MR. MINER'S PHISH THOUGHTS

Boardwalk Hall (Andrea Nusinov)

There was no greater risk that Phish could have taken on Halloween that to buck tradition and deliver a full set of new original songs. Many Phish fans have a notorious reputation for hating on new music as Trey explained in this striking anecdote from Wingsuit’s Phishbill: “Every time we’ve put out a new Phish album —literally every time—a certain contingent of fans has felt that the band they know and love is coming to an end. It’s never true.” He then went to recall how he was heckled in 1990 after debuting “Reba,” one of his fans’ longtime, most coveted compositions. Needless to say, Phish didn’t expect their audience to lap up their newest offerings in Atlantic City, but they put their wingsuits on and did it anyway. And in doing so, they shocked a fan base that thought it had virtually seen it all. Though I never saw this, I heard that many fans were disappointed with the band’s decision. But why? Their reaction made no sense to me. Phish has always used their Halloween sets to guide their playing—a sort of litmus test for where they have been and where they are going. And if the songs of Wingsuit are any indication, we are headed for another intensely creative era of Phish music. Isn’t that we are all looking for?

10.31.13 (A.Nusinov)

One of the most notable aspects of the songs tentatively comprising Wingsuit is their diversity. This will not be a simplistic Phish album. Most of the selections were scribed in four-minded collaboration and reflect a thoughtful and intricate songwriting approach. Strewn with lyrical themes of self-loyalty, making peace with the past, and soaring anew, the title track “Wingsuit” provided the perfect introduction to Phish’s future album, as it opened set two. And from there, the band simply went for it, for there was “nothing to lose.”

Phish didn’t have to take such an audacious risk. They didn’t have to play Wingsuit. The guys could have easily memorized another album from the past and crushed it. It probably would have been easier for them, and far more stress-free. But by choosing the path of least resistance, they would cease to be Phish. Secondly, I bet we wouldn’t all have been listening to Eat a Peach on repeat for a week straight, while allowing the tapes of the most glorious tour in the modern era to lay in waiting. But that is exactly what so many fans have been doing with Wingsuit! And there is no end in sight.

There is nothing quite like new Phish music, and being introduced to Wingsuit on Halloween transformed us into innocent, childlike fans; expectations were an impossibility. This element was one of the coolest part of the Halloween set—collective discovery with zero reference points whatsoever. We—the audience—were discovering the power of these new songs with the band. This was a collaborative exercise; an unprecedented gesture in live music in which—most often—fans come to hear the familiar. How many other bands could step on stage and please their audience with 90 minutes of brand new music? Maybe…zero?

10.31.13 (A.Nusinov)

The Wingsuit set was Phish—dramatically—opening the studio doors to their adoring fans, allowing us to actually be a part of the creative process. This was a dream come true! Out of all the crazy things we had seen this band do over the past 30 years, they had never before played an entire set of new songs. Never. And these songs were written for keeps; a powerful infusion of high-quality music into Phish’s mix in this, their 30th year. Pieces like “Fuego,” “The Line,” “Waiting all Night,” “Wombat” and “Devotion to a Dream” reflect stylistic tangents for the guys, taking them in different sonic directions. Phish didn’t only preview their future album on Halloween, they paved the way for the next prolific era their career.

And now we wait. Not only for MSG’s Holiday Run (which will, likely, include several Wingsuit songs), but for the album, itself, to see which will selections make the cut and in what form. Beyond these upcoming events, however, we wait for the Phish’s next full-fledged tour—seemingly Summer 2014—in which the songs of Wingsuit will come into their own, carry improvisational significance, and begin to find their niche in the annals of Phish history.

“Wombat” w/ Abe Vigoda, 10.31.13 (A.Nusinov)

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More Thoughts on Wingsuit:

My friends over at PleaseMeHaveNoRegrets.com have written a beautiful, long-form essay on Wingsuit. It resonated with me immediately, and I agree with its content in full. I’ve excerpted the beginning of the piece below and provided a link so you can read it in its entirety:

There was no greater risk that Phish could have taken on Halloween that to buck tradition and deliver a full set of new original songs. Many Phish fans have a notorious reputation for hating on new music as Trey explained in this striking anecdote from Wingsuit’s Phishbill: “Every time we’ve put out a new Phish …

What’s Old is Gone Read More »

10.31.13 (Andrea Nusinov)

On Friday night in Atlantic City, Phish was at it again. Playing a scalding hot show to follow up Halloween, the band laid it all on the table with a performance defined by a thirty-year confidence and improvisational swagger. On Fall Tour of their 30th Anniversary year, the guys have synced up like never before, playing jams that are plucked from our dreams, and on this night, they dropped a “Twist” for the ages that we will be listening to for the rest of our lives. While the second set opener was certainly the centerpiece of the night, the show was rock solid through both sets, only suffering a minor song-based lull deep in the second. But even these late-set songs popped in a show where Phish slayed every single piece they touched from the first note through the encore—another precious night of music on a Fall Tour that is quickly making history.

11/1 Official (D.Mumford)

One might have understood if the guys had come out with a mellow set after their marathon holiday show, but in fact the opposite happened—they came out en fuego. Kicking off a night with “Cavern,” an unsuspectingly great show opener, Phish sounded like they had never left the stage. The band picked up just where they had left off the night before, and laid into a second-song “Runaway Jim,” in which the guys got funky early on. In the bridge of the song, the band broke down the typically quiet section into a filthy groove, and Trey stepped to the mic with the lyrics from the theme of  “Shaft!” Shit was getting dirty and it was only the show’s second song. It was at this juncture that we all knew we were in for another quintessential night of Phish. The band then confirmed this notion by dropping a third-song “Sand!”

Usually when Phish plays “Sand” in the first set, it remains fairly succinct and to the point, but this one would be an aberration from the norm. Stretching out the piece into a scintillating groove fiesta that—momentarily—sounded like it might pop out of form, the band was letting loose on this opening frame with playing that sounded like it belonged after setbreak. Both “Halfway to the Moon” and “Halley’s Comet” were performed with authority, as Trey explained that the former would likely be a track on next year’s album. The band moved into their second consecutive throwdown out of “Halley’s Comet” (the last being Hartford’s “2001”), with a ferocious “Tube” that kept the energy of the room sky high.

10.31.13 (J.Silco)

The band nodded to its hot first set by playing Los Lobos’ “When the Circus Comes,” a song generally reserved for cooling down after particularly smoking interplay. Bustouts of “Sugar Shack” and “Jesus Left Chicago” preceded a superb “David Bowie” that served at the opening course’s final touch—and what a start it was!

But—Jesus Christ in the foothills—the “Twist” that opened the second set was simply out of this universe. The level of connection and communication displayed by Trey, Mike, Page and Fish was pushed to another dimension as they wove a majestic tale that leapt—immediately (as in before the set ended)—into the annals of Phish history. Like Jordan or LeBron, Phish has routinely transformed their weaknesses into strengths, and after “Twist” had fallen off the improvisational radar in the modern era, the band has brought the song back with a fury on this fall tour. On this night, they wove a quasi-medley of teases in “Twist,” as the band hit on “Banana Pudding” and Trey quoted The Beatles’ “Get Back” early in the jam, while landing in full blown jam on Queen’s “Under Pressure” late in the excursion. But holy shit, what came in between! Reaching a triumphant stride, the band converged on one of the most cathartic passages of music they have ever played. No fucking joke. Weaving magic out of thin air, Phish blasted into a majestic passage that needs to be heard by all to be believed. This was pure hose to the nth degree, and this segment elevated the room to dizzying—literally unbelievable—heights. The band came out of this magnificent section into the “Under Pressure” jam, and once they saw that through, they moved into music that sounded like the spiritual fallout of the explosive jaunt. Allowing the music to take its course, the band meandered in this milieu for some time, almost sounding like they might build back into “Twist’s” ending, but instead came to rest to a monumental ovation.

10.31.13 (J.Silco)

The band released from “Twist’s” phenomenal excursion by unveiling the first “Jibboo” of Fall Tour, and playing the living daylights out of it. Allowing their audience to get loose to far less cerebral music, everyone appreciated the groovy interlude in order to gather their marbles. Trey must be boning up on his strains, because his pun about smoking OG Kush “under his bush” in “Makisupa” became a running joke for the rest of the show. But first and foremost, the rhyme became the source of a tripped out and layered vocal jam in a heavily improvised version of the song. One could sense another jam vehicle lurking behind this bush, and when the song ended, the guys dropped into “Light.”

Spending a large portion of time juicing the composed jam, the band finally opened things up into some intricate grooves that saw Trey do work on rhythm guitar. This “Light” also featured a third segment that blossomed when the band seeped out of their groove into something more abstract. Patiently building this final segment, they wound their way—kind of abruptly­­—into “Chalk Dust.” And here’s where things got a tad songy. Trey next called for “Meatstick,” “Boogie On,” and “Wedge,” though the first two selections contained extra improvisational mustard.

Phish closed things out with a gorgeous “Slave to the Traffic Light” that fell somewhere stylistically between Hampton’s refined and delicate version and Hartford’s old-school shredder. And just when everyone was catching their breath and beginning to consider their first post-show move, the guys dropped a jammed out “Sneakin’ Sally” encore—with a reprise of the “Shaft” jam—on our exhausted domes! What a freakin’ treat—and a highlight, taboot.

These nights of Phish that we’ve been experiencing since Glens Falls has brought be back—in feeling—to my youngest days as a fan, teeming with excitement and bursting with enthusiasm. But now that we—as a community—are older and more evolved, these jaw-dropping nights of Phish take on such a greater poignancy. Special would be the understatement of the century; sacred is far more appropriate. And with one night left a Fall Tour that will go down in history, let’s all have a night to remember.

I: Cavern, Runaway Jim*, Sand, Halfway to the Moon, Halley’s Comet, Tube, When the Circus Comes, Sugar Shack, Jesus Just Left Chicago, David Bowie

II: Twist > Gotta Jibboo,  Makisupa Policeman, Light -> Chalk Dust Torture, Meatstick, Boogie On Reggae Woman, The Wedge, Slave to the Traffic Light

E: Sneakin’ Sally Through the Alley*

*w/ “Shaft” jam

Boardwalk Hall (Jake Silco)

On Friday night in Atlantic City, Phish was at it again. Playing a scalding hot show to follow up Halloween, the band laid it all on the table with a performance defined by a thirty-year confidence and improvisational swagger. On Fall Tour of their 30th Anniversary year, the guys have synced up like never before, playing …

A Spectacle On the Shore Read More »

10.20.13 (Jake SIlco)

Another day, another monster performance—this is getting just plain silly. Phish has hit a stride unseen since the late ‘90s, crushing shows night after night after night. Reading, Pennsylvania’s tour stop blew up with a second set that was nothing short of masterful. Totaling only six songs (plus “Grind), the main event was—again—served with no nonsense and almost all time spent in deep improvisational space. Jaw dropping jams out of “Down With Disease” and “Twenty Years Later” anchored a stacked up set of music that contained incredible flow from start to finish—another vintage frame of Phish.

10/29 Official (D. Welker)

The band opened Reading’s second set with “Down with Disease,” continuing their fall tour-long streak of new selections every night. And boy, did they make it count. Out of the jam’s wide open beginning, the guys drifted in an atmospheric direction, carving out a beautiful space in the piece’s first stage. But the story of this one would be how it ended. The final segment of this “Disease” was simply astounding, as Phish converged in an earth-shattering, bluesy peak in which Trey tore off championship melodies that sounded all but composed. If the Allman Brother’s Eat a Peach Halloween rumor has any weight, this jam could be an early indication of what is to come. Phish has been capping their jams with blues-based endings over the past year, and this “Disease” is perhaps their best. Pure hose and pure glory.

Tour’s first “Taste” served as a landing pad for “Disease’s” stratospheric excursion, and upon its ending, it seemed that Phish would take a breather with “Twenty Years Later.” What would transpire over the next fifteen minutes, however, was anything but mellow. For the first time in its five year lifespan, the band decided to jam on “Twenty Years Later,” and they went absolutely fucking ballistic. Trey began hitting rhythm licks over the song’s creeping, ominous texture, and before anyone knew it, we were neck deep in menacing dance floor fantasy. This jam provided a portal to the year 1997, as Trey got straight pornographic in this groove-centric revelation. And if this wasn’t enough to quench our thirst, the band moved out of the thick musical jungle into an uplifting final sequence that was also along the bluesy spectrum. And just like that—in less than a set—we had two more jams we’ll be listening to for the rest of our lives.

10.19.13 (J.Silco)

At this juncture, one might have figured that a ballad was inevitable, but instead, Phish kept plugging away and segued into “Piper.” The band exploded into the jam, as Trey let out cries of victory, unleashing furious guitar leads. And then he stepped back into a rhythmic role, slicing the music as the band chugged behind him, locked in relentless attack mode. Without even a tad of complacency, the guys tore this “Piper” to shreds as the third central jam of the set.

The band used an upbeat interlude of “Number Line,” a song whose performances have carried a fresh energy this tour, before closing the night with an old-school, groove-based take on “You Enjoy Myself.” Trey has been playing rhythm more during this tour more than at any time since the band’s ’09 return, and last night he applied these brushstrokes to the band’s classic funk vehicle. The building popped off with this dynamic “YEM,” as the night closed—or so we thought—with notable intensity.

10.27.13 (C.LaJaunie)

When Phish came out with a “Bouncin” encore, one felt that they might finish up with “Antelope.” But no matter what was going through any fan’s mind, I am pretty sure that not single person in the arena predicted “Reba.” And that is exactly what came next. Unveiling the first—and, likely, only—“Reba” of tour in the encore slot, the band swept the crowd off their feet one last time for the night with a passionate, though succinct, rendition. And the band played on, choosing to stay for one more with Zeppelin’s “Good Times, Bad Times.” Take that for an encore!

They say time flies when you’re having fun, and these past couple weeks have been the most fun that human beings can have on planet earth. Needless to say, it’s hard to believe we will be heading to Atlantic City tomorrow for our long-awaited Halloween extravaganza. Will it be the Allman’s Eat a Peach? Will it be The Band’s Rock of Ages? Those are the going theories. Regardless of what album is chosen, however, the more exciting part is that we still have six more sets of Phish before the fat lady sings for this season. Soak it in folks, because who knows when when we’ll be on fall tour again. These are special times.

Set One Notes: Phish reeled in their first set considerably from their past four, playing a short set of standard rotation songs, less “Walk Away.” “Wolfman’s” delivered early, remaining one of the band’s most consistent first set songs, though “Split Open and Melt” provided the improvisational highlight of the opening half. The guys seemed to have another “Split” jam on lockdown, but before trying to remerge with the songs theme—the part of the song that traditionally gives them trouble—Trey bailed on the idea entirely, abruptly starting up “Julius” in the first head scratching move of tour.

I: Cars Trucks Buses, Stealing Time From the Faulty Plan, Ginseng Sullivan, Wolfman’s Brother, Sparkle, Walk Away, Divided Sky, Split Open and Melt > Julius

II: Down with Disease > Taste, Twenty Years Later > Piper > Backwards Down the Number Line, You Enjoy Myself, Grind

E: Bouncing Around the Room, Reba, Good Times Bad Times

10.27.13 (Chris LaJaunie)

Another day, another monster performance—this is getting just plain silly. Phish has hit a stride unseen since the late ‘90s, crushing shows night after night after night. Reading, Pennsylvania’s tour stop blew up with a second set that was nothing short of masterful. Totaling only six songs (plus “Grind), the main event was—again—served with no …

Still Upside Down Read More »

10.20.13 (Jake Silco)

Capping a weekend nobody will soon forget, Phish played two more outstanding sets of music on Sunday night in Hartford, Connecticut, leaving vapor trails across New England as they head for the home stretch of this short, but oh so sweet, fall tour. The band returned to one of their old stomping grounds for the first time since 1999, and greeted it with a proper throw down, composing another chock full, two-set affair. Filling the second set with infectious dance grooves within the context of to-die-for jamming, the band held nothing back on Sunday night, leaving any fan who has caught the last three shows with a belly full of top shelf Phish.

10/27  Official (J.Pollock)

To honor the late Lou Reed—the mind behind Velvet Underground—the guys opened up the show with “Rock and Roll,” jumpstarting the night with some open jamming. Not only did this move immediately ignite the crowd, but it showed that Hartford’s show would pick up exactly where Worcester’s had left off. Everything that band has touched over this weekend has been played with notable creativity; band members are taking unique solos and every piece is popping off the stage. Such was true for “Ocelot,” “Tube,” and “Halfway to the Moon,” the subsequent three songs, which set up the highlight of the first set, “Fee > Maze.”

Phish dusted off “Fee” for the first time this tour, and with it came a mellow bliss jamette. As they seeped out of the song’s ending and into a rolling, melodic exchange, it was clear that the guys were feeling it early tonight. Speckling the first half with free-form jamming while anchoring it with shredding structured interplay, the guys didn’t shy from opening-set improv. “Maze” provided a seething landing point for “Fee’s” atmospheric interlude, and two other pieces of heavy hitting rock-based Phish came as the final couplet of the set in “A Song I Heard the Ocean Sing” and “Walls of the Cave.” This high octane ending punctuated another super satisfying opening frame of music, and the entire feeling of a Phish show changes when the beaming about what just happened at setbreak. There was no getting through the first half just to see what will happen after in the second, rather pure unbridled enjoyment from the very first note. And as usual on Fall Tour ‘13, the second set delivered in a big way.

10.25.13 (R.MacNeil)

When “Chalk Dust” kicked off the main event, my mind immediately shot back to the Rockies and the instant classic we heard at Dick’s. But on this night, the band was utilizing the rock anthem as a quick shot of adrenaline before dropping into tour’s second Sunday night “Tweezer (and Hartford Civic Center’s third in four shows). And hot damn was it ever a keeper! Blasting into an ocean of candy grooves, Phish brought salvation to the dance floor with the entirety of this rhythmically-focused version. This “Tweezer” carried the exact opposite vibe of Hampton’s sinister standout, moving in a uplifting direction while maintaining a criminal danceability. And while Hampton’s version was loose like a band on their first weekend of tour, this time out, “Tweezer’s” jam was laced up tight with no hesitation from any musician—totally and completely dialed in. Deep into the jam, the band found the chord progression of “Weekapaug” and jammed around the song’s theme within the “Tweezer’s” slower textures; a very cool self-referential arrival for a piece that will be spinning all day on headphones in offices around the country. Enjoy IT, folks, this one’s a lifer.

10.18.13 (J.Silco)

With a short “Birds of a Feather,” the band alternated between rock and wide-open, groove jamming—a pattern that would hold for most of the set. And the next dance selection would be “Golden Age,” as the band played the modern era cover in close proximity of “Tweezer” just like in Hampton. But whereas that version of “Golden Age” was a highlight of the show, Hartford’s version will be a highlight of the tour. Trey and Fish hooked up early on in this jam, setting a groove template for which the band to jam around. And jam they did, in a very sophisticated and minimalist fashion, where each member only provided exactly what was necessary to fill the groove. Nobody dominated, in fact, nobody even lead the jam—a robotic groove machine for the 21st century. They guys converged on three distinct jam sections in this “Golden Age,” two exclusively drenched in groove, while the third grew increasingly layered with effects and eventually dissolved into an ambient soundscape. Trey painted a delicate, upper octave solo atop the piece before joining the sound sculpture as a democratic contributor. This reflective final sequence came to a finale with Mike’s opening lyrics to “Halley’s Comet.”

10.18.13 (J.Silco)

Every time the band drops a second set “Halley’s” our ears perk up in hopes that this might me the one, but alas, it wasn’t to be on Sunday night. But as abrupt segues out of “Halley’s” go, this one was particularly smooth as the band slipped into a late set “2001.” Similarly, most fans’ hopes rise with each “Also Sprach” that this one might be the one on which they go huge—and last night they actually did! Transforming the usually routine funk cover into the third heavily-improvised dance number of the set, the guys let loose on “2001” like they haven’t in quite some time. This version grew in stature from Hampton’s beefy outing of a week ago, with lock step jamming and mini-groove tangents all over. After Phish got the arena bouncing for this final time of the set, they kept the energy of the show sky high by unveiling the first “Fluffhead” of tour. And then it was time for the come down.

Phish has been keeping things fresh all tour, not only with their setlists but with their jams, refusing to play two pieces the same way. This is usually true for open jams, but right now they are even diversifying songs like “Slave.” In Hampton, they played a refined and delicate version of the set closer, so last night they took the jam to the top with a rocket strapped to their back in old-school fashion. This “Slave” picked up a pace right off the bat, spending little to no time in ultra-placid waters. And with this quicker tempo came an active, four-piece exchange that saw Trey lay into his solo like it was the last he’d ever play. This was vintage Phish. And this is 2013. Taking care of business, yes indeed.

And thus concludes a weekend that will be talked about for years to come— Phish destroys southern New England. Three shows; six sets, and you can just hit play and let ‘em ride, because every single one is worth listening to all the way through. After last night’s second set, I went over to a younger buddy who started seeing Phish in 2009, after poring over their music for years. I hugged him in joy and said, “You’ve waited your whole life for this!” He looked back with a smile and said, “I know.” And as I walked away to grab my bag, I thought to myself, “Haven’t we all?”

I: Rock and Roll, Ocelot, Tube, Halfway to the Moon, Fee > Maze, Lawn Boy, Nellie Kane, NICU, A Song I Heard the Ocean Sing, Walls of the Cave

II: Chalk Dust Torture, Tweezer, Birds of a Feather, Golden Age > Halley’s Comet > Also Sprach Zarathustra > Fluffhead, Slave to the Traffic Light

E: Loving Cup > Tweezer Reprise

Capping a weekend nobody will soon forget, Phish played two more outstanding sets of music on Sunday night in Hartford, Connecticut, leaving vapor trails across New England as they head for the home stretch of this short, but oh so sweet, fall tour. The band returned to one of their old stomping grounds for the …

Dancin’ the Night Away Read More »

10.19.2013 (Jake Silco)

Not slowing down for an instant after a stunning Friday night performance—in fact, placing their foot on the accelerator—Phish blew the roof off the Worcester Centrum on Saturday in a signature performance that evoked the spirit of the glory days. Wasting not an iota of time, the band was in full destruction mode from the moment they stepped on stage, playing a first set that was beefier and more artistic than many seconds we’ve seen in recent years. After the break, however, Phish played one of those sets we’ll remember forever; one of those sets without a single lull, not even for a second; one of those sets that leave one dripping with sweat and begging for more; one of those sets. And when Phish plays like it’s their last chance to do so for both sets, well, that’s when shows truly realize their potential. Saturday night in Worcester was one of these shows.

10/5-26 Official (J.Eads)

In recent tours, when Phish throws down a top shelf show, they usually take the first set the following night to exhale, taking things relatively slow. That is the opposite of what happened last night. To kick off the evening, Phish came out and crushed the most improvised version of “Party Time” they’ve ever played, stretching the piece out into the funk jam that everyone has imagined since it’s debut at Merriweather in ’09. This dance session harnessed Friday night’s lingering energy and channeled it directly into Saturday night’s show. We we cleared for take off.

Seizing the instant momentum they had created, the guys dropped into “Punch You in the Eye,” a move that kept the energy sky high and served as a second opener. And when Phish shows start with “Punch,” the band means business. Spirited renditions of “Back on the Train” and “My Soul” led into my favorite highlight of the opening set (and there were many), “Bathtub Gin.” Receiving far more creative treatment that so many of the stock versions of recent years, this jam set fire to the show in earnest and brought the room to, arguably, it’s highest single peak of the night with a dizzying, mid-set dance fiesta. Trey seamlessly wove the “Gin” lick back into the jam at it’s apex, toying with the melody as he led us to the promised land. This was a full throttle, first set “Gin” that saw the entire band lock into airtight interplay and set the bar for the rest of the night.

10.20.13 (Jake Silco)

A bust out of “Ride Captain Ride” bridged the opening set to it’s most potent triumvirate—and out of character grouping of “Stash,” “Simple > Bowie.” The “Stash” blossomed into a menacing tension and release piece, infusing all sorts of grit and darkness into an otherwise upbeat set. Yet, it also included tangents and nuances that brought it far above the norm. “Simple’s” first appearance of tour came with slick setlist placement and kept the heavily improvisational vibe of the opening frame. A succinct, ethereal jam artistically bled into “David Bowie’s” intro, and, presumably, we had reached the last song of the set. But following a blistering rendition of their classic and complex jam vehicle, Phish closed with a bang, punctuating a prime-time opening half of music with “Character Zero.” And much like the night before, we knew we were in for a treat after setbreak.

10.18.13 (J.Silco)

Keeping things as fresh as ever, the band opened the second set with their seventh consecutive different song, this time choosing The Who’s “Drowned.” And out of it they would sculpt an exploratory odyssey that passed through several sonic stages. Once the band opened up the jam, it didn’t take long for them to move in an abstract direction, and it momentarily seemed like this would be direction they would explore. But over the mellow feel, Trey cut in with some rhythm chops and it didn’t take long for Fish to follow along. Together, they urged the band into fast-paced section of breakbeat-laced, percussive grooves. As this segment grew, it took on undertones of “Guy Forget,” but the band never fully committed to their rarity. This section illustrated how precise Phish’s communication is right now as they sliced and diced the music as a one-minded beast. And then came the arrival. The band moved moved into a bliss and bass laden pasture and before anyone knew what was developing, Trey offered the chords to Jimmy Cliff’s “Sitting in Limbo.” His bandmates immediately picked up on his cue, seamlessly moved into a full-fledged jam on the song. It seemed as though at any moment Trey would step to the mic for the song’s first verse, but it was far classier move to keep things instrumental. And thus developed one of the most sublime moments in recent Phish history. Just as the band had expressed all their ideas, Trey strummed the opening to “Light.”

10.19.13 (J.Silco)

The guys completely annihilated the opening contained section of the jam, twisting and gyrating as a unit through hyperspace as Trey unleashed an incredibly expressive solo. But when they settled into the open section of the jam, the band entered an utterly virtuosic exchange. Moving into the rhythmic paradigm, the guys explored the complexities of groove, as each member offered a mind-bending contribution to “Light’s” musical whole. This “Light” jam is not like Phish grooves you’ve heard before, rather something far more esoteric. This was innovative jamming at its finest, as Phish pushed the envelope further with this jam than any other of the night. When “Light” trickled to a stop, Trey decided to keep the groove thing going and led the band into a third-song “Sand.”

10.18.13 (J.Silco)

When Phish gets moving with such a head of steam, they just wanna keep lining ’em up and knocking ’em down, and so they did with their third consecutive heavy-hitter. A dramatic version of “Sand” built to a major league peak, and served as the final chunk of the set’s opening 45 minutes. Phish used “Theme” as a break from jamming and to set up a show-closing “Mike’s Groove” that would bring the audience to its knees. Trey employed a wah-plus-delay pattern to bounce the arena like a basketball during a very different “Mike’s” jam in which he never took a solo. When the guys slid into the atmospheric intro to “No Quarter”—Zeppelin’s master stroke on Houses of Holy—the audience responded with a roar. Slaying the classic cover, they moved into a spunky and dynamic “Weekapaug” to close the set. No lulls, no ballads, no filler—just high octane Phish from start to finish—and that is how we like ‘em!

I can’t quite express my gratitude to the band for these Worcester shows. I can’t recall four more powerful sets packaged over two nights strewn with so much creative improvisation. Quite literally, every jam they touched became a show highlight. These Worcester shows touched the very essence of why most of us fell in love with this band to begin with—unparalleled musical wizardry. When Phish is at the top of their game, there’s not a band in the history of music that can keep up. And right now, in the midst of their 30th Anniversary celebration, everyone is in the rear view mirror.

I: Party Time, Punch You In the Eye, Back on the Train, My Soul, Bathtub Gin, Ride Captain Ride, Stash, Simple > David Bowie, Character Zero

II: Drowned > Light, Sand, Theme From the Bottom, Mike’s Song > No Quarter >Weekapaug Groove

E: Boogie On Reggae Woman*, Possum*

* w/ guest drummer Kenwood Dennard on drums instead of Fishman

Not slowing down for an instant after a stunning Friday night performance—in fact, placing their foot on the accelerator—Phish blew the roof off the Worcester Centrum on Saturday in a signature performance that evoked the spirit of the glory days. Wasting not an iota of time, the band was in full destruction mode from the moment …

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