In the aftermath of their return to MSG, Phish brought their fall tour home in Charlottesville, Virginia last night with one of the dirtiest throw-downs of all, anchored by thick dance grooves, uber-exploratory improv, and cash-money playing all night long. Despite a 15,000 person capacity, John Paul Jones Arena held a distinctly intimate feel after Madison Square Garden’s big city blowout. With a GA floor uniting all the kids for the fall finale, Phish responded with an unforgettable farewell set, albeit only for three weeks.

Stepping on stage for their final frame, it didn’t take long for Phish to drop the danciest and most addictive”Tweezer” since Red Rocks now-legendary version. Attacking the jam from a rhythmic perspective, Phish instantly transported the arena to a moss-ridden, Mesozoic swamp of groove. Using rhythm licks and staccato leads, Trey blended with the band in the type of sculpted, blissful ventures that drives my soul. Sliding with swagger into his solo, Big Red’s playing led the band in an instant classic. As the band raged in the post-peak section of the jam, Trey abruptly cut the jam with a recalcitrant insistence on playing “Light” at that specific moment. The rough transition hardly effected what is quickly becoming a Phish staple, “Tweezer > Light.” Having started the Summer at Fenway with the debut of the sequence, the band finished Fall with the same combo that packed a completely different punch.

Since its debut, “Light” has developed into the band’s newest and largest jam vehicle, growing in stature throughout the year, and recently featured as Madison Square Garden’s deepest jam. In the last version of a tour that has been nothing short of a revelation for the song’s potential, Phish unveiled one of their most psychedelic and abstract jam in ages. Morphing in and out of subtle grooves and with an amorphous mastery, this jam represented some peak sonic experimentation. The band passed through a passage that strongly suggested “Dave’s Energy Guide” en route to an incredibly cerebral masterpiece. Through all the “Lights” of fall tour, Phish illustrated an evolving desire to break new musical ground, specifically in the last few versions, and that couldn’t be a better sign for the future of the band.

Blending their cosmic jaunt into “Piper,” the band tore into another piece of music that has continually pushed their playing throughout the year. Last night’s full-throttle mind-game provided a dense passage of growling rock-turned-groove, in a jam that Trey, again, ended too quickly to play “Free” –  an interesting trend that could be theorized upon for hours. Splashing into the ultimate ’09 landing point for exploratory improv, the band concluded the initial non-stop section of the set with a dash of bass-driven arena rock before allowing anyone to catch their breath.

Featuring their “Exile” costume for consecutive shows, Phish used the appropriate “Sweet Virginia” as their final mid-set interlude of tour. Following the Stones’ southern ballad, Phish rolled into a magnificent “Harry Hood” whose completely sublime interplay between Mike and Trey made the many versions of tour look somewhat standard. Guided by a seemingly deeper spirit, the ethereal textures and other-worldly melodies of this “Hood” brought echoes of mid-to-late ’90’s classics, evoking the song’s essential core. Taking their early-epic for a regal ride, this version drew inspiration from the stirring set of music that had preceded. As the band sustained the song’s final note, one could practically hear the oncoming crash into “Suzy,” and when it came, “Hood’s” energy spilled into the super-spirited funk number that has dotted so many top-notch sets this year.

Following “Golgi,” the band stamped the set complete with an “Antelope” that brought the tour to an upbeat ending with the altered lyric, “You’ve got to run like a naked guy, out of control!” referencing a first-set stage-jumper in the raw who wove his way around the band and their equipment, eluding two stage security like Barry Sanders breaking a busted play. A comedic ending to a top-notch affair, the band concluded in a place of extreme musical focus amidst tongue-in cheek hilarity; it sure seems that things are back on track in the world of Phish again. Finishing their tour with the first “Loving Cup” since Indio’s accompanied blowout, and the always fitting ,”Reprise,” the encore punctuated and enhanced the band’s farewell. Now at home again in both amphitheatres and arenas, the world is Phish’s oyster once again, and it’s just great to be a part of it.

Set 1 Notes: An eventful, though rather jam-less, first set featured the tour’s only appearances of “Ya Mar,” “Sneakin’ Sally,” and “Bold As Love.” “Bag,” “Chalkdust” provided an old-school kick start to the frame while “Faulty Plan” went through the entire tour fall without any of its anticipated indoor evolution. The band continues to kill “Divided Sky” with frequency because they can. A late-set combo of “Funky Bitch” and “Bowie,” by all accounts, should have ended the first half. But “The Wedge” followed before the hallowed Hendrix cover ended an extended opening frame.

I: AC/DC Bag, Chalk Dust Torture, Stealing Time From the Faulty Plan, The Divided Sky, Ya Mar, Sneakin’ Sally through the Alley, The Old Home Place, Cavern, Funky Bitch, David Bowie, The Wedge, Bold As Love

II: Tweezer > Light > Piper > Free, Sweet Virginia, Harry Hood, Suzy Greenberg, Golgi Apparatus, Run Like an Antelope

E: Loving Cup, Tweezer Reprise

Inside Madison Square Garden, one can feel the history of Phish in the arena. Having just completed their 17th show at the storied venue, the corridors drip with memories of nights past and moments we’ve enjoyed. When songs are dropped, one can’t help but remember the classic versions that have gone down within the round room that surrounds. On the final night of their three-night stand, the band evoked, and added, to their  34th Street legacy with a two-set performance of current hits, classic jams, and a significant return to their catalog. Locked and loaded with another non-stop setlist, the band blasted off in the greatest indoor Phish arena, bar none. When Phish has The Garden in the palm of the of their hand, manipulating energy with their minds and instruments, there is simply nothing like it. And last night was again one of those nights. With their least exploratory playing of the run, Phish defined their show with a second set of flowing, succinct improv, and a monster “YEM” to punctuate the whole shebang. With fierce playing, the band treated the Friday night audience to a plethora of grandiose anthems that created a memorable two-set experience.

After a string of high-energy rockers to start things off, the band whispered into the first version of “Glide” since their poignant and bittersweet Coventry farewell. A song that seeped heavy emotion in the fields of Vermont, nodding to the physical survival of all band members at their 2004 demise, the songs carried a distinctly celebratory feel when broken out last night. In a complete juxtaposition of tone, on this night “Glide” celebrated the arrival of this era, and the everlasting spirit of the Phish. Bringing an undeniable air of redemption to the set, this version’s significance wasn’t lost on anyone.

The sparkling gem of the first set came in the form of an old-school, up-tempo “Reba” that saw impeccable communication and interplay between the entire band. Drenching the arena with a sublime waterfall of driving melodies, Trey led the band in a version that immediately stood out as an indelible memory of the MSG run. Dropping, without whistling, into “Dinner and a Movie” the sinister bust-out sent the energy through the roof. Following the only “Guyute” of tour with a particularly smoking “Maze,” the band brought the house down to close the first set with a “First Tube” that matched “Fluffhead’s” peak as the MSG’s two points of near implosion. With collective energy pouring from the audience in tidal waves, this version defined the interplay between Phish and its audience as the two forces brought each other higher and higher to a mind-bending peak. This may be one of those moments you just had to be there to completely comprehend – ridiculously powerful stuff.

The second set held the promise of further experimental improvisation, and a small dose bubbled out of “Seven Below,” but more than anything, this set brought a series of heavy hitting songs that torched The Garden like MJ. But before the band launched into a string of connected pieces, they stunned everyone with the return of their post-hiatus masterpiece “Scents and Subtle Sounds.” Having not played the opus since Summer ’04, and never indoors, the reintroduction of one of post-hiatus most promising jam vehicles brought waves of blissful emotion through throngs of kids throughout the arena. Anticipating an experimentation of the likes we’ve seen at the beginning of the last couple second-sets, instead the band played a standard version that brought the song back into play; and there are few better developments over the three-night run.

After the opener, Phish put a spotlight on another of ’09’s greatest hits, “Rock and Roll.” One of the year’s indelible type-II vehicles, last night Phish played a rather contained rendition with a hefty dose of blistering rock and a section of percussive breakdown typical of many versions. With no shortage of precise playing, this jam didn’t break or explore any new  ground the band hasn’t covered many times proficiently this year. But as the song came to its arguably premature end, the band twisted into “Seven Below,” a certain nod to Albany’s epic that awakened their improvisational spirit a week ago. Phish jammed from off the song’s theme into a segment of hypnotic whole-band interplay that Trey painted with a repetitive lick, potentially a loop, lending a drone feel to the night’s most compelling excursion. Placing their open improv in the middle of set rather than at the beginning, this mystical music brought the band out to its furthest point of the evening, crafting a abstract escapade. A not-so-exploratory second “Twist” of tour still transcended the near-composed jam in Syracuse with some tight and creative type-I improv while bringing a welcome return to the setlist. Without letting up, the band returned to the historically terrorizing territory of MSG “Mike’s Songs.” Channeling the arena’s copious energy, the band built a gnarling rendition that brought echoes of “Grooves” past from the rafters.

Following a “Horse > Silent” interlude, the band brought down the house with the groove-based highlight of the night in a stupendous “YEM.” Once settled into a funked-out jam, Trey played off Mike’s bass patterns, taking a signature rhythm lick – one codified on The Siket’s Disc “The Name is Slick” –  and turned the party out. Weaving variations of the staccato lick throughout the band’s rhythmic gymnastics, Trey hit his solo in full stride, stretching things out in the biggest blowout of the night and a rightful cap to the stand. But just when you thought Phish had played it all, they came out with the memorable peak to their Exile on Main Street set, the gospel-laced “Shine a Light.” A perfect ending to a phenomenal three night stand, the band integrated their Halloween costume into their triumphant Garden finale. Forever etched in the memory of all in attendance, and with musical memories galore, Phish’s MSG run ended in a fitting lyrical tribute to the entire Phish community.

And now, the Southern denouement…

I: Heavy Things, Possum, Wilson, Kill Devil Falls, Glide, 46 Days, Bouncing Around the Room, Reba, Dinner and a Movie, Guyute, Maze, First Tube

II: Scents and Subtle Sounds, Rock and Roll > Seven Below > Twist, Mike’s Song > I Am Hydrogen > Weekapaug Groove, The Horse > Silent in the Morning, You Enjoy Myself

E: Shine a Light

One night after Phish rewrote the improvisational record book for this era, they played a show far more defined by its setlist than open-ended jamming. Greeting the intimate Sunday crowd in Maine with an array of bust-outs and precise playing, the band issued their strongest first set of tour, but then opened up their improv only one time during the second set in an odd turn of events. Albany’s other-worldly playing, almost inexplicably, didn’t provide the impetus to step onstage and go for it again. Instead, the band played a non-stop, two set show that brought a consistently high energy in a classic building of Phish lore.

Greeting the renovated arena with their own new, ultra-polished rock show, Phish came out firing in the first half, opening with the promising combination of “Possum,” “Disease.” Staying within the confines of their anthem for the first time this fall, “Disease” sparked the night with a standout shredfest, but the most interesting segment of the set came in the second half. After the band played the first “Weigh” of this era and the first “Nellie Kane” since 2000, the band sat into their third smoking piece of improv of the set, this time of the dark variety, in “Stash.” Building a standout sinister peak, this song set the ominous tone for the rest of the frame, as the band dropped into their third 3.0 debut with “Meat.” Taking the simple funk groove and creating a mini-jam, the band did more with Gordon’s Ghost-era composition than ever before. The rhythmic-focused “Undermind” provided another first set highlight as Trey experimented with a twangier tone and an explosive solo over his bandmmates’ building shuffle-groove. Meanwhile, Gordon kept busy hurling bass grenades into the fray in what turned out to be a step forward for the song. But the peak of the nasty first half came in the the set ending “Mike’s Groove.” Without breaking form, Phish built a massive guitar-rock jaunt that saw Trey crush an intense excursion of evil licks and bombastic patterns. A dirty dance through a dark alley, Trey led the troops to the safety of “Hydrogen” through some excessively hairy territory. Capped by a full-speed run through “Weekapaug,” Phish’s stellar opening frame set the table for a second set that held the imaginations of all captive for the forty minute setbreak.

Kicking off the second half with “Moma Dance,” the band oozed into the frame with some thickness, and then dropping into to the virtually- guaranteed type-II vehicle “Rock and Roll.” Showing love for Velvet Underground’s Loaded for the third time in four shows, this time, instead of launching into an interesting Phish jam, the band remained anchored to the break-neck, guitar rock for all but the last minute or so of the piece. When they finally eased up the intensity, the music began to blossom, and, with some patience, could have made a stunning journey. But it wasn’t to be – just as the music was turning transcendent, the band segued rather quickly into “Light.”

Providing the improvisational centerpiece of the night, “Light” transformed from a cathartic guitar confessional into a group exploration in the spiritual plane, Trey sporadically dropped his geyser-like melodies for more abstract offerings and the band built outward with him. Remaining in high gear, Phish soared through the multi-faceted centerpiece of the show, briefly reaching an incredibly addictive groove that they abandoned all too quickly. Remaining creative throughout and building delicately to an beautiful conclusion, the band took “Light,” and went for it, resulting in the most engaging piece of the show. Sometimes all ya’ gotta do is try!

As only real exploratory section of the night came to an end, the band slithered into a murky hard rock or heavy metal cover, with full on snarling guitar licks and a crashing drum beat. But as the lyrics unfolded and the band sang the chorus, it became clear that Phish was unveiling a reworked version of the Dude of Life’s “Crimes of the Mind.” Appearing for only the seventh time in their history, and the first without The Dude, himself, on vocals, the updated version featured a menacing guitar hook and a seething solo that left everyone smiling at the reinvented pseudo-classic. Yet another addition to Phish’s ever-broadening catalog, this one seems like it could have some real improvisational potential if the band chooses to go that route.

The rest of the set, while well-played didn’t feature anything outside the box. Though precise “Pebbles and Marbles” seemed to break up the set’s continuity a bit, and its customary, one-dimensional rock jam didn’t add any intrigue to the song-based evening. Juxtaposing the upbeat textures with their patented space-funk, Phish kicked into a short but sweet, bass-led “2001” in a late set dance session that spun the mini-arena like a gyroscope . Phish emerged from the song’s peak with a run of potential set closers – “Golgi,” “Cavern,” and a classic “Antelope,” which the band drilled to punctuate the set. Enhancing the show’s kick-down value, the band featured a triple-encore of the rare a capella “Freebird” for the first time since 2000, “Carini,” and “Waste.”

Moving into the fall-tour’s peak run at Madison Square Garden, one can only assume Phish has a couple of monster sets in them to rival Albany’s masterpiece. Always bringing their A-game to the Big Apple, the next three shows could very well wind up being some of the most memorable of the year. It will be interesting to see what approach Phish takes in a building where they have traditionally jammed relentlessly. Only a of couple days to travel, recoop, and listen to Albany,  and we shall see!

I: Possum, Down with Disease, Nellie Kane, Weigh, When the Circus Comes, Kill Devil Falls, Water in the Sky, Stash, Meat, Undermind, Mike’s Song > I Am Hydrogen > Weekapaug Groove

II: The Moma Dance, Rock and Roll > Light > Crimes of the Mind, Pebbles and Marbles, Also Sprach Zarathustra > Golgi Apparatus, Cavern, Run Like an Antelope

E: Free Bird, Carini, Waste

At set break last night, I had multiple conversations lamenting the relatively jam-less phenomenon Phish had become. The band’s musical re-evolution from the first to the second leg of summer had unexpectedly come to a screeching halt when the band stepped indoors. Fall had not progressed as imagined; the band simply wasn’t talking risks anymore. A tour that started with lofty expectations of improvisational escapades and musical growth had turned somewhat formulaic – a series of songs in the first and a couple ten-to-twelve minute jams sprinkled throughout the second. Hmm. Just what had our cosmic adventurers become? Where had their spirit of exploration gone? We heard glimpses of it at Red Rocks and The Gorge, and logically thought Fall would be the next step. With enhanced onstage comfort and a few tours under their belt, Phish was ready to take over the world again – or were they?

Through the first half of tour, no new musical direction had emerged. If the band decided to jam, they pulled out “Disease,” “Rock and Roll,” or “Drowned,” and launched into a high speed rock jaunt that inevitably broke down into percussive grooves before morphing into ambience and drifting off into the next song. Some outings were better than others, but the formula began to grow tedious. This wasn’t the Phish I toured with in during the mid to late ‘90s, and this wasn’t the Phish I toured with in ’03 and ‘04 – 2009 represented a new take on their music, and to say it wasn’t a bit watered down would be generous. Was it the lack of drugs? Was it a lack of intrinsic motivation? Nobody knew, but a consensus was beginning to form amongst kids who have seen the band for years on end that something needed to happen; and it needed to happen now; Phish had to start jamming again. The last thing I said before the lights came down was “This better be huge.” Darkness.

Somehow, someway, the band must have eavesdropped on our conversations in the 200 level, because when they emerged for their fourth and final set at The Knick something had changed. I don’t know what conversation the band had at setbreak, or how they plotted their plan of attack, but when they stepped onto stage, they let their any inhibitions fall away and went for the jugular. Fifty minutes of pure exploratory improvisation later, I gazed at the stage, drenched, refreshed, and so blissed out, words cannot begin to explain.

“Seven Below > Ghost” defines why we see Phish; why we spend thousands of our dollars, weeks of our life, time away from our families, and all our vacation days chasing the sacred rite; searching for those moments – ever fleeting but ultimately inspiring- when the universe comes together in a vibrant confluence of ecstatic music, unconscious rhythm and soulful reverie. Fifty minutes of IT, guided by a spirit unseen in 2009, absolutely floored the entire Knick, leading to a deafening ovation in reverence of the magical mystery tour.

Organically building through multiple melodic themes with improvisation so fluid it made any other jam from the year seem contrived, Phish seemed to be playing to our greatest fears, showing us they most definitely still have what it takes to blow our minds apart. Cohesively connecting two 25-minute epics, Phish crafted far and away their most stunning music of the year. Nothing else even comes close. For whatever reason, everything truly came together for the first time in 2009 last night, and Phish presented us with a psychedelic excursion that stands up to their prestigious history.

Songs turned into mere vehicles as Phish allowed their instincts take over their consciousness in earnest, resulting in an epic voyage for the ages and hopefully a sign of things to come. But the question begging to be asked is, “Why now?” What were the precipitating causes of such a monumental – and obvious – shift in musical intent? Something of such magnitude doesn’t just happen out of the blue; the band clearly decided that last night would be different.  And boy was it ever. Completely redefining possibilities for the final week of tour, last night’s show at The Knick represented a massive step forwards to the hopeful return of the Phish of our dreams.

Rest of Set II Notes: Everything that happened after “Seven Below > Ghost” was simply frosting on the cake. If the PA had broken at that point, everyone would have picked up their belongings and headed for the exits with an ear-to-ear smile. But the did, in fact, continue with the quick bust-out of Velvet Underground’s “Cool It Down”- a song that seemed wholly appropriate following the initial segment of the other-worldly playing. Segueing into a celebratory groove session of “Jibboo” the band then took a breath with “Let Me Lie” before showering the audience with the liquid funk of “Wolfman’s Brother.” A full-on “Julius” wrapped up the set before the band came out and gave their own nod of recognition to the special evening their signature piece, “You Enjoy Myself.”

Set I Notes: The first half started with a bang with “Party Time” and “Stealing Time,” while also featured a solid “Foam,” and a botched “Split” that paled in comparison to Cincy’s version, as well as several others from this year. Notable bust-outs included “Sanity,” “Walk Away,” and the first 3.0 incarnations of “Uncle Pen,” and “Vultures.”

I: Party Time, Stealing Time From the Faulty Plan, Uncle Pen, Sanity, Foam, Walk Away, NICU, Alaska, Split Open and Melt, Joy, Vultures, Backwards Down the Number Line

II: Seven Below > Ghost, Cool It Down > Gotta Jibboo, Let Me Lie, Wolfman’s Brother, Julius

E: You Enjoy Myself

Following their first night throw-down in Philadelphia, Phish came back with a solid show that featured a slew of well-played rock and roll, but only a couple of jams that brought legitimate excitement. On the night before Thanksgiving, the band didn’t match the musical theatrics of the previous night, but played a rather generic show to bring us into the holiday break. The glowing setlist combo of “Tweezer,” “YEM” contained limited musical creativity, leaving the spotlight on the ferocious and exploratory “Birds of a Feather” that opened the second set as the shining moment of the night.

Coming off a very standard first set that peaked with a nasty “Antelope,” Phish came out after the break and dropped their first “Birds” of tour – and third since their return. The band focused their collective energies in a shredding-turned-open jam that reached places seldom seen by the song before crashing back into it’s theme seamlessly. Though Fishman played straight ahead beats all night, constraining the band’s exploration, in this piece he let loose for a bit, and the band followed into the only type II jamming of the evening. Starting within their raging rock grooves the band entered some thematic jamming led by Trey’s melodic leads. Gradually turning darker within the uptempo milieu, the band drifted into an experimental canvas. Trey and Page’s offerings became more abstract and Mike and Fish explored rhythmic complexities for one of few times during the evening. As the band turned to the swamp, Trey began slicing the musical space with sharp rhythmic stabs that allowed the rest of the band to loosen into psychedelic textures. And then – boom – right back into the song as if you never knew they left. This jam was the goods on a night that wasn’t exactly a cornucopia of interesting Phish.

Without needing a cool down song – the set had just kicked off – the band dropped into a randomly placed “Farmhouse” that diffused the energy a bit from the highlight opener. But that all changed when the band dropped into the second “Tweezer” of fall tour. While Cincinnati’s version provided a dance clinic, this version merely dipped in rhythmic playing before turning into a guitar showcase over an unchanging groove. No one but Trey seemed to bring anything original to the table in this relatively average rendition. Toying strictly with the “Tweezer” theme, this version simply didn’t hold up to most ’09 versions. At the very end it seemed they might be going somewhere as they descended from their guitar-rock peak, but their funkier playing lasted but a minute before they faded to silence.

Immediately starting “You Enjoy Myself” in the middle of the set, one figured the piece would counterbalance their arena rock with some extended funk, but this but this took a different, and interesting direction. Stepping into a laid back opening of the jam, Trey played staccato melodies from the start in this lampin’ segment of music. The band built out of this quieter section, into a more standard, yet raging second-half of searing “YEM” rock. Trey annihilated this section, and together, both halves amounted to a legitimate outing for the song, though after the spectacular Cincy “YEM,” this one sounded more straight forward.

The oddly constructed set continued with the always-pleasurable “Esther.” Playing the song as well as they have since their return, it provided an ideal interlude before the set’s final blowout. Time for one more big time song to lead us into Thanksgiving, Phish chose the least-exciting song in their repertoire, “Time Turns Elastic.” A real bonehead maneuver, Phish finished the show with their long-winded composition that should really find its way back to the orchestra. Sure, the band played it well, but really?!? Trying to defibrillator a dead horse, the band moved from their slowest piece into “Tweezer Reprise” in a harsh juxtaposition of styles. And like that, the set ended.

A welcome bust-out of “Oh! Sweet Nuthin” appeared for an encore, but it sure seemed like they should have played another song out of the ballad; a strange conclusion to an underwhelming evening. A night after blowing the roof of the Wachovia Center, Phish reeled it in a bit with a sharply-played show with an odds setlist that never really got off the ground. The highlights of lie in “Antelope,” “Birds,” and “YEM,” with “Birds” being the only must-hear piece of the night. Hey, ya’ can’t win em all, but it sure is fun as hell trying.

Set I Notes: Comprised of a lot of blues-rock, the only pieces of note the shreddier-than-thou, set-ending “Antelope,” a particularly well-played “Divided Sky,” and a stretched out “Ocelot” that developed into nothing more than an intense version of the standard jam…It’s hard to get exited about “Halley’s Comet” these days, as it seems to be settling in as a four-minute launch pad for the 3.0 era as opposed a jam vehicle as in the late ’90s…Phish brought Trey’s “Sleep Again” from Indio’s acoustic set into their electric show for the first time ever. A song I’ve always liked since Trey debuted it back in ’08, I’m sure this one will get mixed reviews from the peanut gallery…Though not nearly the caliber of Detroit’s slow, methodical death march, last night’s version of “46 Days” definitely packed a punch without breaking structure.

I: Kill Devil Falls, 46 Days, Sugar Shack, Halley’s Comet, The Divided Sky, Sleep Again, Ocelot, Train Song, Wilson, Run Like an Antelope

II: Birds of a Feather, Farmhouse, Tweezer, You Enjoy Myself, Esther, Time Turns Elastic, Tweezer Reprise

E: Oh! Sweet Nuthin’