As we celebrate the third anniversary of Hampton’s comeback run—yesterday, today and tomorrow—let’s take a ride back in time with an audio retrospective of this era. In only three years, Phish has brought us from Hampton to Red Rocks, from the Gorge (two times) to Telluride, and from The Greek Theatre to Hollywood Bowl. It has brought us up and down the east coast and through the Midwest more than a couple times, hitting all the staples and then sime. This era has brought us two Halloween shows, two festivals, three more New Year’s Runs, and a whole lot of memorable multi-night stands. And above all else, this era has brought us a hell of a lot of great music. Today, lets start with my some of the earliest highlights from 2009. How long has it been since you listened to these? Enjoy the look back.
A profound, ambient take on their classic jam on only the second night of June ’09. If you were reading this site then, remember how hard I freaked on this one? Good times.
This era’s first “Sand” was a revelation, as the band infused a palette of melody into jam. This Camden excursion only foreshadowed the song’s transformation into a whole-band jam in 2010. In my opinion, the most dynamic “Sands” now live in the 3.0 era.
Paired with “Rock and Roll,” the band’s first exploration of “Light” came in Bonnaroo’s final set. These two songs would transform into the preeminent launchpads of the modern era thus far.
The standout jam of June ’09’s final show at Alpine.
As we celebrate the third anniversary of Hampton’s comeback run—yesterday, today and tomorrow—let’s take a ride back in time with an audio retrospective of this era. In only three years, Phish has brought us from Hampton to Red Rocks, from the Gorge (two times) to Telluride, and from The Greek Theatre to Hollywood Bowl. It …
We’ve officially have entered the final countdown, sitting less than ten days away from Chicago’s summer tour opener. As the pages of the calendar pass into June, the wait is almost over. We are about to experience new Phish again; 2009 is but a memory and 2010 has arrived. And as we step into summer tour, while there is a completely different feeling surrounding the band’s musical potential than last year, some of the same questions remain.
Entering Fenway and Jones Beach at the beginning of last summer, everything was still a question mark. The Hampton shows had been promising, but nobody really knew what to expect as Phish embarked on their first tour in five years. The release of Joy, the album, had been indefinitely pushed back, so we never got a glimpse of the band’s new material beyond Hampton’s “Number Line” and the official “single” for “Time Turns Elastic.” We just didn’t know where Phish was heading, and, ironically, we now enter Summer 2010 with the exact same question.
Fenway Poster
2009 provided a solid foundation for everything that is to come, but throughout most of the year, Phish didn’t push new musical boundaries while regaining their comfort on stage. Even the best jams of the year didn’t present a clear new direction for Phish music, something that will hopefully emerge this summer. This trend, however, began to change during the final four nights of the year. Phish came out in Miami with a renewed ferocity and purpose behind their music, sculpting a handful of the year’s most efficient and forward-looking jams in “Piper,” “Ghost,” “Tweezer,” and “Back on the Train.” All of these pieces were characterized by dynamic creativity amidst an urgency that pushed the music along with nary a wasted note, fully realizing a shift that began towards the end of fall tour.
But now, as the community prepares to descend on Chicago a little over a week, Phish has no album to promote, and, allegedly, plenty of new material – a combination that would seem to push the band’s creative process. With their communication honed, and their jitters gone, this tour promises to bring a hell of a lot of excitement.
SPAC ’09 (D.Perrucci)
When pondering where the music may move to, I think back to two “Disease” jams from last fall – Cobo and Philly. In each of these excursions, Phish attained periods of layered, lead-less jamming, a potential glimpse into a more mature style. When the band began with this unique “Disease” in Detroit’s tour opener last fall, I figured it might be a foreshadowing of things to come. But experimentation never became the focus of the fall and Miami’s standout playing didn’t follow this pattern either, leaving us to wonder just where the band’s musical magnifying lens will next fall.
Perhaps we can find clues in the many explorations of “Light” from last fall, as the band introduced a new genre-defying jam. An open-ended piece, whose greatest days lie ahead, brought some of the newest-sounding music of last year in many differing versions. Each year from 1993 forward featured distinct shifts in the band’s style of improvisation, and if Phish pressed the reset button last year, new musical excursions should emerge within weeks. Stay tuned to see what happens.
I: The Curtain > Split Open and Melt, Fee, Maze, Reba, Uncle Pen, Stash, Rift, Esther, Run Like an Antelope
II: Glide, Tweezer*, The Squirming Coil, My Mind’s Got a Mind of its Own, You Enjoy Myself, The Horse > Silent in the Morning, Chalk Dust Torture, Cold as Ice > Cracklin’ Rosie > Cold as Ice, Harry Hood, Tweezer Reprise
E: Carolina, Cavern
* w/ Col. Bruce Hampton on Trombone; Aquarium Rescue Unit opened
Source: Unknown
We’ve officially have entered the final countdown, sitting less than ten days away from Chicago’s summer tour opener. As the pages of the calendar pass into June, the wait is almost over. We are about to experience new Phish again; 2009 is but a memory and 2010 has arrived. And as we step into summer …
While the second sets have been the primary focus of all the summer shows, there were a few first sets that stood out among the rest. While Phish traditionally uses the first set to showcase their songs, and the second set, their improv, in any legit first set there is usually some overlap. The first sets this summer followed a more old-school contour, featuring longer setlists and standalone jams, while most often feeling like warm-ups for second half adventures. But a few times during the second leg, the first set popped off a bit more. Below are four first sets, in chronological order, that left a greater musical wake, gave a little bit extra, and set up the second set with a bit more gusto than usual.
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Red Rocks 8.1
I: AC/DC Bag, The Curtain (With), Mound, Gotta Jibboo, Guyute, Punch You in the Eye, Tube, Alaska, Run Like An Antelope
8.1 – Red Rocks (D.Vann)
Always a great opener, “Bag” kicked off the show with energy and a hint of funk before everyone was blindsided by “The Curtain (With).” Arguably the most emotional moment of the summer, the band slaughtered the composition that had slaughtered them back at Coventry. As the band gelled majestically, Trey played incredibly poignant leads into the Colorado heavens. A one-of-a-kind catharsis, we all lived what we had imagined for years- and the past was behind us. But so much more importantly, the band stepped up to the moment,and put the past behind them. The first song after such an episode would be….”Mound!” Played only twice since 1996, Phish ripped through the old-school piece, and it sounded as fresh as any new song played all summer. The “Jibboo” that followed felt like a celebratory groove-fest that ushered in the future. “Punch” and “Tube” flooded the set with plenty of super-sized dance patterns before “Antelope” sprinted to the finish line. Taking the jam out to a more dissonant intensity before returning to the peak, this was the first of several menacing versions throughout August.
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Darien Lake 8.13
I: Sample In A Jar, Dinner and a Movie, Wolfman’s Brother, My Friend, My Friend, Possum, Farmhouse, Sugar Shack, Brian And Robert, David Bowie, Bathtub Gin, How High The Moon*, Golgi Apparatus
Darien Lake (H. Ainsworth)
Though this frame embodies the “set of songs” structure, it featured energetic playing throughout, some choice rarities, and was anchored by three solid jams. “Wolfman’s” moved through liquid grooves to an expressive peak- my personal favorite of August; and at the end of the set came a somewhat unprecedented combo of “Bowie” and “Bathtub.” These three pieces- with “Bowie” being the jam of the first half- carried the improvisational weight of the set, but there were elements of surprise as well. After “Sample” innocently opened, Phish dropped into the ever-elusive “Dinner and a Movie.” Played only seven times since 1994, any time you hear the dark instrumental, it is always a treat. And with their 3.0 precision, the band nailed the eighth. Phish sandwiched “Wolfman’s” with a second ominous bust-out in “My Friend, My Friend.” In addition to a well played “Sugar Shack,” the spoken tribute to Les Paul and “How High the Moon” also made this set unique. It may look routine on paper, but that’s why you can’t judge a show by its setlist.
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Hartford 8.14
I: Punch You in the Eye, AC/DC Bag, NICU, Colonel Forbin’s Ascent > Fly Famous Mockingbird, Birds Of A Feather, Lawn Boy, Stash, I Didn’t Know, Middle Of The Road, Character Zero
“Punch / The Landlady” – Hartford (A.Hill)
One of the most scorching first sets of tour, the band came out with a string of oldies that set the tone for the entire show. An exciting “Punch” had the pavilion blowing up all over the place before the ushers began asking for tickets during “NICU.” But the biggest surprise of the set came with the heavy drop into “Colonel Forbin’s” for the first time since Vegas 2000. We finally had returned to Gamehendge- a land that seemed somehow inaccessible during the post-hiatus era. A gorgeous run through “Mockingbird” capped the ’80s portion of the set, and the band fell right into the only “Birds”of August. The jam was fuel-injected, soaring through fast-paced textures, and bursting at the seams with snarling energy. Taking their improv into an aggressive ‘type 1.5’ territory, Phish used “Birds” to set up the most outstanding excursion of the set- “Stash.” With a darkened psychedelia, the band got in touch with the ethos of the song, leaving its more melodic interludes on the west coast. The highlight of the set- in my opinion- this “Stash” has flown way under the radar. A vacuum solo, a Mike song, and “Character Zero” to close- a great first set.
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Merriweather 8.15
1: Crowd Control, Kill Devil Falls, The Sloth, Beauty Of A Broken Heart, Axilla I, Foam, Esther, Ha Ha Ha, Party Time, Tube, Stealing Time From The Faulty Plan, Strange Design, Time Turns Elastic
Merriweather (K.Pusey)
Sometimes a first set can ride on sheer energy and well played songs- and it always helps if most of the songs haven’t popped up yet on tour. Thus was the case with Merriweather’s opening frame, featuring seven late-summer debuts, and a couple songs that has only been played once. This version of “Beauty of a Broken Heart” really hits a groove and foreshadows what I think can be a solid vehicle for good-times dance music. And of course there world premiere of “Party Time.” A song that is sure to ingrain itself in Phish lore, the debut of the funk was nothing short of delightful. With huge smiles and great energy, Phish delivered a satisfying first course.
OTHER LEGITIMATE FIRST SETS:7.31 Red Rocks, 8.7 Gorge, 8.8 Gorge (We’ve talked about these a lot though!)
This supremely psychedelic segment of music saw an early, improvisational “Disease” morph into a brand new “Free,” creating a forward-looking highlight of an unreal set at SPAC. These jams gets into seriously spacey and mind-expanding territory- incredibly engaging jamming in my book. If you’ve never heard this, listen…now! Classic Summer ’95.
Coming at you via reader request is an early show in the huge month of November ’94. With a focus on fast-paced psychedelia, Phish was drooling with hunger on the verge of stardom. A great relic from an intense era in Phish history.
I: Fee, The Divided Sky, Wilson, Peaches en Regalia, Glide, Split Open and Melt, Dog Faced Boy, Sparkle, Down With Disease
II: Also Sprach Zarathustra > Simple > Poor Heart, Julius, You Enjoy Myself > Big Black Furry Creature From Mars, Harry Hood, Cavern
E: My Sweet One*, Nellie Cane*, Amazing Grace, Highway to Hell
While the second sets have been the primary focus of all the summer shows, there were a few first sets that stood out among the rest. While Phish traditionally uses the first set to showcase their songs, and the second set, their improv, in any legit first set there is usually some overlap. The first …
Chicago was an interesting night, and I feel some of my initial comments were taken out of context- so let’s revisit Phish’s stop in the Windy City. Aside from the “Curtain With,” the first set was straight up uneventful- that much is hard to dispute, but the second set presented a whole different conundrum. The concept of flow is so important to a successful set of music. You don’t want to feel like you’ve just been thrown through the musical washing machine, catching chunks music randomly and out of context as they hit you. But that’s kind of what Chicago’s second set felt like.
8.11 (C.Smith)
The intriguing factor of this second set, is that most all of the music is great! What made the show unsuccessful overall was not the lack of virtuoso jamming, but the choppy presentation of the music that could have been artistically outdone by my middle school lunch ladies and their Sloppy Joes. There were several standout jams in the set, but when one randomly ended to start the next, that elusive flow went right down the drain. The “Number Line” was one of the two strongest of the summer; the “Hood” was more unique than most, and Chicago’s second set featured the only “2001” of the tour that didn’t involve a guest. All the elements were there for a great show, but they just didn’t gel.
8.11 (D.Vann)
After the show, I noted this, and thought of a way the set could have been arranged more cohesively, and just for the fun of it, I recreated the set- as best as possible- in the order I think it was “meant” to be. (This exercise is much better accomplished with an iPod playlist.) And if it went down like this, I guarantee people would be talking about the Chicago show a whole lot more. This is not to presume that I know how Phish sets should go more than the band does- but just this once, indulge me. Sure, hindsight is 20/20 and all that, but remember, this is all for fun.
Toyota Park (C.Smith)
As the “Number Line” got ambient- it seemed the “2001” that had loomed large over The Gorge all weekend was about to drop, merging the futuristic theme the a song that very much represented the band’s future course. But despite all the times the band sidestepped artistic segues into “2001” over the previous shows, the space-funk be Heismaned again, only to stumble awkwardly out of “Wilson” later in the set. Instead the band jarringly dropped into “Carini”- a move that squeaked by on shock value- and the fact that Phish cranked the intensity level way past eleven on on this one, so we’ll leave the initial segment alone. (But that “Number Line > 2001” was begging to come out!)
8.11 (C.Smith)
As the band began to build out of “Carini’s” grungy residue, Trey started chomping away at “Jibboo,” successfully blowing the second segue in a row. But this time, let’s reconsider. Since the band missed their first chance to merge with “2001,” let’s use “Carini’s” outro as the intro to the dance epic- it works perfectly. “Carini > 2001”- now that’s some gritty, urban Phish! Carrying out the peak of “2001,” Trey would then drop the opening rhythm chords to “Jibboo” continuing the dance-floor portion of the show. Finishing a full-throttle groove session in “2001 > Jibboo,” concluding a boisterous opening of the set, everyone would need to catch their breath. Cue “Theme”- a perfect chill-out song after the improvisational fireworks, while still carrying momentum of its own. As soon as the respite is over, Trey would eagerly hit the opening notes to a late-set “Wilson.” But as the band sustained the final note, instead of crashing into a random “Chalkdust,” they would drop into the drum roll of “Harry Hood,” forming an old-school one-two punch. And this “Hood” is no slouch. With impressionistic painting by Trey and a diversion into minor chords before the peak of the jam, this version was among the best of leg two. Just when you think the set is over, the ever-present “Coil” would still unfold to gracefully to close the set.
Call me crazy, but that would have flowed much more fluidly than the mix-tape the band dropped in Toyota Park. And a rocking double encore to close things off- “Chalkdust,” “Loving Cup”- what a beautiful buzz! Don’t take this too seriously, and if you thought Chicago was the best show of tour, more power to you. But if you’d like to listen to Chicago’s second set the way it could have gone down, sit back, hit play and relax.
This is one of the most unique and ethereal “Splits” ever played- and one that flies completely under the radar. A true gem from the cornfields of Deer Creek in ’97!
A pre-FM SBD source of the now-classic show immortalized on Slip, Stitch, and Pass.
I: Cities, Oh Kee Pa Ceremony > Down With Disease, Weigh, Beauty Of My Dreams, Wolfman’s Brother > Jesus Just Left Chicago, Reba, Hello My Baby, Possum
II: Carini, Dinner and a Movie, Mike’s Song > Lawn Boy > Weekapaug Groove, The Mango Song, Billy Breathes, Theme From The Bottom
E: Taste, Sweet Adeline
Chicago was an interesting night, and I feel some of my initial comments were taken out of context- so let’s revisit Phish’s stop in the Windy City. Aside from the “Curtain With,” the first set was straight up uneventful- that much is hard to dispute, but the second set presented a whole different conundrum. The …
Overshadowed by Hartford and SPAC, the opening show of the summer’s final four-night run flowed well, had copious highlights, and set the tone for the end of tour. The first set under the tent featured the darker bustouts of “Dinner and a Movie” and “My Friend” while carrying one of the outstanding “Wolfman’s” of summer and, in my opinion, the most engaging “Bowie” of the second leg. The second set opened with a exploratory “Drowned,” sparking the unique highlight of “Drowned > Caspian > Rift.” A smoking mid-set “Antelope” set up a revelatory “Fluffhead” closer. This show is a real dark-horse, and deserves more attention than it has garnered.
I: Sample In A Jar, Dinner and a Movie, Wolfman’s Brother, My Friend, My Friend, Possum, Farmhouse, Sugar Shack, Brian And Robert, David Bowie, Bathtub Gin, How High The Moon, Golgi Apparatus
II: Drowned > Prince Caspian > Rift, The Horse > Silent in the Morning, Sparkle, Run Like An Antelope, Suzy Greenberg, Fluffhead
E: Joy, First Tube
Source: Microtech Gefell M20 > JK Labs ECMS-23 > EAA PSP-2 > Sound Devices 722 (Line In, -0.3 dB) (Taper – Tim Burke)
Phish cohesively strung together this unique run of songs to begin the second set at Darien. Look out for the standout “Drowned” jam- totally patient and fully realized.
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VIDEO OF THE WEEKEND:
“Run Like An Antelope” Darien Lake 8.13 II(Part 1)
“Anrtelope” (Part 2)
DOWNLOAD OF THE WEEKEND: 8.13.2009 Darien Lake PAC, Darien Center, NY < Torrent 8.13.2009 Darien Lake PAC, Darien Center, NY < Megaupload Overshadowed by Hartford and SPAC, the opening show of the summer’s final four-night run flowed well, had copious highlights, and set the tone for the end of tour. The first set under the …
