MR. MINER'S PHISH THOUGHTS

Chilean Inspiration

10.12.10 – Broomfield, CO (Brooks Perry)

Seldom is global human drama reflected within the construct of a Phish show, but on October 12in Broomfield, Colorado, this synchronicity was undeniable. While Phish performed their Rocky Mountain finale, one of the greatest human triumphs in recent memory unfolded in Copiapo, Chile. 33 miners who had been trapped 2300 feet under the earth for an unthinkable 69 days – stuck in a collapsed mine with little to eat or drink – were on the verge of rescue. Believed to be dead for over two weeks, the mind-boggling story of these Chilean miners captured the world’s attention while spreading awe and inspiration throughout the globe. Phish took notice and did some interpretive work throughout the course of a special evening.

Many fans were totally unaware of the events transpiring as Phish played their third show in Colorado, treating it as any other night on tour. I was one of those fans. But when learning what had occurred after the show and looking back at the setlist, I had to do a double take as the two events strangely overlapped. I first discovered the Chilean miracle while checking Phish.net’s setlist for the night. For some reason, they had notated when the first and second miners were rescued; I had no idea why. But when looking a little closer, Phish had thematically woven this unthinkable accomplishment directly into their show.

Whether the band was informed of the miracle taking place in Chile or watching footage backstage, they must have consciously infused this story into their performance. A coincidence seems way too far-fetched in this instance. Closing the first set with a blowout, feel-good version of “46 Days” – a song explicitly referencing coal – the first clue was in place by setbreak. Though nobody had any idea. If you want to stretch this a little further, two of the three previous songs were “On Your Way Down” and “Heavy Things,” both titles that could easily be applied to the Chilean events. But after setbtreak, things became far more congruent.

During the break – to Phish’s knowledge or not – the first miner emerged from over two-months in the humid dungeon of the collapsed mine. And when the band opened the second set with a terrorizing “Carini > Bowie,” this musical passage, very conceivably, represented the miners’ extended flirtation with death. For over two weeks, the men didn’t knowing whether any officials knew of their fate or if anyone would attempt to rescue them. Faced with this ultimate unknown, each of the 33 miners trapped a half-mile underground lived on two spoonfuls of tuna, a sip of milk, a bite of crackers and a morsel of peaches. Every other day. When the outside world finally discovered them 17 days into their nightmare, the group still had some of their two-day emergency ration left, not knowing what would transpire.

Emerging from the set’s ominous opening combination, Phish immediately splashed into “Light,” their third consecutive jam vehicle. And when looking at the setlist in retrospect, this is where the congruency to the Chilean events moved beyond chance or coincidence. Symbolically, “Light” represented the hope of life and rescue for the miners as they made contact with the outside world 17 days into their ordeal. On this day, rescuers found the men miraculously alive with a drill hole the width of a grapefruit. This hole served as a lifeline to pass hydration gels, water and food, as well as bibles, letters from their families, and soccer videos to keep their spirits up.

Meanwhile, Phish took “Light” into new dimensions. Dropping the lyrical refrain from the initial jam, thus creating a completely open-ended piece of improvisation, the band redefined possibilities for the song. And Phish took aim for the stars. Building out of a delicate and cathartic opening, the band seamlessly migrated into an intergalactic groove experiment. This dense rhythmic excursion set the tone for autumn “Lights;” a completely new direction from the summer’s abstract excursions.

Without ever bringing the lyrics back, Phish segued into “Theme From the Bottom,” a song whose connection to the Chilean miners destiny needs little explanation. With a focus on friendship down below, Phish was building a thematic set in front of our eyes that few, if any, caught at the time. Upon “Theme’s” denouement, Trey didn’t let the song end, transitioning into “Free” and following it up with a breath of air – “Joy.” When I looked back on this setlist later that night, knowing full well what had happened in Chile, the soundtrack to the global drama was hard to believe – “Light > Theme > Free, Joy” And if the intentional construction of the setlist wasn’t enough, the second miner actually was rescued during the three-song sequence “Theme > Free, Joy.”

Concluding the virtually non-stop opening portion of the second set, the Chilean-inspired theme came to a conclusion with this sequence. Sometimes Phish and life seem to coincide with mysterious harmony, but this time there seemed to be an obvious intentionality behind the overlap. Walking out this night, I felt Phish had dropped their best show of a very young tour. But little did I know the evening contained the soundtrack for a miracle a continent away.

=====

Jam of the Day:

“Rock and Roll > Carini” 10.21.10 II

One of the most impressive improvisational sequences of Fall Tour from The Dunk in Providence, Rhode Island.

=====

DOWNLOAD OF THE DAY:

10.12.10 1st Bank Center, Broomfield, Colorado

FLAC torrent via etree, Mp3 Torrent, Megaupload < Links

Here is the Chilean miner-inspired finale in Broomfield. The set-opening trio of “Carini > Bowie, Light” provided an early peak of tour, while foreshadowing three of Fall’s most significant jams. After a mellow interlude of “Bug” and “Summer of ’89,” a blissful “Split” punctuated a dark set of music in style.

I: Stealing Time From the Faulty Plan, Time Turns Elastic, Meat, The Divided Sky, Timber (Jerry), On Your Way Down, Heavy Things, Sugar Shack, 46 Days

II: Carini > David Bowie, Light > Theme From the Bottom > Free, Joy, Halfway to the Moon > Bug, Summer of ’89, Split Open and Melt

E: Meatstick

Source: FOB/DFC > Neumann ak40’s(NOS) > lc3 > km100 > Aerco mp2 @ 20db > Sd 702 @ 24/48 (Taper – gotfob)

Chilean Inspiration Read More »

The Comeback Has Ended

Following a year and a half of re-building and re-learning, Phish has finally taken things to the next level. Leaving a vapor trail in their path, the band careened into the future during their three-week fall tour. Standing on a solid foundation, Phish was back up to snuff, doing what they want when they want with unparalleled fluidity. After springing a leak this summer, the flood gates of creativity burst open during October, carrying the band through – easily – their best tour since returning to the stage. Phish’s so-called “comeback” that began in Hampton last year has concluded, and during this fall the band took the first bold step into the next era of their career.

Beginning in Broomfield, and building throughout tour, Phish showcased a new-found urgency and intent behind their playing that merged with far more fluid communication than we had seen from the band this era. Segues slid seamlessly, jams took no time to build and rarely ended awkwardly, and Phish built music with the single-minded purpose of old. With proficiency no longer a hindrance, the band members held meticulous musical conversations every night that pushed their music in new and spontaneous directions. Wasting no time vamping over funk chords or meandering through minutes of ambient swamps, Phish cannonballed into each and every jam, getting right to business with furious musical density. The band warped time each night, making twelve minutes feel like twenty, as ideas flew off the stage from every angle at a numbing pace. Beginning in Broomfield, Phish seemed to get build upon each and every show, a characteristic of their glory days, with any slow nights due to song choice and not sloppy playing. Once again – in Fall 2010- Phish proved they are masters of their domain.

Spring-boarding off a tight, song-based show in South Carolina, Phish caught fire on their second night in North Charleston and never looked back, setting the table for a game-changing week in the Northeast. Augusta, Utica, Providence, and Manchester – four shows that redefined modern era Phish. Strewn with scorching jams, slick segues, and self-referential musical play, the twists and turns of old re-emerged within a wholly new and futuristic context. And despite a two-night dip in excitement at UMass, the band was right back atop their game for the final four nights of tour. Highlights are too many to list in one piece, as almost every jam garnered the complete focus and full treatment from the band. For example, amidst Utica’s two-set frenzy, one of the most impressive “Vultures” ever-played dropped early in the opening frame. Do I have the time to mention that?

Needless to say, there is no shortage of listening material from this tour that stands up to any era of Phish. Augusta’s exploratory “Reba” encore immediately danced amongst the all-timers; each version of “Light” took a divergent and unknown path into new-school psychedelia; Utica’s start to finish opus compares to top-notch shows of lore; and Providence’s “Rock and Roll > Carini” may be my favorite musical segment of the tour. The highlights never stopped coming in diverse fashion, each night bringing different adventures into the unknown – and that’s what Phish tour is all about.

Reinventing “Sand” and “Carini,” while awakening a former giant in “David Bowie” and greatly varying their setlists, Phish brought a fresh energy to each piece they touched, crafting many golden jams and sets along the road of fall. “Light” broke new ground with each incarnation, evolving from its melodic, abstract, and ambient summer roots into a vehicle for uptempo, next-generation grooves. Forging unique paths nightly, every time “Light” started, a show highlight was guaranteed. Dashing and darting and turning on a dime, Phish killed every single version, cementing its place as their current cosmic trampoline. When Phish got rolling this fall, however, it mattered little what songs they played, as engaging jams blossomed in the energetic interplay of any piece. See Utica and Manchester for prime illustrations.

But since tour ended, the set I have been addicted to has been Halloween’s Waiting For Columbus. A surprise selection that ran away with Atlantic City’s extravaganza, Phish’s Halloween performance immediately jumped into any conversation about the band’s greatest musical costumes. With Phish grooves lurking around every corner, Little Feat’s live album transformed Boardwalk Hall into a retro-dance party and a collaborative triumph for the ages. Providing an over-all experience like never before, Phish’s take on the Little Feat’s classic recordings focused on rhythmic interplay and improvisation that invited the audience into a time and place, instead of simply playing an album of songs. Capping the tour with one of the their defining Halloween performances, Fall 2010 couldn’t have ended on a higher note.

10.31.10 – Boardwalk Hall (Graham Lucas)

With almost two months off before an unprecedented five-night New Year’s Run, we have plenty of time to dig into the depths of the most satisfying and eventful tour since Phish’s return. With their comeback now fully in the rear view mirror, things are just getting started. Welcome to the future – it’s gonna’ be a wild ride.

=====

Jam of the Day:

“Spanish Moon” 10.31.10 II

This infectious track took center stage on during Halloween’s second set. One of many Halloween highlights, Phish’s “Spanish Moon” turned out to be twice as long as Little Feat’s version on Waiting For Columbus. Let’s keep this one in rotation please.

=====

DOWNLOAD OF THE DAY:

10.31.10 Boardwalk Hall, Atlantic City, New Jersey

FLAC torrent via etree, 320 Mp3 Torrent, Megaupload < Links

A Halloween night to rival any in history featured a stunning “Stash” and a silky smooth “Ghost > Spooky” in set one, while dark-horse selections, “Jibboo” and “Wilson” stood out in a celebratory third frame. But this night was all about Waiting For Columbus, perhaps Phish’s best musical costume ever.

I: Frankenstein, Big Black Furry Creature from Mars, Ghost > Spooky, The Divided Sky, Roses Are Free, Funky Bitch, Boogie On Reggae Woman, Stash, Character Zero

II*: Fat Man in the Bathtub, All That You Dream, Oh Atlanta, Old Folks Boogie, Time Loves a Hero> Day or Night, Mercenary Territory, Spanish Moon, Dixie Chicken > Tripe Face Boogie, Rocket in My Pocket, Willin’, Don’t Bogart That Joint, A Apolitical Blues, Sailin’ Shoes, Feats Don’t Fail Me Now

III: Down with Disease > Back on the Train, Gotta Jibboo, Camel Walk, Suzy Greenberg, Wilson > Harry Hood, The Horse > Silent in the Morning, You Enjoy Myself

E: Julius*

* with horn section and Giovanni Hidalgo on percussion

Source: Schoeps mk41> KC5> M222> NT222> EAA PSP-2> SD 744t (@24bit/96kHz) (Taper – Taylorc)

The Comeback Has Ended Read More »

The Rest of Halloween

While Phish’s take on Little Feat’s “Waiting For Columbus” was the clear centerpiece of an amazing evening, Phish played two other sets as well. The first frame, filled with Halloween-themed selections featured one of the jams of the tour in “Stash,” and a dancy early sequence of “Ghost > Spooky.” During the third set – practically an afterthought following such a masterful Halloween cover – Phish marched out a sequence of high-energy anthems to close the show, weekend, and tour. Without getting into any serious jams other than a smoking “Jibboo,” Phish used a fun finale to celebrate the achievements of the season. And after a transformative few weeks, that felt just fine.

Phish crafted a Halloween-laced opening set with the heavier rock of “Frankenstein” and “Big Black Furry Creatures From Mars,” before catching everyone off guard with an early “Ghost.” Playing with a collective direction and relaxing feel, the entire band toyed within the song structure while building closely off each others’ offerings. Trey stepped out front with an enthusiastic solo while Fishman kept a cymbal heavy beat. Continuing the holiday theme, Page seamlessly came in with piano chords that smoothly transformed the jam into the late-’60s cover, “Spooky.” One couldn’t tell where “Ghost” ended and “Spooky” began in a particularly seamless segue. Though Trey has often teased the guitar lick from this piece (a la 12/31/95’s “Weekapaug”), the song hadn’t been performed since April ’93, making it the largest bust-out in Atlantic City.

Phish passionately nailed “Divided Sky” as a mid-set interlude and continued the holiday cheer with “Roses Are Free,” but the improvisational peak of the Phish-only section of the show came in a staggering “Stash.” The band dove headfirst into this top-notch highlight; a jam that illustrates the band’s current no-nonsense style as well as any. Within a minute of exiting the lyrics, Phish fully locked into a synched pattern that began to build away from the song. As Mike and Page joined Trey in a major key, the band transformed the usually evil opus into a blissful magic-carpet ride into the sunset of Fall Tour. Fishman remained loosely-anchored in “Stash’s” rhythms, while the other three band members took off into an alternate reality. Forging a pristine path through this musical wormhole, the band subconsciously slid right back into the key of “Stash,” picking up the snarling journey at the end of the sonic rainbow. A crunchy “Character Zero” punctuated a highly-engaging opening frame, bringing the evening to into its first setbreak.

After playing, arguably, their most impressive Halloween set to date, Phish came out for a third set with all sorts of possibilities. Some darker selections that seemed like a given – “Mike’s Groove” and “Light”- never showed up, and the band favored an upbeat, high-energy affair to close out their tour. A scalding “Disease” ripped the frame wide open, roaring out of the composed rock into a snapping section of percussive grooves. Locked and loaded, the band seemed to be on the brink of something significant as Trey wove guitar effects into the increasingly abstract piece. Slowing into a series of collective hits, the band landed in a murky psychedelia; Phish was set for liftoff. But in an inexplicable move, Trey called for an abrupt change into “Back On the Train” as “Disease” reached its deepest point. This move signified the type of set that would roll out – a fun, song-based third frame rather than a Vegas ’98er.

The centerpiece of this high-octane conclusion came in a fiercely-active “Jibboo.” Trey’s non-stop solo formed the scintillating icing on a musical cake which showcased more full-band interplay than usual. Trey even drew the band into his melodic template towards the end of the excursion. But when the dust settles, “Jibboo” is a vehicle for mind-numbing guitar work, and that is exactly what underlined is what this third-set standout. Building to a white-hot peak, Phish settled the audience with the slowed-funk of “Camel Walk,” a clear nod to Little Feat’s musical influence.

The set got a bit choppy in the middle, as “Suzy” and “Wilson” seemed completely out of place; but the band decided to jam out of “Wilson” for one few times in their career. Beginning with a guitar lick that sounded like the precursor to another Led Zeppelin tease, the band stayed on their own turf this time, crafting a thrashing heavy metal-turned-ambient passage that showcased far more creativity than they have infused into the song in eons. As Phish drew out the cosmic sludge into a drone landscape, Trey subtly teased the original lick that got this shindig started before he dropped out for the opening drum roll of “Harry Hood.” A delicate and mellow version of the usually high-spirited jam reached the ending chorus with no real build up to it, leaving the last “Hood” of fall a bit short of spectacular. But this entire set was gravy after such a stunning and satisfying Halloween performance.

As soon as Trey started “The Horse,” everyone in the venue knew where we were headed – “Horse > Silent,” YEM.” And so it was. A largely guitar-based “YEM” jam put the final stamp on an unforgettable evening of music on the Boardwalk in Atlantic City. Finalizing things with a set of joyful Phish songs, everyone drifted into November 1st with the energy and inspiration that only Phish can provide. Bringing all their guests back for a “Julius” encore, the show ended with the band of the hour – Little Phish – on stage for one last time. Closing tour with a special encore, the band took a bow to a notably enthusiastic ovation. Putting down their instruments for the last time of tour, Phish had arrived. Sometime during the magical fall of 2010, their comeback came to a close, and Phish took the first bold step into in the next golden era of their career.

I: Frankenstein, Big Black Furry Creature from Mars, Ghost > Spooky, The Divided Sky, Roses Are Free, Funky Bitch, Boogie On Reggae Woman, Stash, Character Zero

II: Little Feat – Waiting For Columbus

III. Down with Disease > Back on the Train, Gotta Jibboo, Camel Walk, Suzy Greenberg, Wilson > Harry Hood, The Horse > Silent in the Morning, You Enjoy Myself

E: Julius*

* with Giovanni Hidalgo and horn section

The Rest of Halloween Read More »

Little Phish

10.31.10 II – Boardwalk Hall (Graham Lucas)

Phish redefined the Halloween experience on Sunday night in Atlantic City, ending their holiday mystery by playing Little Feat’s Waiting For Columbus, the first live album they have ever donned as a musical costume. Transforming Boardwalk Hall into a legitimate Seventies dance party, Phish recreated the concert experience of another band, taking their Halloween stunt to another level. Joined by a horn section and conga virtuoso, Giovanni Hidalgo, on percussion, the band slayed a double-album that reflected the ensemble jamming featured so prominently throughout fall tour. Dipping into several musical textures, much like Phish themselves, Waiting For Columbus proved to be the ideal choice for the band right now. Elevating their game throughout the tour, Phish capped the winding road of fall with a defining Halloween performance that will certainly leap into any debate over the best ever.

Excerpting David Fricke’s eloquent article in this year’s Phishbill:

And they achieved their task to perfection, recreating this experience to a tee and executing the album with unmatched musicianship. Far more complex than covering a recorded set of songs, Phish masterfully learned a series of songs and live jams recorded over seven nights in London and Washington, DC, during August of 1977. Playing the double-disc with passion and precision, the set never dragged for a moment, stealing the show – and the weekend – in Atlantic City. From beat one, the groove grabbed the audience and never let go, providing the genuine feeling that we had been transported to a different place and time.

Beginning with the infectious opener “Fat Man In the Bathtub,” the collaborative rhythmic focus of the album became wholly apparent right away, signifying a far more participatory experience than in past years. To quote Fricke, “…you will be expected to dance. Anastasio can’t help raving about the mad wicked action in these songs.” With varying time signatures, a dirty, blues-based sensibility, and collaborative improvisation throughout, Waiting For Columbus proved to be the aural treat after Phish’s Led Zeppelin “trick” on the 30th. The album not only showcased the band’s impeccable current chops, but also contained slower funk realms that sounded natural and addictive in Phish’s musical medium.

In terms of familiarity, everyone knew “Time Loves A Hero,” an Phish cover that has popped up in setlists from time to time, and the signature piece “Dixie Chicken” – both which provided earnest high points as Page took center stage on the latter. But familiarity hardly mattered with music this engaging; music that spoke to your body and loudly as your mind. Fusing blues, funk, jazz, and rock influences – much like Phish themselves – Little Feat’s culminating work fit provided the ideal soundtrack for a Halloween party.

While the Waiting For Columbus set was drenched in songwriting and soul, carrying a notable energy and momentum from beginning to end, most would agree that the percussive-based “Spanish Moon” brought the most indelible group memory. Comprised of gooey, funk textures with dripping bass lines and nasty rhythm guitar licks, this ode to “whisky and bad cocaine” combusted the dance floor, providing the early favorite to stick in rotation. And when this piece ended, the retro-trip was only halfway over.

Interestingly, Fishman wrote a piece in the Phishbill explaining that there has been no greater influence on his drumming that Little Feat’s late Richie Hayward. And throughout last night’s performance, the similarities became obvious as Fish covered Hayward’s melodic beats and lyrical phrasing. In classic Fishman fashion, he wrote,”I’ve already ripped this guy off so much that covering this album is my chance to finish the job once and for all!” He and Hidalgo worked in awesome unison, churning out dance patterns all night long that anchored the album in a dynamic rhythmic foundation.

Interpreting the legendary guitar work of Lowell George, Trey added his own accents and spice to the already-swaggering leads. A choice that seemed hand-picked for Trey, Waiting For Columbus provided him the chance to magnify his current style while encouraging more percussive offerings than we’ve seen from The Ocedoc this fall. One of Trey’s finest Halloween performances, his gutsy guitar tone fit the album perfectly and he navigated the diverse live tracks with staggering proficiency. Phish had clearly practiced this complex album with diligence, as the entire band came together in a magical Halloween transformation; an unforgettable set of music for the annals of Phish history.

By putting a barbershop quartet spin on the humorous and vocally-based, “Don’t Bogart That Joint,” and bringing Fishman front and center for the beautiful ballad “Willin’,” the band still managed to fit a few Phishy twists into an incredibly authentic performance. “Sailing Shoes” and “Feats Don’t Fail Me Know,” the final two songs of the liquid-flowing set, brought two more quintessential stops in the bass-led percussive pastures that underlined the entire album. And as Trey dug into his final solos of the second frame, they felt completely natural – as if he was swimming amidst his own music rather than playing that of another. Wearing a tightly-fitting musical costume, the lines between Little Feat and Phish became completely blurred last night in a Halloween set for the ages. The band pushed their holiday tradition to the next level this year, throwing an outright dance party like no other this fall, while simultaneously providing a genuine glimpse into the musical tradition that birthed Phish itself.

More to come on Halloween’s other two sets tomorrow!

I: Frankenstein, Big Black Furry Creature from Mars, Ghost > Spooky, The Divided Sky, Roses Are Free, Funky Bitch, Boogie On Reggae Woman, Stash, Character Zero

II: Fat Man in the Bathtub, All That You Dream, Oh Atlanta, Old Folks’ Boogie, Time Loves a Hero> Day or Night, Mercenary Territory, Spanish Moon, Dixie Chicken> Tripe Face Boogie, Rocket in My Pocket, Willin’, Don’t Bogart That Joint, A Apolitical Blues, Sailin’ Shoes, Feats Don’t Fail Me Now

III: Down with Disease > Back on the Train, Gotta Jibboo, Camel Walk, Suzy Greenberg, Wilson > Harry Hood, The Horse > Silent in the Morning, You Enjoy Myself

E: Julius

Phish redefined the Halloween experience on Sunday night in Atlantic City, ending their holiday mystery by playing Little Feat’s Waiting For Columbus, the first live album they have ever donned as a musical costume. Transforming Boardwalk Hall into a legitimate Seventies dance party, Phish recreated the concert experience of another band, taking their Halloween stunt …

Little Phish Read More »

Getting The Led Out

Poseted in Uncategorized
With the 2010, Covers, Fall '10, Halloween
On October 30, 2010
By Mr.Miner

10.30.10 – Atlantic City, NJ (Dave Lavery)

Phish primed their Halloween audience on Saturday night with a fun and raucous rock show laced with Led Zeppelin history, crossing the strongest rumor off the never-ending list musical costume possibilities. Filling two sets with ballistic playing, Phish granted the Atlantic City audience an explosive and special show that will go down in the band’s rich Halloween lore.

On the eve of their three-set exclamation holiday show, the band crushed from beginning to end, with much of their impressive improvisation coming before setbreak. Popping through a set-opening trio of “Kill Devil Falls,” “Cavern” and “Foam,” the band clearly carried an extra something with them from the get go on Saturday night. But when the band ripped into what seemed like another innocuous first set “Chalk Dust,” the evening was just getting started. Phish transformed a furiously creative jam into a full-blown stop in Led Zeppelin’s “Whole Lotta Love” before dive-bombing for the ending of “Chalkdust.” At this point, the Zeppelin reference could have been a Halloween preview, or a tease altogether. But when Phish followed up the smoking segment with “Ha Ha Ha,” the joke was clearly on us, and we didn’t even know the half of it.

“Chalk Dust” began a scintillating first set run that continued with a sticky and percussive “Wolfman’s Brother” that continued to push the envelope of fall versions. Moving out of the composition into a vocal scat over a pulsing groove, the bands musical exploits never stopped while they simultaneously added a fifth vocal layer. Passing into a sparse rhythmic plane, Trey darted through the intricate beats with staccato melodies that Gordon answered with strong counter-leads of his own. Soon enough the band was neck-deep in a pit of percussive quicksand that continued to draw the band down the rabbit hole. Hinting at “Manteca” (as most funk jams this tour have at one point or another) all four members kicked in equitable antes in this rhythmic canvas. A strained, but well intended, transition brought the band from “Wolfman’s” into Fall’s first “Undermind.”

Continuing their rhythm-based jamming, Phish flowed into a standout version of “Undermind” that was delivered with enhanced precision and tightness that has characterized this tour. Trey and Mike entered a dynamic conversation while Fishman held the court for such a discussion to take place. Page comped this scene with organ swells that provided a backdrop for the three-piece summit. Look for some furious work from Red throughout this, potentially, best-ever version.

Following the post-hiatus song with two oldies, Phish closed the set with a massive “Bathtub Gin” and “Squirming Coil.” Highlighted by guitar acrobatics – an emerging theme of the show – Phish led “Bathtub Gin” down decidedly dancy road. Oozing right into the thick of things, it took Phish no time to lock into an initial groove that spiraled into a tornado of nasty guitar licks, ballooning bass lines, and collective melodic sensibility. This “Gin” built into a cathartic first set standout that brought one of the legitimate high points of the entire show. Flowing and connected with unparalleled urgency, Phish carried a Mack truck’s worth of momentum through this mind-numbing first half gem.

But after setbreak, Phish built a retro-adventure centered on a “Tweezer” that wove in and out of four Led Zeppelin songs, climaxing with the iconic final verse of “Stairway to Heaven.” As soon as the “Tweezer” jam dropped, Phish went right into tease of “Heartbreaker” before changing back into to “Tweezer” for a stellar couple of minutes that too quickly found their way “Ramble On.” Passing through mere portions of each Zeppelin song, Phish built a classic rock jigsaw puzzle that likened a joyride down high school’s memory lane. After passing through the gorgeous “Thank You,” Phish briefly returned to “Tweezer’s” theme before merging into “Stairway to Heaven.” Turning “Tweezer” into a straight up medley, Phish musically chuckled at any fans that had believed the hype, while creating a wildly entertaining sequence of music along the way.

Although a smashing and significant “Tube” opened the set followed by a “Possum” that stuck out like a sore thumb, what this show now needed was some pure Phish fire. All teases and jams aside, there was little meat in the second set until the final third. But any concerns were put to rest with an ornate sequence of “2001 > Bowie” that doused the end of the show with some serious improvisation.

Building on the revitalized versions of Fall, Phish absolutely went to town on “2001,” tearing apart the space-funk with a flying passion. Turning Boardwalk Hall upside down and spinning it around, the band really gave this version the full treatment, extending its second half into a clinic of groove. One of those versions where the mind shuts off and the body just moves, this one had the venue bumping as one in the middle of the second set. Flying off the chain with furious runs of notes, it had been ages since Trey had been so active and out front in the space-aged realm – and it was straight up glorious.

Dropping into “Bowie’s” intro at “2001’s” peak, the band unveiled another resuscitated piece of their catalog that has shined throughout Fall. A dialed-in rendition littered with nuances and intricacies, Mike, Trey and Page played a game of musical tag, chasing each other through a labyrinth of psychedelia. A perfect example of the new and improved Phish, the amount of ideas conveyed within this compact musical cannonball was stunning, as the band never let up from the moment the jam began. Unquestionably the musical highlight of the show, you can take “2001> Bowie” to the bank – top-notch stuff.

“Show of Life” set up a set closer from which the band could have selected a number of successful songs, but “Number Line” wasn’t one of them. Using this enigma of a song as a contained set closer contains very little power, and honestly, leaves the show wanting more. And luckily, last night, Phish had a little more in them, capping the set with a filthy and fitting encore of “Good Times, Bad Times.” Finalizing the evening with a last tease of “Whole Lotta Love” after “Reprise,” suffice it to say that Phish got their Led out on Saturday night, treating the South Jersey audience to a full-on experience. But now that Zeppelin is out, what will the costume be? Nobody knows a thing and the witching hour is quickly approaching! Your guess is as good as mine, but if one thing is for sure, the last night of Fall tour will be one for the books.

I: Kill Devil Falls, Cavern, Foam, Guelah Papyrus, Chalk Dust Torture > Whole Lotta Love > Chalk Dust Torture, Ha Ha Ha, Walk Away, Wolfman’s Brother> Undermind, Bathtub Gin*, The Squirming Coil

II: Tube, Possum*, Tweezer* > Heartbreaker^ > Ramble On^> Thank You^ > Tweezer > Stairway to Heaven^, Halley’s Comet > Also Sprach Zarathustra > David Bowie, Show of Life, Backwards Down the Number Line, Good Times Bad Times

E: Sleeping Monkey, Tweezer Reprise*

* w/ “Whole Lotta Love” teases, ^ incomplete

Getting The Led Out Read More »

Get the Book!

Island Run Pins

Phish News

Miner's Picks

Contact

Back to Front Page

MR. MINER'S PHISH THOUGHTS

- 2023

MR. MINER'S PHISH THOUGHTS

Chilean Inspiration

The Comeback Has Ended

The Rest of Halloween

Little Phish

Getting The Led Out

Get the Book!

Island Run Pins

Recent Posts

Back Where it All Began

Holy Blankenstein: Spirituality in Sci-Fi Soldier

A Spirit Family

Dancing in a Dream

The In Sound From Way Out

Please Her with a Tweezer

A Hershey’s Kiss

Screaming Through Space

Fun and Then Some

Rooted in the Now

Links

Phish News

Miner's Picks

Contact

Back to Front Page