In our continuing remembrances of this past summer, let’s travel back to the final four shows of tour. Returning to the Northeast after an other-worldly run out west, Phish came home to some classic sheds to punctuate the season. While each show had improvisational highlights- many which have been discussed- here is a look at some of the moments that fit in between the more significant jams.
At the conclusion of a smoking set that has been largely glossed over, Phish pulled out a massive version of “Fluffhead.” Following the opening ebb and flow of “Drowned > Caspian > Rift” and a ripping mid-set “Antelope,” Phish played a top-notch rendition of their once-elusive classic to close it out.. After an almost note-perfect jaunt through the many composed sections, Trey took command at the top, gushing with a triumphant solo that packed a heartfelt wallop. Out of the the many versions of “Fluff” this summer, this one sits in the upper echelon, and it served as a vibrant exclamation point to the band’s return to the circus tents of Darien.
After Phish had shredded this set apart with improv galore, they reached a point of sustained banter. As Trey joked with the audience after “Catapult,” the band made a subtle change to “Icculus” in the background. Appearing for only the tenth time since 1990, the audience responded immediately and enthusiastically to the musical shift. Delving deep into Phish lore, Trey went on an early-nineties tirade about our over-technological generation, our need for the “fucking book,” and the “great and knowledgeable” prophet of Gamehendge. An undeniably significant moment in the re-evolution of the band, the passion infused into this ancient bust-out confirmed that things were once again in order in the land of Lizards.
When discussing the band’s forthcoming album and new family-oriented vibe after Hampton, Trey joked that they should ironically title the record, “Party Time.” This joke turned into a more substantial rumor when a track listing emerged from the band’s studio sessions in May that had “Party Time” amidst other songs. It could have been an inside joke- we had no idea, but when Trey happily introduced the Fishman-penned original at Merriwether, the band and crowd erupted in laughter and cheer. Kicking into their take on New Orleans party-funk, the band foreshadowed what could develop into a much larger and entertaining jam vehicle. If I had to guess, we’ll hear a extensive version to open up the band’s highly-anticipated festival in Indio come Halloween- but for now, it’s “Paaaaaarty Tiiime!”
***
“Harpua” 8.16 SPAC II
SPAC (D.Perrucci)
“Oom Pah Pah, Oom Pah Pah, Oom Pah Paaaaaaaah…” And SPAC exploded. On the final night of summer, Phish revived one of their oldest narratives about Jimmy, Posternutbag, and the fat, sweaty bulldog. Stamping a show as special with its mere inclusion, this go-round was even more significant, as it was the modern era bust-out of “Harpua.” In this story, a depressed Jimmy meditaded in his bedroom, summoning his spirit guide in the form of Fishman floating in his window. Imparting with him the all-powerful truth, Fiashman sang a spoof of “I Kissed a Girl.” An absurd tale, no doubt, this return of “Harpua,” coupled with “YEM,” brought a Phishy end to an unforgettable summer.
This was our first taste of the wide-open exploration that would characterize the western shows. Like a breath of life into the world of Phish, this musical passage was the indelible memory from Red Rocks’ opening night.
A fun first set with many bust-outs was followed by the most tame second frame of tour. The “46 Days,” however, is one of the jams of the summer.
I: 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
II: Tweezer > Taste, Alaska, Let Me Lie, 46 Days > Oh! Sweet Nuthin’, Harry Hood
In our continuing remembrances of this past summer, let’s travel back to the final four shows of tour. Returning to the Northeast after an other-worldly run out west, Phish came home to some classic sheds to punctuate the season. While each show had improvisational highlights- many which have been discussed- here is a look at …
With so much new Phish to listen to these days, one of the most engaging and protean jams of the tour hasn’t gotten its proper credit. Buried in a lackluster second set at Merriweather Post Pavilion, the band played one of their finest pieces of music since their return. After listening to “46 Days” a few times over, it is certainly one of the most diverse, far-reaching Phish jams of the summer. From heavy groove to ambient psychedelia, this jam brought us deep into the primordial soup before delivering us to heights uncharted.
Merriweather (K.Pusey)
After a high-energy and exciting first set, comprised almost exclusively of bustouts, everyone was ready for the band to bring the heat in the second. And when they opened with “Tweezer,” it seemed like Merriweather was about to explode. But instead, Phish played one of the most uneventful renditions in memory, on the way to a particularly slow beginning of the set. Segueing quickly into “Taste,” we soon found ourselves listening to an “interlude” of “Alaska” and “Let Me Lie,” but nothing spectacular had happened to necessitate one. Thus when Phish started up “46 Days” it could have gone either way. Phish could have just as easily played a eight-minute rendition of the song, continuing the pattern of the night, or they could have gone huge on the song- something they’ve done more than a couple times in the past. Needless to say, they chose the latter.
Merriweather (K.Pusey)
After a quick pass through the composition, Phish got right into the thick of things. Springing off a bass-driven platform, the band entered some slowed down molasses-funk, and immediately we knew we were in for a ride. Before long, we found ourselves knee-deep in a murky swamp of the mind, trudging through layered musical sludge that became slower and spacier with each step we took. Bombarded with sonic textures, likening an alien encounter, Trey threw us a rope to hold onto via slower sustained melodies stemming from the dark side. Mike led the band into menacing grooves, killing it with a unique backdrop that only he can provide. Offering a faster idea, Trey hopped aboard the bass line, and soon infused the jam with its first taste of happiness.
Merriweather (K.Pusey)
The band settled into a soundscape with Trey delicately atop, and soon built the piece into awesome whole-band ambient sculpture. As the music reached its most abstract point, Trey added a faster rhythm pattern that, at first, seemed out of place. But as the band built around his offering, the music became divine. And as Trey started to solo in this vein, Fish kicked a dance beat and the band was off into some of the most organic, and spectacular improv of the summer. Completely switching gears from its dark beginning, the subsequent music is pure Phish majesty.
Merriweather (K.Pusey)
As the band continued into a tight, rhythmic pattern, Phish was in complete destruction mode, flowing as their heart desired. Disconnected from any song structure, they played as if no one were there, and it was perfect. Trey painted the blissful music with surreal melodic themes that Page complimented masterfully on piano. Reaching a higher plane, the band collectively blossomed in a splendid segment of pure and utter hose. Trey’s lines transformed into mind-bending waterfalls in one of those you moments you couldn’t believe, even though it was happening right in front of you.
Following the jam’s soaring peak with an artistic denouement and a slip into “Oh! Sweet Nuthin,” Phish gave everyone a moment to breathe after their signature excursion. The ballad was played with an emotional purpose, punctuating the exalting music that had just gone down. Though it was the only taste of exploration all night long, “46 Days” gave Merriweather’s second set some street cred with one of the greatest- and most overlooked- jams of the tour.
This mid-week stop in the Bay Area carried provided more than a few highlights, though has lived in the shadows of Red Rocks and The Gorge. This show offers one the most exploratory “Diseases” of the year, a fine second set run of “Cities > Maze, Mike’s,” a hot first-set “Bowie,” and the return of Velvet Underground’s “Oh! Sweet Nuthin.” Check it out.
I: Golgi Apparatus, Halley’s Comet, Chalk Dust Torture, The Divided Sky, When the Circus Comes, Time Turns Elastic, Ya Mar, Stealing Time From The Faulty Plan, Suzy Greenberg, David Bowie
II: Backwards Down the Number Line, Down With Disease > Limb By Limb, Oh Sweet Nuthin’, Cities > Maze, Mike’s Song > Simple, Weekapaug Groove
Merriweather Post Pavilion 8.15.09 (Photo – Kenny Pusey)
With so much new Phish to listen to these days, one of the most engaging and protean jams of the tour hasn’t gotten its proper credit. Buried in a lackluster second set at Merriweather Post Pavilion, the band played one of their finest pieces of music since their return. After listening to “46 Days” a …
After each tour ends, we spend countless hours learning the new music that just unfolded. We make highlight mixes and listen to certain jams and sets time and time again, studying each subtlety. When we listen back, we can remember those experiential moments of awe; those times that stood still- not always a result soaring peak. Spanning the spectrum of human emotion, memories come in all shapes and sizes at Phish shows. The following are a few of the most poignant moments from the band’s memorable run at Red Rocks.
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“Billy Breathes” 7.30 II
Red Rocks 7.30 (G.Lucas)
Placed within an ominous frame that featured “Mike’s” “Ghost,” “Wolfman’s,” and “Bowie,” “Billy Breathes” was an oasis amidst the darkness. Unfolding late in the second set, the entire venue fell silent as the band meticulously moved through the ballad. Painted with a delicate brush, this rendition stood out after the show had ended. Its amazing how powerful a Phish song can be when given proper context and attention. “Billy Breathes” seemed to strike a chord with most everyone in that night, as many commented on its power throughout the next few days.
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“Split Open and Melt” 7.31 I
Red Rocks (G.Lucas)
In an dark convergence of Phish and nature, this “Split” summoned harsh wind and rain from the heavens, creating an intense ending to Friday’s first set. As the storm blew in, Phish took their jam further and further out, into an ominous, hypnotizing plane. Getting downright sinister, Phish grew the jam into a piece of abstract, mind-control art. Getting at the very essence of the jam, itself, this dip into the river Styx was a congruent soundtrack to the menacing weather- a perfect Phish synchronicity.
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“The Curtain (With)” 8.1. I
Red Rocks (G.Lucas)
Out of nowhere, after an innocent “AC/DC Bag” opener, Phish did the deed; they started up “The Curtain” for the first time since their Coventry demise. Finally ready to put the past behind them, the band stepped up to the revered piece they so horribly botched as their previous swan song. Taking the audience by surprise, the moment we had wondered about since March was, all of a sudden, happening. In the glorious surroundings of Red Rocks, Phish swept the cobwebs from our memories with a sublime, heart-wrenching rendition of “With.” Slowly narrating an introspective tale, Trey’s lines floated through the sky in a life-affirming moment for all. In one of the most poignant passages of the summer, Coventry was finally conquered and we were moving on to greener pastures.
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“Reba” 8.2 I
Red Rocks 8.2 (G.Lucas)
In the waning daylight on the final night of Red Rocks, Phish unveiled the only “Reba” of the second leg. A perfect selection for the setting sun of the triumphant Red Rocks run, Phish settled into the jam in a quiet way. Riding a gradually building groove, the piece was a musical magical carpet ride through the colored eve. With tasteful and creative phrasing throughout, the band created a soaring and emotive jam. Like a sculptor and a ball of clay, Phish skillfully manipulated their medium forming a cathartic build within an otherwise mellow set.
Of the many standout “Diseases” this summer, this west coast exploratory monster is firmly in the upper echelon. The centerpiece jam of Shoreline’s second set, the band moved from rock, to groove, to ambient in this multi-layered piece. The final section of this jam may be the most engaging, illustrating Phish’s willingness to push their improvisation, seeking deeper places.
The fourth and final night of this historic stand was highlighted a standout “Boogie,” “YEM” to kick off the second set. Out of the smoke-covered vocal-jam emerged Billy Kreutzmann, joining the band for a fun-filled finale in Morrsion. We’re invited back this time.
I: Roses Are Free, Wilson, NICU, Prince Caspian, Back On The Train, Reba, Grind, Beauty Of A Broken Heart, Sample In A Jar, Sugar Shack, Waste, Kill Devil Falls
II: Boogie On Reggae Woman, You Enjoy Myself > Undermind* > Drums* > Seven Below* > 2001* > Waves*, Character Zero*
E: Bittersweet Motel, Bouncing Around the Room, Slave to the Traffic Light
* w/ Bill Kreutzmann on drums
Source: B&K 4022 (Taper – Craig Davis)
After each tour ends, we spend countless hours learning the new music that just unfolded. We make highlight mixes and listen to certain jams and sets time and time again, studying each subtlety. When we listen back, we can remember those experiential moments of awe; those times that stood still- not always a result soaring …
The last time Phish was around, during the “post-hiatus” years, there were many magnificent musical moments- contrary to popular myth- but something was missing. Throughout the band’s past, they had not only put on great concerts, but laced their performances with humor, antics, musical jokes, and a general zany energy that defined a Phish show. As the years wore on and the band got deeper into unhealthy habits, this energy- this Phishiness- began to fade, a clear sign that all was not well in Gamehendge. As 2003 turned to 2004, Phish’s spirit was waning, and after a three-night stint in Vegas, things were clearly spinning out of control.
Hartford (A.Hill)
And then Coventry happened. We were forced into a distinctly un-Phishy ending to the greatest chapter of our lives, and it just didn’t feel right. But alas, sometimes, as Nana said, “That’s the way the cookie crumbles.” But the fates wouldn’t have it that way, and five years later we found ourselves back in the kingdom of Phish- but would it be the same?
After so many unknowns were answered at Red Rocks and The Gorge, Phish sailed back into New England in a triumphant homecoming. When the band quit in ’04, Trey said he feared becoming a nostalgia act, thus when returning in ’09, we knew things would be forward-looking. With a forthcoming album, more heartfelt and mature songs, Phish has entered a new stage of their lives and of their careers. But on one special night in Hartford, CT, the band showed everyone that they haven’t lost touch with the spirit that inspired them from the start- Phish still had their Phishiness.
Hartford (T.Salido)
Though their renewed musical spirit was on display throughout the second leg, one wondered if their early days of Gamehendge narrations and allusions were simply a relic of a bygone era. But when Phish opened Hartford with four songs that could have been pulled from their college days, a different energy to the show began to emerge. “Punch,” “AC/DC,” and “NICU” got the party started, but it wasn’t until the dramatic drop into “Colonel Forbin’s” that we knew something special was at hand. As Mike’s bass crisply cut the thick summer air, the band delved into their classic saga of the Gamehendge hero. Clearly practiced, the band confidently and cleanly moved though the composition, with Trey even giggling as he mentioned “Icculus, the prophet.” But as the time came for the first narration of 3.0, the band transitioned directly into “Mockingbird.” Likely a by-product of their rehearsals, they bypassed any storytelling for a soaring run through “Mockingbird”- a gorgeous piece of music that is so much more than a mere bust-out. By nailing the old-school composition, the band dosed the crowd with that Phishy energy, and when they dropped the first “Birds” of tour, the place exploded.
Hartford (T.Salido)
In a torrid session of improv, Phish crushed the only version of “Birds” this tour; a rendition that veered from the song’s direct path due to dynamic interplay between Mike and Trey, subtle rhythmic shifts, and powerful piano leads. While not getting into ‘type II’ territory, this was nonetheless an enthralling escapade. Coupled with another strong version of “Stash,” these two dark jams anchored the old-school set. “Stash” moved into some dirty psychedelia, led melodically by Page, as Mike and Trey created a cacophony of effected sound. Trey climbed out of this sonic dungeon with wails that conveyed emotional desperation. This piece is some seriously dark Phish, and easily throws its hat in the ring with the best “Stashs” from this tour. Sidestepping any melodic interlude for a straight trip into the center of the earth, this is a dark-horse version that hasn’t gotten its due credit.
Hartford (T.Salido)
The same early-era energy oozed into the second set, but not before Phish crafted the most enchanting- albeit oddly aborted- piece of music all evening. Transforming the “Disease” jam into a percussive ride, and then into a slowed down musical medium, Trey infused the piece with stunning melodies as the band hit a mellow groove that oozed spirituality. People have called this a “Reba jam, ” but that assessment is a mere attempt to label an incredibly improvisational segment of Phish that really had little to do with the song. Could the music have been drawn from a spaced-out and slowed down “Reba?”- sure, but in my opinion there was no musical allusion going on there. Instead, Phish was flowing in some of their most magical improv since The Gorge, which is why it was incredibly disorienting and flat-out wrong when it was abruptly cut off by the coarse opening of “Wilson.” Trey had to be the only person in the entire venue thinking that dropping “Wilson” amidst this delicate jam was the right call, but ironically, he is the only one who matters. What could have been a stunning summer highlight of “Disease > Slave ” had Big Red been patient and used the five minutes of “Wilson” to bridge the two noble songs, turned into “Disease > Wilson > Slave,” which wasn’t too shabby either!
Centering “Slave” in the second set, Phish built perhaps the summer’s most climactic version of the usual set-closer. A joy to hear as a focal point, “Slave” ascended with meticulous and creative offerings from all in a blissful melange of harmony and melody; a mid-set emotional peak. Without skipping a beat, Phish slid into “Piper,” continuing the uplifting vibe of the set.
8.14.09 (A.Hill)
On this night, “Piper’s” break-neck jamming would reach another level of connection and interplay as the band trounced through the shredding piece with spirit and innovation- getting to some truly unique musical places. Initially led outwards by a catchy Trey lick, the band turned the rock textures more rhythmic, creating some fast-paced whole-band patterns, as they completed each others’ musical thoughts with an awesome proficiency. In the most dynamic segment of the set, this “Piper” continued on its driving path, cushioned by completely unique bass lines, and led by slicing and dicing guitar acrobatics. Naturally arriving in “Water in the Sky” out of a more ambient section, it was cool to see Phish moving organically and landing wherever they landed, regardless of song or placement.
8.14.09 (A.Hill)
The non-stop nature of this set continued with the long-awaited return of “Ghost,” which had not heard from since the tour-opening highlight at Red Rocks. Pumping the amphitheatre with more energy to the point of implosion, Phish tore into the jam with an opposite feel of Red Rocks’ wide-open funk; this time favoring more a more intense, driving course. The band locked into some on-point improv, with Trey making guitar runs all over the place. The consistent rhythm allowed him and Page to create some searing leads, directing the forceful jam to the top with their two-part creativity.
“Dance Contest” (D.Vann)
Trailing down into a digital pattern that sounded more like a futuristic video game than music, the band sustained the pattern as Trey began poking fun at a kid in the front row who continued gyrating to the bizarre sounds. Out of the joke came an impromptu Trey vs. Fish dance contest to the same music to the amusement of all. The band had already ripped so hard, that any fun asides seemed completely appropriate- and Trey continued the side-show by beginning the lyrics to “Catapult” over the same backing texture.
Hartford (T.Salido)
As he continued to banter over the strange rhythm, he turned the course of his narration as soon as the band began the chord progression to the rarely played homage to the god of Gamehendge, “Icculus.” As soon as the song was discernible, the audience responded with an ovation. Trey began talking about his youth, when there were no video games and technology, and comparing it to the present with us “crazy kids out there with [our] iPhones and [our] DVDs, listening to [our] auto-tuned music; it’s all machines!” Then, in the line of the night, he said, “But what I want to ask you is, when was last time that one of you picked up a fucking book?!” Exploding the amphitheatre with his comical splicing of present day culture and Gamehendge lore, we hadn’t seen Trey this animated in ages. It wasn’t the fact that they were playing “Icculus” that was so exciting, it was hearing that passionate voice we had heard on our earliest analogs scream about the fucking book! That’s what mattered! Trey was feeling his history, basking in the culture he created, and subsequently feared and ended twenty years later. His spirit was back; after all the legal entanglements, addiction, and rehab- we had our hero had returned! We had heard him play like a maestro throughout the tour, but rarely did he say anything. As he continued his absurd and extensive rantings, it was like being reunited with an old friend- a spirit we hadn’t felt in ages. It wasn’t about the bust-out- it was about passion, a old-school passion we never knew we’d see again. It was about The Book and all its symbolism. It was about being reconnected to Phishiness again.
Hartford (Drazin)
As the band closed the show with a “YEM” that was more antics than improv, it didn’t seem to matter. Though I would have liked to see a huge blowout “YEM” to cap the night as much as anyone, Phish had left it all on the table in a series of high-spirited, non-stop jams. So when Trey began to shimmy to his band’s groove instead of add to it, everything was relative to the special evening that had just unfolded.
Among all the musically significant shows this past tour, Hartford represented something unique; something special. No doubt the music was great, but more than anything, that Phishy spirit that grabbed our imaginations at some point on our lives, and ran away with it, was back in effect. Walking out of Hartford into mild summer eve, it felt as if the Lizards had wrestled The Book away from Wilson- and Errand Wolf- if only briefly, and all was right in Gamehendge once again.
After searching for a great AUD source, this is the best I could find for now.
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
II: Down With Disease > Wilson > Slave To The Traffic Light, Piper > Water In The Sky, Ghost > Psycho Killer > Catapult > Icculus > You Enjoy Myself
The last time Phish was around, during the “post-hiatus” years, there were many magnificent musical moments- contrary to popular myth- but something was missing. Throughout the band’s past, they had not only put on great concerts, but laced their performances with humor, antics, musical jokes, and a general zany energy that defined a Phish show. …
You’ve probably already read my view that nothing from this standout summer quite matched the improvisational majesty of The Gorge’s first night. But the single set that I find myself listening to the most is July 31st, set two- the gem of Red Rocks, and my personal favorite frame of ’09 Phish. With an unmatchable energy, the most astounding segue in years, a “Tweezer” that simply owns, and a paradigm-shifting “Fluffhead”- it’s hard to match the non-stop quality of this stanza of music.
The tone had been set on night one- Phish was far more comfortable than they were June, and ready to explore their songs in earnest. We got tastes of their revitalized jamming throughout the 30th, particularly in “Stash,” “Ghost > Wolfman’s,” and “Bowie.” And the message was clear- things were on! Embodying a far more confident style of play, Phish seemed ready to rule the stage again for the first time this era. And on night two, they did just that.
Following an energetic first set that brought an extensive exploration of “Bathtub Gin” and a mind-numbing, abstract “Split,” Phish stepped onto the Rocks after a setbreak downpour. Throughout their career, the band has often been spurned to greatness by inclement weather, and when Phish took up their instruments and played nothing short of the hottest set of summer.
7.31 (G.Lucas)
Kicking off the frame with a super-charged “Drowned,” the band’s energy was explosive as they slaughtered the song, carrying their steam-engine momentum into some full-powered improv. The entire band was a collective volcano spewing white-hot musical lava as they careened out of the song’s structure with meteoric jamming. Trey turned his leads into sheets of sound and effect, cranking the intensity before eventually settling a more percussive pattern. Without missing a beat, the band shifted into the opening groove to “Crosseyed” in a stunning transition that nobody saw coming. After so many trainwrecks in June when the band attempted segues, it was amazing to see them pull off one of such mastery in their second show back. This moment instantly jacked the Red Rocks crowd, who responded with significant fervor. Things were flying again, and Phish was at the helm directing this heat-seeking excursion.
“Crosseyed” 7.31 (G.Lucas)
As the band tenaciously tore into the cover, Kuroda pained the natural backdrop with psychedelic patterns, providing a dose of sensory candy to enhance the ride. Jumping out of the composition into a galloping groove, the band’s virtuoso communication- a central factor in facilitating top-notch jams- was back on display as they began to create. Not contained for long, this jam evolved into a multi-faceted beast in the vein of “Crosseyeds” past. Completely leaving the song in the dust, the band was off, crafting a dark adventure of the sorts we had longed for during June. Phish was absolutely going off- and it was during this jam I realized everything is moving towards places we’d never dreamed. A true highlight of the summer, this “Crosseyed” was led out of the darkness by some surreal leads and harmonies from Trey and Page. Triumphant in every sense of the word, this was one of those times your face hurt from smiling so hard for so long while raging- everything felt right again. The band collectively peaked the jam, as Trey effortlessly flowed through high-paced, spine-tingling licks in one of the most exploratory 3.0 pieces up to that point.
Creating a soft, layered ambiance to come down from such a high emotional mountain, the music seeped into a mid set “Joy,” a song that continues to pop up amidst the band’s the most exciting sets. It couldn’t have felt better after the full-throttle roller coaster ride of “Drowned > Crosseyed.” And once it ended, the opening lick of the Red Rocks “Tweezer” echoed through the night, instantly shooting the adrenaline of everyone into the stratosphere.
“Tweezer” 7.31 (G.Lucas)
My favorite piece of music from the summer, this “Tweezer” is pure Phish crack of the highest grade. Redefining the song for the modern era, this version set a new-school standard for the psychedelic vehicle. As they bust into jam, we salivated in anticipation of the oncoming dark, musical elevation. And what resulted was nothing short of masterful. Coming out of the gates as smooth as ever, the band hit up some rhythmic patterns as Page washed the music with some spacey effects. Landing in a ferocious bass-led groove, the band was locked into some new-school shit. Completely overtaking my consciousness in a cascade of nasty grooves, I was this “Tweezer;” there was zero separation between self and music- this is what I live for.
7.31 (W.Rogell)
When the band stepped into the next section of improv, Trey rolled out one of the most infectious licks of the entire tour; and the whole band was slamming it down in a dream come true. That intense inner fire, those rendonkulous dance grooves- it was a feeling I hadn’t felt in so long- like shedding a skin and being indoctrinated into the new universe of Phish. Naturally sliding through the most addictive dance grooves of tour, the band hit a change as Trey nailed a slick rhythm pattern that set up the rest of the jam. He would alternate between these rhythm licks and darker leads for the rest of the piece in a dynamic juxtaposition. As the band wound down, seemingly ending the piece in old-school fashion, they ripped back into the jam, creating a downright raucous. One of Red Rocks’ defining moments, and one of the summer’s indelible memories, this “Tweezer” ended in a slower repetitive pattern that set up a transition into “Number Line.”
The new song’s first appearance of the tour would be more improvisational than any previous version- the first step in a second-leg evolution that saw it develop into a major jam vehicle by SPAC. The upbeat jam saw the band weave their quasi-staccato offerings around each others at a spirited pace, taking the jam outside of its norm for the first time. And then, just as we were catching our breath and when we least expected it- “Fluffhead!”
7.31 (G.Lucas)
Stamping the already crazy set with their hallowed composition, the band hit the top of “The Arrival” with cathartic enthusiasm, as Trey’s soaring solo led us in what was presumably the final peak of the show. But when they got to the top of the song, in an unprecedented maneuver, they began improvising out of the peak of “Fluffhead”- an experiential mind-fuck. And as Phish held the sonic intensity of the jam, they dissolved into “Piper,” leaving “Fluff” unfinished. Whaaat!? It was a certain Scooby-Doo double-take moment of disbelief- did that just happen!? It did; and Phish sunk their teeth into a thunderous “Piper” jam that carried no feeling of the show winding down.
7.31 (W.Rogell)
The band stepped into some blistering textures, as all members came together in a fiery musical tornado, carrying the same sense of connection that had defined the set itself. One could see the moment in the madness when Trey figured out how this adventure would come close, as he stepped to Mike and Page, sharing his ideas. Before long, Phish had the fiery passage to a point of relative calm as each member dropped out for piano solo. Page artistically used his solo to begin The Beatles’ “A Day in the Life,” and Phish had finally reached the landing point of their non-stop odyssey. With the powerful cover that was debuted at Red Rocks in 1995, the band came full-circle, closing the incredible set in an homage to the original Fab Four.
This entire episode was like being reborn into the revitalized fire of Phish’s new world, and leaving Red Rocks on the last night of July, spirits were higher than ever. Taking a step far beyond their their first night’s performance, this transcendent set of music sent us the message loud and clear that June was over and things would be different now. And so it began- our initiation had ended- and chapter three was now fully underway. Sparking the rest of the summer, the significance of this night should not be lost, deserving a pedestal among the sixty frames of 2009. Continuing the musical snowball that started the night before, this night would give the band some forceful moemtum that would carry them through the rest of the summer.
After perusing a handful of great AUD sources for this night, this one gets my vote. No matrix has surfaced yet to my knowledge.
I: Runaway Jim, Chalk Dust Torture, Bathtub Gin, Time Turns Elastic, Lawn Boy, Water In The Sky, Stealing Time From The Faulty Plan, Split Open and Melt
II: Drowned > Crosseyed and Painless, Joy, Tweezer > Backwards Down The Number Line, Fluffhead > Piper > A Day in the Life
You’ve probably already read my view that nothing from this standout summer quite matched the improvisational majesty of The Gorge’s first night. But the single set that I find myself listening to the most is July 31st, set two- the gem of Red Rocks, and my personal favorite frame of ’09 Phish. With an unmatchable …
