second half with exactly that. After a stellar opening leg of summer tour, fans looked for the band to stretch things out during Leg Two, and with a twenty-five minute exploratory epic in their first show, the guys got right to business. Spanning so many musical feels, all connected with notable fluidity, this “Rock and Roll” made a massive impact on the fan community. The band was loose, yet so connected, and they allowed this jam to take an organic course. Not focused on a single theme, but rather rolling through many, “Rock and Roll” represented the style of open-ended jamming that the band had been building towards over Leg One. This colossal foray into both darkness and bliss was just what the doctor ordered on a hot August night Southern California. Resolving this madness with a “Ghost” that peaked with ferocious and unrelenting catharsis, the band had crafted one of the year’s most spectacular sequences—and it didn’t take a re-listen to know that. Often overlooked in this frame’s opening run is the seamless move into “Limb by Limb,” a high-flying version that carried all the energy of the previous pairing. “Guyute” served as a well-placed composition after all the wide open jamming, and the band absolutely nailed it. “Dirt” slid in seamlessly as the emotional breather of the set before the most intricate and dynamic “Hood” of the year brought the crowd to its knees. Phish offered a ration of classic rock with “Good Times, Bad Times” to stamp this flawless set complete.

 ***

9/2 Denver II: Sand -> Ghost -> Piper > Twenty Years Later > Lizards, Harry Hood

Commerce City, CO (Stout)

Though Denver’s best music came during the weekend’s first two shows, Phish’s final set of summer was the tightest of the weekend. Only six songs long with no questionable calls, this stanza can make a strong argument for tops of the year. The now-revered Dick’s “Sand” kicked off this fiesta with an extended, three-tiered jam that moved from straightforward groove into a to-die-for middle section of ambient laced rhythms and concluded with a scorching rock peak. Instead of ending the song, however, the band made a silky smooth, calculated segue into “Ghost.” Though this version of “Ghost” didn’t stand out, especially in comparison to the other versions of the year, it served as a solid second-song jam that bridged to “Piper” via another seamless segue. “Piper” launched into the stratosphere quickly, as Trey fired off high-paced licks one after another. The level of interplay in this jam may, in fact, be the most locked in the band was all night as they crushed the compact piece. Phish descended from 50 minutes of non-stop action into a meditative cool down of “Twenty Years Later,” a modern song that was powerfully juxtaposed with “Lizards,” the classic Gamehendge composition that followed. These two songs symbolized the bookends of the band’s career on the final night of a transformative summer tour. And to close out the last set of the season, there was no better choice than “Harry Hood.” This thematic set-ending triumvirate closed an impeccably constructed frame whose craftsmanship hearkened back to a former era.

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12/30 MSG II: Down with Disease > Twenty Years Later > Carini > Backwards Down the Number Line, Julius, Slave to the Traffic Light

12/30 Official (J.Flames)

The second set of December 30th provided the most musically impressive and conceptually crafted stanza of the New Year’s Run. This frame contained a darkness-into-light progression, though the entire vibe changed a bit to abruptly to necessarily label it artistic. The initial sequence of “Disease > Twenty Years Later > Carini” delivered a potent juggernaut of Sith-like sorcery whose menacing pathways were the stuff of dreams. The wide-open improv in “Disease” hit on several different themes while “Carini” got into the most abstract psych rock we’ve heard in this era. Bridged by “Twenty Years Later,” a dark single in its own right, this three-song run is a true anomaly in modern era Phish—the type of sinister music that has been absent from their current repertoire. However, the moment Trey decided that they were done with “Carini,” leaving a blissful tangent hanging in midair, likened someone scratching the record to a stop at a dance party, as he started the awkward intro to “Backwards Down the Number Line.” An iota of forethought could have made this move far smoother, and the jarring transition created the only speed bump in the set’s flow. This change of vibe ushered in the second half of the set, which continued with “Julius” and ended with a staggering “Slave” that immediately put its hat the ring for the top version of 3.0. To compare six-song stanzas, this one contained more impressive jamming than Dick’s, though it lacked the seamless segues that wove together the band’s summer swansong. Which is more important? Well…that is up to you.

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[polldaddy poll=6879744]

Despite Phish’s modern renaissance, set craftsmanship hasn’t exactly been one of their strong points since their ’09 return. Their days of meticulous attention to setlist flow have gone by the wayside and, most often, their highlights come as improvisational passages within less than tenacious frames of music. Many times, the band has had a powerful …

The Sets of the Year Read More »

12.31.2012, MSG (Jesse Herzog)

If any holiday embraces the theme of good times and fun, it is New Years Eve. For their fourth and final show of 2012’s Holiday Run at the Garden, Phish manifested this theme through three sets of high-energy rock and roll. Remaining largely within song structures, the band treated 20,000 fans to a rousing performance while infusing humor throughout the final set of the year. Playing with authoritative command, the band shook the World’s Most Famous Arena for over three hours highlighted by a golden sequence of “Ghost > Piper” in set two. After letting it all hang out on the 30th, the guys got back to polished rock music in their 2012 swan song and showed that even an improvisationally contained show can bring the house down.

12.31 Official (J.Flames)

Upon entering MSG on New Year’s Eve, fans were greeted by a floor and stage covered in Astroturf while “actors” dressed in country club attire were spread throughout the floor playing an array of lawn games such as mini-golf, badminton, and croquet. Additionally, the stage was covered in plant life with trees, shrubs, and assorted flora providing the feel of a true garden. Phish musically referenced their surroundings right off the bat with an out-of-the-blue opener of Ricky Nelson’s 1972 song, “Garden Party,” inspired by his experience at a Madison Square Garden concert. Through the lyrics to the song— “it’s all right now, I learned my lesson well / you can’t please everyone, so you gotta’ to please yourself”—it was clear that the guys had were going to have a blast in their year-end finale, and their musical confidence oozed from their high octane performance all night long.

The meat of the show transpired, as usual, in the second set with an eye-popping run of songs that were connected quite smoothly, though only “Ghost” and “Piper” were given room to breathe. Continuing their modern era New Year’s Eve tradition, “Ghost” transformed into the improvisational centerpiece of the night. Sparking the jam with hard-edged playing, the band united in a section of groove that saw all members contribute equally to the mix. Before long, however, the guys followed Trey’s lead out of conventional territory into an uplifting plane of harmonic convergence. Sprouting patient and soul-caressing leads, Trey spearheaded the most transcendent passage of the evening. Cascading guitar melodies brought the jam to its peak while coaxing spot-on piano accompaniment from Page. Reaching a plateau of creative reverie, the guys had, once again, sculpted a phenomenal New Year’s Eve “Ghost” to go along with the standout versions from ’09 and ’10. A mellow denouement to the jam brought the music smoothly into “Piper.”

12.31.123 (Jeff Thomas)

Juxtaposed against the beautiful music of “Ghost,” Phish blasted off into a full throttle version of “Piper.” Trey carved out gritty leads amidst a musical fury in which the band connected as well as they did all night. This high-speed chase upped the intensity of the second set and never relented as the band flexed their improvisational muscle throughout this torrid rendition. Trey’s leads and rhythm chops stood out at the guiding force of this voyage as he dictated the path and tempo with Fishman tightly glued by his side. When the jam did finally come to an end, the guys only took a moment to merge with the most prolific song of 2012, “Light.” Placed in the middle of the New Year’s second set, a monster version of the seminal jam felt imminent. Trey took a spectacular solo within the contained portion of the jam—something he did in virtually every selection of the night—but when the time came for the band to spring into the ether, they, instead, relaxed into an ambient washout and revved up “2001.” Keeping the setlist moving where it might have benefitted from a bit more improv, the guys closed the set with a run of “2001,” “Horse > Silent,” and “You Enjoy Myself,” none of which separated themselves from average versions. The second set, however, featured non-stop action from start to finish, and a certain flow to the action, fitting the vibe of the show congruently.

12.28.12 (G.Lucas)

Who knows what prompted the band to create a golf-themed third set of New Year’s Eve—perhaps it’s a hobby of their golden age (Trey and Page’s at least!) or perhaps it was a natural extension of “Kung’s” runaway golf cart marathon that was actually staged during “Chalk Dust”—but as usual, the band took it the extra mile. None of my friends nor I picked up on the golf-themed setlist in real time, but when I saw a tweet about it after the show it seemed hilarious that we hadn’t noticed. “Sand > Wedge,” “Fly Like an Eagle,” “Wilson,” “Lawn Boy,” “Driver,” and “Iron Man” made up the post midnight set, all with a golf references right in their titles. Later someone noted that “Party Time” (Par-Tee Time) kicked off the comic-laced set, leaving only “Tweezer Reprise” as the only non-golf related song in the set, but what an exclamation it made for the midnight hour! Following a rambunctious golf cart marathon within a compact “Chalk Dust,” the band, with assistance of their trusty New York City dance troupe, counted down to midnight. And after the tradition of “Auld Lang Syne,” they busted into their most adrenalized song in their catalog (which had been looming since the 28th) to ring in 2013, “Tweezer Reprise.”. Complete with strobe lights, dancers and a diva, Carrie Manolakos, belting out vocal melodies alongside Trey, “Reprise” created quite the midnight festivity!

“Tweezer Reprise” (J.Thomas)

Once the balloons had dropped and hugs were exchanged throughout the crowd, the band kicked into 2013 with a scorching dance session in the first ever third-set version of “Sand.” Though the show’s final set played out without much jamming, the band managed to throw three entertaining curve balls into the stanza with the debut of Steve Miller Band’s seventies anthem, “Fly Like an Eagle,” a rearranged, a cappella version of “Lawn Boy,” and the first full version of Black Sabbath’s “Iron Man” with Page playing the role of Ozzy Osbourne. Once again, fun was the pervading theme of the night.

Page recognized the onset of Phish’s 30th anniversary year during the encore, a year that allegedly holds a large touring docket the band. But this night was about finishing 2012 in style. This New Year’s show ended what was unanimously heralded as the band’s best year since their 2009 return, and in the heart of New York City on a stage they have made their home, Phish delivered a robust and celebratory performance. Thirty years deep and still going strong—only the Phish from Vermont.

I: Garden Party*, Possum, Roses Are Free, Rift, Sample in a Jar, Alaska, Mike’s Song > Walk Away, Weekapaug Groove, Character Zero

II: Birds of a Feather, Ghost > Piper > Light** > Also Sprach Zarathustra > The Horse > Silent in the Morning, You Enjoy Myself^

III: Party Time, Kung > Chalk Dust Torture > Auld Lang Syne > Tweezer Reprise^^ > Sand > The Wedge > Fly Like an Eagle*, Wilson, Lawn Boy#

E: Driver, Iron Man##

*debut, **Auld Lang Syne tease, ^Birds of a Feather tease, ^^With Carrie Manolakos on vocals and backup singers, #a cappella, ## first full performance

12.31.12,  MSG (Richard Lawless)

If any holiday embraces the theme of good times and fun, it is New Years Eve. For their fourth and final show of 2012’s Holiday Run at the Garden, Phish manifested this theme through three sets of high-energy rock and roll. Remaining largely within song structures, the band treated 20,000 fans to a rousing performance …

Golf Shots in the Garden Read More »

A Live One – 1995

On Twitter yesterday, while groveling for post ideas, @KevinMSpence and @david_artis each suggested “remaking” studio albums with live selections; forming a playlist that would look like the album, but contained all live music. For today, I took that exercise and twisted it a bit. When Phish dropped A Live One in 1995, it was their first-ever official live release. The double-album was filled with cuts from 1994, and released to give mainstream audiences a taste of what the band’s heralded concerts sounded like. Since 1995, the band and technology have come a long way, and now every live show is released within hours, making the concept of a “live album” totally obsolete. But what would A Live One look like if it were re-conceived today in order to showcase the past two years? Maybe a little something like this…

DISC ONE

Bouncing Around the Room” 6.17.11, Charlotte, NC

This was a “pick ’em.”

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Stash” 10.31.10 I, Atlantic City, NJ

My favorite “Stash from this era.

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Gumbo” 5.28.11 I, Bethel, NY

Packed in the middle of a monster set.

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Nevada

A Live One had “Montana,” a 2 minute and 4 second excerpt from an exploratory “Tweezer” played in Bozeman, MT. Well, this is 3.0, and “Tweezer” ain’t what she used to be, so I took a 2 minute and 4 second excerpt from one of Phish’s most exploratory jaunts this era. Can you tell what it is?

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You Enjoy Myself” 6.13.10 II, Hershey, PA

The Hershey “YEM”—it’s whaley, but it’s good.

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Chalk Dust Torture” 8.16.11 I, Chicago, IL

A furious first set version.

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Slave to the Traffic Light” 6.19.11 II, Portsmouth, VA

A gorgeous, mid-set masterpiece.

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DISC TWO

Wilson” 7.3.11 I, Watkins Glen, NY

One of the top performances of this song ever.

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Tweezer” 9.3.11 II, Denver, CO

One of the defining jams of this go-round.

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Simple” 8.6.10 II, Berkeley, CA

An all-time version of “Simple” from The Greek.

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Harry Hood” 12.28.10 II, Worcester, MA

One of everyone’s favorite tracks on the original album was “Harry Hood,” and this time it’s back with a vengeance.

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The Squirming Coil” 8.19.11 E, Lake Tahoe, CA

A Live One – Back Cover

The first and only “Coil” that came to mind when making this list.

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On Twitter yesterday, while groveling for post ideas, @KevinMSpence and @david_artis each suggested “remaking” studio albums with live selections; forming a playlist that would look like the album, but contained all live music. For today, I took that exercise and twisted it a bit. When Phish dropped A Live One in 1995, it was their first-ever …

A Live One: 3.0 Read More »

12-30-2010—MSG (Graham Lucas)

The time between Fall Tour and New Year’s Run did little to derail Phish’s building momentum. Set to return to Worcester and Madison Square Garden—the exact venues of the ’95 Holiday Run—for an unprecedented five nights, fans were flying high to take on the most extensive year-end run in history. And the band’s playing did not disappoint. Though only one of the five shows really came together as a complete two-setter (1/1/11), the run produced ample highlights as the band completed a tremendous year of progression and playing. It would be almost six months before we greeted the band again in Bethel, but after the holiday run—the musical exclamation point on 2010—the time felt a heck of a lot different than this off season does.

2010’s Holiday Run featured six central jams—”Seven Below -> What’s the Use?,” “Harry Hood,” “Tweezer,” “Sand,” “Ghost,” and “Simple”—and plenty of supporting music to go along with them. Today’s playlist is comprised these selections and more as we continue our audio retrospective on this era.

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Seven Below -> What’s the Use?” 12.27 II

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Wolfman’s Brother” 12.28 I

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Harry Hood” 12.28 II

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Bathtub Gin” 12.30 I

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Tweezer” 12.30 II

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Sand” 12.31 II

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Ghost” 12.31 II

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YEM -> Manteca -> YEM” 12.31 II

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Twist > Simple” 1.1 II

The time between Fall Tour and New Year’s Run did little to derail Phish’s building momentum. Set to return to Worcester and Madison Square Garden—the exact venues of the ’95 Holiday Run—for an unprecedented five nights, fans were flying high to take on the most extensive year-end run in history. And the band’s playing did …

TTFW: The End of 2010 Read More »

10.30.10—Atlantic City, NJ (Dave Lavery)

Following a festival slot at Austin City Limits, Phish’s fall tour of 2010 began in earnest with an intimate three-night stand a Broomfield, Colorado. While these shows didn’t hold up as tour highlights come, they were a solid starter pack for what would be the band’s best 3.0 tour to that point. This tour contained several indelible trends, and the first began in Broomfield—”Light” as a vehicle for quickened groove. What had been primarily an abstract and “ambient”-slanted jam, transformed in Broomfield, upping the song’s potential for improv, and several stellar versions would follow. Another Fall trend was the transformation of “Carini” into a blissed out jam. The band took the demonic piece and continuously flipped it upside down, transforming its path into melodic realms. Finally, durng Fall 2010, “Sand” evolved from a platform for guitar fireworks into a whole-band jam, and was a centerpiece of fall. Surrounding these metamorphoses, Phish’s musical efficiency and proficiency both soared, but the band’s lock-step jamming didn’t fully click until their second performance in Charleston. From that point, Phish traveled north for the rest of the tour—two weeks that saw the band’s consistency return like never before in this era. Less Amherst, the band ran off a stretch standout performances in Augusta, Utica, Providence, Manchester, and three in AC. When this tour ended, the community was flying high as the band seemed destined for greatness again. Today’s playlist—featuring a few more than ten tracks—brings us back though the hottest stretch of Fall 2010.

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Crosseyed and Painless” 10.16 II, Charleston, SC

A three-tiered beast of the likes we rarely hear this era.

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2001 > Tweezer” 10.16 II

A high-octane, mid-set pairing from the band’s fire-stoking show.

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Light” 10.19 II, Augusta, ME

My pick for the version of Fall, combining both groove-based and abstract elements.

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Reba” 10.19 E, Augusta. ME

Out of nowhere Phish dropped one of the elite “Rebas” ever.

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Run Like an Antelope” 10.20 I, Utica, NY

The Utica “Antelope” went where no modern version has been before or after.

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Split > Have Mercy > Piper > Split” 10.20 II, Utica, NY

The unforgettable sequence from Utica’s second set.

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Rock and Roll > Carini” 10.22 II, Providence, RI

Some avant-garde psychedelia into, arguably, the “Carini” of tour.

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Light” 10.26 II, Manchester, NH

A groove-centric rendition that saw a reprise of the “Alumni Blues” funk from the opening set

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Ghost -> Mango” 10.26 II

A fierce “Ghost” that, for some reason, doesn’t get mentioned much.

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Cities” 10.29 I, Atlantic City, NJ

Atlantic “Cities.”

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Sand > Carini” 10.29 II

Two staples of tour came together in the opening show of AC.

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Chalk Dust -> Whole Lotta Love -> Chalk Dust” 10.30 I

Was this a Halloween trick or tease? During setbreak, opinions varied.

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2001 > David Bowie” 10.30 II

After the Zeppelin antics, the band got down to business at the end of the 30th.

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Stash” 10.31 I

The improvisational beast of Halloween.

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Fat Man In a Bathtub” 10.31 II

The kick off of one of Phish’s more fun Halloween sets ever.

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Spanish Moon” 10.31 II

The highlight of “Waiting For Columbus” that we are still waiting to see reemerge.

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2012 Champion: “YOU ENJOY MYSELF”

From Trey is My Friend: “Congratulations to “You Enjoy Myself!” You have won the 2012 Phish March Madness tournament! What a final game… there were probably 20+ lead changes with both teams refusing to bow out without a fight. “Tweezer” was up by 5 votes with 15 minutes to go but “YEM” was able to scrap back in the final few ticks and win by a score of 546-540. Wow! what a great way to finish an amazing tournament. Thank you all so much for making it so fun and so interesting. I’m kinda sad it’s all over :tear: but I’m so happy it was an exciting finish. Thank you once again for voting over and over again and keeping things interactive. Cheers everyone!”

Thanks for participating!

Following a festival slot at Austin City Limits, Phish’s fall tour of 2010 began in earnest with an intimate three-night stand a Broomfield, Colorado. While these shows didn’t hold up as tour highlights come, they were a solid starter pack for what would be the band’s best 3.0 tour to that point. This tour contained …

TTFM: Turning It Up—Fall 2010 Read More »

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