Here we have Saturday night’s Gorge show, an affair that showcased Phish’s more rock-based jamming. The clear high point of the night was the monster “Rock and Roll” that opened the second set, which remained a summer highlight. A centerpiece “YEM” anchored the middle of the set in laid-back style, while a growing “Number Line” got into some significant late-set improv, segueing into “Piper,” whose fast-paced jam closed the thematic set.
The first set featured an opening bust-out of “Mango Song,” included a completely original take on “Tweezer” and made engaging runs through “Wolfman’s” and “Antelope,” with the latter standing out as a weekend highlight. Definitely a show that delivered high-octane psychedelia- and several standout moments- this capped band’s first west coast run since 2003. Enjoy the weekend folks!
I. The Mango Song, Chalkdust Torture, Middle of the Road, Tweezer > Driver, Twenty Years Later, Yamar, It’s Ice, Wolfman’s Brother, Character Zero, Run Like An Antelope
II. Rock And Roll > Makisupa Policeman, Alaska, The Wedge, You Enjoy Myself, Backwards Down the Number Line > Piper, Grind
DOWNLOAD OF THE WEEKEND: 8.8.2009 The Gorge < Torrent 8.8.2009 The Gorge < Megaupload Here we have Saturday night’s Gorge show, an affair that showcased Phish’s more rock-based jamming. The clear high point of the night was the monster “Rock and Roll” that opened the second set, which remained a summer highlight. A centerpiece “YEM” …
I am never one to rank Phish shows- or even compare them much for that matter- but sometimes one night just shines brighter than the others, leaving you with an unmatched feeling of awe . While there is clearly subjectivity in preferences of musical style, sometimes virtuoso improvisation cuts through subjectivity, creating a virtual consensus about particular shows. In discussion with many people who saw all the shows this summer, the central talking point always comes back to first night of The Gorge. While there are plenty of other shows that standout, there was a certain ethereal quality to the band’s improv throughout this show that was unmatched for the rest of the summer. Trey wasn’t playing guitar-god, and became but a piece of a complex musical puzzle, fitting within the whole, and rarely on top, of the music. The entire second leg is littered with highlights, but no show featured the consistently patient and organic jamming that defined August 7th at The Gorge.
8.7 (W.Rogell)
Three of the top jams of the summer came from this show, and it could be argued that the three top jams stemmed from Phish’s powerful return to The Gorge. But as mentioned earlier, there is no need to rank music. The band tapped into an energy on this night- influenced by the mind-expanding natural surroundings, and what resulted was- in my opinion– the finest night of Phish this year.
Right from the start, the band’s music had a palpable energy, crushing an opening “Disease” that set a high-spirited tone for the evening. Merging the wide-open landscape with the wide-open, bluesy-funk of “Ocelot” the band stretched out a relaxing, yet engaging, version of the constantly-evolving song. Even from these first two pieces of the show, you could feel Phish’s enthusiasm; their music popped with a certain energy and creativity, even within this more contained opening context.
8.7 (G.Lucas)
But the magnitude of this show lied in the enchanting and exploratory improvisation that gelled perfectly all night long. Each jam was seen to fruition, with no abrupt endings or transitions, and we often found those frozen moment deep into pieces of improv. The creativity of each single jam was paramount on this evening, resulting in some of the most sublime music of the entire summer.
The first hint of what was to transpire came with the first set “Stash.” Following up Red Rocks’ opening-set highlight with another psychedelic success, this jam hinted at the outward planes we would soon visit. The “Sneakin’ Sally” that came next is a top contender for the jam of the tour. Crafting a piece of improv so original and diverse in scope, Phish masterfully moved through several distinct stages of music, creating one of the enduring memories of 2009. As the song morphed into a mid-song, “YEM”-like vocal jam, Phish was letting their mojo flow in whatever way they felt. But when the vocal jam ended, and the band slammed back into the song, the transcendence began.
8.7 (W.Rogell)
Progressing out of the funk and into a more abstract rhythmic canvas, they began building the jam out of the song’s structure and into some increasingly nasty territory. With each member using their instrument as a rhythmic tool, the band was knee deep in completely original music. The improv grew darker and more ambient, where Trey began painting gorgeous melodies over the drone backdrop. Combining a dark spacescape with uplifting melodies played in Trey’s spiritual register, this part of the jam is incredibly moving. Fishman decided to lend a quiet backing beat to the music, and soon the band climbed out of the murky ambiance into a triumphant passage that oozed nobility. The band was totally together on this insane trip, crafting a jaw-dropping Phish excursion that included all band members equally, crafting an opus that was greater than the sum of its parts. Concluding the set by stepping into “Cavern,” the band left the crowd in awe at setbreak.
8.7 (G.Lucas)
A chunky “Moma” sparked the second set, which slid into the third-ever version of “Light.” A song whose exploratory nature was hinted at during Bonnaroo, fully blossomed on this night. Locked and loaded, this piece saw the band gradually coax the high-paced improv beyond its confines into a more percussive groove. What was so cool about this jam was that the band continued pushing themselves, even amidst a great jam, and eventually they hit the jackpot. Organically building from the rhythmic canvas, the band found themselves in a stunning calypso groove that sounded composed. As they often do when they hit a sacred musical place, the band added a layer of vocal accompaniment, clinching the magic of this inspiring piece. Seamlessly segueing into “Taste,” the soaring landing point fit thematically with the standout improv that just ended.
8.7 (G.Lucas)
The only non-improvisational segment of the second set was a passionate, centerpiece “Fluffhead”- and who can argue with that- and a perfectly placed “Joy.” Selecting a cohesive and connected setlist, while harnessing the undeniable energy abounding from the geography and isolation, Phish was slowly forming one of the great shows in Gorge history.
Once the opening licks of “Bathtub Gin” hit, the next fifty minutes of the set plus encore would be chock full of top-level jamming, creating tour highlights in “Bathtub Gin”- battling “Sally” for jam of 2009, a magnificently emotive “Harry Hood” that stands out among other leg-two versions, and a “Slave” encore that was like a cherry on top of this Phish sundae.
8.7 (G.Lucas)
As the the “Gin” jam began, the band playfully quoted “Praise You,” the Fatboy Slim song that found its way into the peak of the Red Rocks’ “Ghost.” As the band slid through some locked-in, feel-good patterns, Trey was absolutely killing it. But he soon changed his tune into some dirtier and more aggressive guitar work, urging the band into a creative segment of original groove. This is when the jam really began going places. Fishman and Mike formed a driving rhythmic pocket as Trey added fluttery melodic themes above Page’s clav effects. But as naturally as the band found themselves there, they moved into some slower, behemoth rock textures. Getting downright nasty, they entered a segment of incredibly spacious grooves that matched the over-sized surroundings. At this point, Trey played a space-like descending melody over the band’s pattern that would carry the jam all the way to its rest. Getting more abstract and sparse through its final segment, the band built the jam down just as they had built it up, ending in an ambient, atonal place that suggested an extra-terrestrial encounter. As the band sustained the wall of sound, Fishman hit the intro drum roll of “Harry Hood.”
8.7 (G.Lucas)
As the band dropped into “Hood” you had the feeling the version would be colossal given its placement in this insane set and its consistently top-notch performances all summer long. And as expected, the delicate piece merged with the warm summer night in a glowing ball of bliss. Taking their time and space to explore the cathartic jam, the interplay of Trey, Mike, and Page during this will give you goosebumps, and it is some of Trey’s most genuinely soulful playing of the tour. An emotive and extended version of the classic closed a truly epic set of Phish. And when they came out with a “Slave” encore to close the eve, the musical aftermath seemed fated. A song that matched the vibe of the set congruently created a final peak of the night; a warm, empathetic piece that provided an introspective mirror of the self.
There were many nights of this past tour that standout in my mind- specifically Red Rocks 7.31 and Hartford as the creme de la creme- but after listening through to each, there is something different taking place during the Gorge’s first escapade. With magnificent, selfless pieces of flowing improv Phish consistently reached that other-worldy plane we quest for. The jams of the night often sounded completely effortless, channeling that larger universal energy- bigger than any individual or band- the energy that defines the very fabric of the Phish experience.
I am never one to rank Phish shows- or even compare them much for that matter- but sometimes one night just shines brighter than the others, leaving you with an unmatched feeling of awe . While there is clearly subjectivity in preferences of musical style, sometimes virtuoso improvisation cuts through subjectivity, creating a virtual consensus …
Phish’s playing has always been influenced by their surroundings. Whether comparing indoor and outdoor shows, amphitheatre and festival gigs, or east coast and west coast shows, the differences in their musical style are striking. Without judging the bands’ different styles, one can certainly hear the difference in a Gorge show versus an MSG show- and if you can’t, well, you’re just not listening. This past tour was distinctly divided by region, with seven western shows, one in the Midwest, and four in the Northeast, and when perusing the musical highlights of each, stylistic differences certainly emerge.
Red Rocks (G.Lucas)
Opening at Red Rocks, the band entered a surreal, open-air atmosphere filled with very few extraneous fans who didn’t care about the show. Between the stunning geography and the band’s ability to play to the stars, Phish blew up the wide-open, energetic and focused environments with jams of the same qualities. As soon as Phish stepped on stage at Red Rocks, we heard a different in style from June- more relaxed, more patient, and more exploratory. While this shift certainly had to do with the band’s enhanced comfort level after their first tour, there is no doubt that the laid-back environment lent its influence to the many amazing jams throughout tour’s first four nights. Allowing more space in the music for their notes to breathe, the band’s musical characteristics of the weekend were illustrated in jams such as”Ghost > Wolfman’s,” Drowned > Crosseyed,” “Tweezer,” “Antelope,” and “Disease,” to name a few. Make no bones about it, things changed over the five weeks off, but Red Rocks had a lot to do with the musical theatrics we witnessed over the four nights.
Shoreline 8.5 (W.Rogell)
The scene shifted to the Bay Area for one night- the birthplace of the psychedelic revolution. Busting out Hendrix, Velvet Underground, Taking Heads, and Los Lobos covers, Phish used Bill Graham’s classic amphitheatre to give a nod to many of their musical predecessors, regardless of their regional roots. Featuring a multi-faceted and exploratory “Down With Disease,” Phish donated their own nugget of psychedelia to the historic shed. Capping the show with intense excursions through “Maze” and “Mike’s,” you could tell we were no longer out in nature.
The Gorge (W.Rogell)
As we moved up to The Gorge, Phish settled in for two nights at the glorious venue; a site where they have historically played differently. Featuring slower tempos and less notes, Phish has always allowed their music to bellow over the majestic and open-air surroundings; so much so, you can pick a Gorge tape out of an audio lineup. The natural awe of the venue often gets soaked right into the band’s music, resulting in patient, other-worldly jams. This summer’s first show in George, WA. was a perfect example of a “Gorge Show.” Featuring patiently cosmic improv all the way through, this show sounded like a Gorge fantasy, with more than one of the tour’s best jams coming during night one. The “Sneakin’ Sally”- which might just take the cake for jam of the summer, the “Bathtub Gin”- which isn’t far behind, a exploratory-turned-calypso “Light,” a first set monster “Stash,” arguably the most soulful “Hood” of the summer and a soothing “Slave” encore- this one is hard to hold a candle to. But it wasn’t just that the jams were amazing, they were distinctly wide-open “Gorge-type jams,” and if you’ve listened to the band’s history at this venue, you understand what I mean. These aforementioned jams would never happen at a tightly packed east coast shed- they are of a completely different vibe. (And vice-versa, the Chiacgo “Carini” or the Darien “Drowned” wouldn’t ever happen at The Gorge.) “Wolfman’s,” “Antelope,” and “YEM” brought this style the next night in a distinctly less-Gorgey, but excellent, Saturday night show. Interestingly, but consistently, Phish plays to different vibes in different parts of the country.
Toyota Park, Chicgo (D.Vann)
When the band jumped ship from the west coast, we all experienced a bit of culture shock, landing in the gritty surroundings of Toyota Park on the South Side of Chicago. A far cry from the beauty of the west, the venue was large and sprawling like the city itself, creating an incredibly impersonal feel. The stage was massive and removed from the crowd, and the crowd was once again infiltrated with frat boys and dirt-surfing hangers-on that plague mid-west and east tours. After a week pure bliss, the band and the people on tour had to adjust to the urban jungle, and not surprisingly, Phish’s show wasn’t the most cohesive. Feeding off the over-sized soccer stadium, the band played some standout jams, but the artistry of the setlist left something to be desired. Dropping the biggest “Number Line” up to that point, a bombastic “Carini,” a spirited “Jibboo,” a solid “2001 > Chalk Dust,” and an impressionistic “Hood,” the music was all there, but the songs just didn’t fit together well and the set was discombobulated- much like the venue itslef. We were all glad to hop into more familiar surroundings as we made our way to Darien Lake.
Hartford (T.Salido)
During the last four shows of tour, Phish swam back into their Northeast zone of comfort, hitting up four amphitheatres they had played many times before. And as the music began to flow, there was an increased urgency and force behind in most of the jams, a noticeable difference from the wide-open textures of the west coast. The standout improv was still there, but in a completely different vein. Listen to the Darien “Drowned” and “Antelope,” the Hartford “Birds,” “Disease,” “Piper,” and “Ghost > Psycho Killer,” the Merriweather “46 Days” or the SPAC “Numberline” and “Rock and Roll,” and you will notice a more driving intensity behind the music giving it a more full-on feel. Just comparing the Red Rocks and Hartford “Ghosts” illustrates my point quite well. By no means am I saying one style is any better than the other- I love it all- but I am noting a musical pattern that is consistent for Phish.
Trust me, if you offered me a night at MSG or a night at The Gorge, I would defer the decision to someone else, because each are separate but equal monsters. While this geographic pattern of musical styles has always held true for the band, the differences in playing were accentuated this past tour as we hopped from region to region with no “connecting” shows in between. In any tour that touches different corners of the country, one will hear different incarnations of Phish’s sound, as they adapt to their physical surroundings along the way. People will always have opinions and preferences about each style, but you can’t have the yin without the yang, and therein lies the beauty of Phish tour.
***
“Makisupa Switch-Up” – The Gorge 8.8.09 (Photo: Eric Battuello)
Phish’s playing has always been influenced by their surroundings. Whether comparing indoor and outdoor shows, amphitheatre and festival gigs, or east coast and west coast shows, the differences in their musical style are striking. Without judging the bands’ different styles, one can certainly hear the difference in a Gorge show versus an MSG show- and …
Hot Damn! That was the most enjoyable few weeks I’ve had in years. From Red Rocks to SPAC, the second leg of summer brought everything back- there are no more questions. With thirty shows under their belt, Phish is killing it and only getting better. With leg two diverging so greatly from its June predecessor, one wonders what went down in those five weeks in between tours?! As a community, we are now basking in a post-tour glow like none we’ve felt in years, and when thinking of what show to sit down and listen to, the options overflow. August 2009 (with the tail end of July included) will go down as one of the most significant tours in the band’s career, re-birthing the wondrous creativity that put them on the map in the first place. Nailing complex compositions, taking daring improvisational risks, engaging in stage antics and pulling out songs from throughout their career- the band we once knew is back again and poised to grow better than ever.
The Gorge (A. Headington)
Combining a renewed musical ferocity that we haven’t seen since the mid-nineties with a re-discovered spirit of exploration, Phish’s music has literally been brought back to life, bursting with dynamic creativity throughout the entire run. With a healthy, more mature perspective, the band has been having a blast onstage- an energy that permeated every evening. Phish shows are Phishy again, a quality that was largely lost for the years of heavier drug use. The same spirit that imbued the band in their earliest days has once again returned. Listening to Trey go on a narrative rampage during Hartford’s “Icculus,” telling us once again to “Read the fucking book!”, it was like hearing that voice and feeling that energy that gripped you ages ago on that analog tape. Say what you will about bustouts, but when the band is nailing some of their most revered and oldest compositions like “Forbins > Mockingbird,” “The Curtain (With),” “Fluffhead,” “Dinner and a Movie” and “Harpua,” there is an undeniable significance in the band’s willingness to closely identify with pieces that defined a different era, while still rolling out new songs simultaneously. Throughout this tour, Phish has embraced the totality of their legacy and paved the way for a future that holds limitless potential. I have no doubt that if all band members remain healthy, some of the their finest days lie ahead.
Hartford (T.Salido)
One of the striking qualities of the improv from this tour was how well the band was listening to each other. Carrying on tight musical conversations, the band members were responding to and building off of each other’s musical ideas with striking fluidity, resulting in some of the most unique jams we’ve heard in ages. Throughout the tour, the band was so much more musically relaxed, allowing ideas to evolve instead of forcing them, and most often seeing jams through to fruition. Phish was back again- leaving everyone with a completely different sense of the future than we had only weeks ago. The mystery and intrigue has also returned; that feeling of the unknown when the lights go out has grown more dramatic with the spectrum of possibilities having widened so much. Building hugely creative pieces all over the second leg of summer, Phish has upped the ante of anticipation each time they step on stage- in short- we can feel the feeling we forgot.
Hartford (T.Salido)
And that was just the first tour! Whatever incarnation Fall will take, when Phish brings this energy inside four walls, things are going to get crazy. Notoriously playing darker, more intense shows indoors, I- for one- can’t wait until our refueled band steps into the concrete confines of Madison Square Garden, The Knickerbocker, and beyond. In the upcoming weeks, we will no doubt be going through the essential music of this past tour- and there is so much to discuss! In only twelve shows, Phish put the pedal to the improvisational metal, creating so many highlights that I haven’t even listened to them all twice, (with Red Rocks 7/31 II being the only real exception.) But now we have some time to kick back, relax, and digest some of the most significant weeks of the band’s career. The “comeback” is now over- Phish has fully returned they and chapter three is already pages underway.
Hot Damn! That was the most enjoyable few weeks I’ve had in years. From Red Rocks to SPAC, the second leg of summer brought everything back- there are no more questions. With thirty shows under their belt, Phish is killing it and only getting better. With leg two diverging so greatly from its June predecessor, …
In a powerful final stanza of summer tour, Phish played a second set at SPAC that showcased some of their newest and oldest songs, weaving together their past and future in a musical tapestry. Leaving us with one last summer memento, and reminding us that the current state of the Phish is one of pure joy, the band drew from the full spectrum of their bag of tricks. From a masterful twenty-minute psychedelic exploration and a seamless segue, to a Summer ’09 anthem and an always-elusive bust-out, the band’s full repertoire was on display in summer tour’s closing show.
SPAC – 8.16.09 (D.Perrucci)
Following a musical dip in the road at Merriweather Post, Phish stepped up their game for the final night at SPAC, providing a triumphant conclusion to their tour. Coming onstage shortly after a torrential thunder-shower drenched a good portion of the uncovered audience, the band opened with the roaring bust-out of “Llama,” instantly juicing the crowd before slowing things down with the laid- back “Moma Dance.” A engaging combination, the two opening songs existed at opposite ends of Phish’s musical spectrum reached out to their diverse fan base right off the bat. But after this bombastic opening, the set seemed to drag for a bit, featuring a string of songs that didn’t exactly pop. The exception was a stirring rendition of Round Room’s “Anything But Me” in which the band showed ultimate control, painting a powerfully emotive picture with the introspective ballad.
Hartford (T.Salido)
The extensive first set picked up the energy with a mid-set “David Bowie” that, while solid, didn’t compare to Darien’s blistering version of three days earlier. Yet the first set highlight came in the late set menagerie of the “Poscelope!” Merging three of their animal-named songs to close the set, Phish played a bumping “Possum” that finalized a portfolio’s worth of versions played this summer. Ironically, my friends and I had been joking about the “Ocelope” combo since the song’s debut at Fenway, and on the last night of tour, our inside joke came to fruition on stage as the high point of the first set.
Stretching out “Ocelot” time it comes out to play, Phish sat into another jam session in the affable song. And to the same musical degree that Ocelot is laid back, Antelope is not- providing a starkly-contrasting couplet that ended the set just as it began. Both versions were legitimate, if not extended, versions that punctuated the set with a bang. “Ocelot” followed its now-established bluesy path, turning into a well-phrased, guitar-led piece of improv. A smooth “Antelope” closed the set with a relaxed and dancy vibe- more reminiscent of the west coast renditions than Darien’s scorching second-setter.
Merriweather (J.Arthur)
After the first half ended, there was definitely a sense that it was a tone-setter for something bigger to unfold in set two; and it most certainly did. In a fitting decision, the band opened their last second set with “Backwards Down the Number Line”- the first new-school Phish song, which carries a thematic significance for this chapter of the band’s career. Tom Marshall’s birthday poem to Trey about old friends reuniting has grown in stature from it’s Hampton debut to its emergence as an improvisational vehicle over the past couple weeks. But last night’s version was a different monster all together- generating a supremely psychedelic excursion that provided not a standout summer highlight, but a preview of what is to come from Phish 3.0’s theme song. Building the jam into some extra-terrestrial territory, Phish unfolded their final- and arguably their greatest- creative jam of of the summer. A piece that continued deepening into the musical ether as it progressed, there were more than a few spine tingling segments throughout. Completely fluid and one of the indelible memories from tour’s last weekend, this “Number Line” segued seductively from its concluding ambiance into “Twenty Years Later,” creating a set-opening suite of their newest material. Breaking out their rarely-played new song, its placement was impeccable and the performance foreshadowed what could turn into a heavy jam come Fall.
SPAC (D.Vann)
As Phish concluded their escapade through their- soon-to-be-released music, they delved into their earliest archives with a mid-set “Halley’s.” Based on the infectious energy of the show, it seemed like Phish would finally settle-into a looser, funk-based version of their college classic, but when the musical fork in the road divided, Trey ripped into a brief guitar solo before quickly switching to “Rock and Roll.” Used in the old-school vein as opposes to as a jam, “Halley’s” nonetheless upped the adrenaline of the entire audience before spilling into one of Summer ’09’s standout songs. In tour-closing shows, Phish often showcases their successful pieces of that particular tour, and this summer, the Velvet Underground cover certainly fit the bill. After sparking Bonnaroo’s second set with one of June’s more interesting jams, the song expanded into a second leg highlight with a dose of heftier improv at Red Rocks and one of the summer’s defining pieces at The Gorge. A certain nod to the song’s significant place in their tour, Phish once again leapt into the fray- locked and loaded- with dense and fiery playing. Trey undertook some inspired leads that pushed the song out of its comfort zone into more collective improv. Rooted to the songs quicker tempo, however, Phish explored the given textures without creating wholly new ones.
“I Kissed A Girl” (D.Perrucci)
Sustaining the jam’s sonic residue, the band took a minute before stunning the New York audience with a last-set-of-tour appearance of “Harpua.” Only days after playing “Forbin’s > Mockingbird” and “Icculus” in Hartford, Phish reached back into their early-history, un-shelving the ultimate bust-out and the “ever-evolving” saga of Jimmy. Recounting a low point in Jimmy’s live, Trey told the story of how Jimmy discovered his Fishman-eqsue “spirit guide,” who floated in through his window to give him life guidance, delivering the “great truth of all time.” At this point, Fishman came front and center for a cow-like rendition of Katy Perry’s global top-40 smash-hit, “I Kissed a Girl.” The bizarre Fishman interlude seemed less than congruent within the flow of the set, but in the zany context of “Harpua,” anything is fair game. As they entered the final segments of the song, the band was both physically and musically animated as they performed Jimmy’s fateful conversation with his dad and moved into the song’s ragtime ending. It was warming to see Phish bask in their old-school wackiness again, something that was so noticeably absent from the post-hiatus years.
And to cap the tour, one last run through “You Enjoy Myself” after Hartford’s comedic, but musically-minimalist show closer. The moment seemed right for a tour-ending “Mike’s Groove,” but nobody can scoff at a celebratory blowout of the band’s seminal piece. Fitting in every sense of the word, Phish finished their summer comeback where it all began- with the song that Trey offered up a gonad to play five times a day for the rest of his life while coming to his post-rehab realization that Phish is IT. The feel-good dance-session hit the spot, putting an exclamation point on a summer of dreams.
Who knew that on the thirteen-year anniversary of The Clifford Ball, Phish would be we at this point of re-evolution? Over the course of one tour, broken into two legs, Phish has redefined themselves and the possibilities for their future- and to be honest, things have never looked brighter. Engaging in their best playing in so many years, the universe now holds no barriers for how our musical super-heroes; and so many lives, souls, and imaginations have been revitalized in a summer where inspiration and mystery seemed to lurk around every musical corner. Though it took a little while, things are finally back on course for the Phish from Vermont, and we are all blessed to be along for the ride.
I: Llama, The Moma Dance, Guyute, Anything But Me, Cars Trucks Buses, Chalk Dust Torture, Golgi Apparatus, David Bowie, Cavern, Possum, Ocelot, Run Like An Antelope
II: Backwards Down the Number Line > Twenty Years Later, Halley’s Comet > Rock & Roll, Harpua > I Kissed A Girl* > Hold Your Head Up > Harpua, You Enjoy Myself
E: Grind, I Been Around**, Highway to Hell
*debut, (Katy Perry cover) **debut (original; final track of Joy to be played live)
In a powerful final stanza of summer tour, Phish played a second set at SPAC that showcased some of their newest and oldest songs, weaving together their past and future in a musical tapestry. Leaving us with one last summer memento, and reminding us that the current state of the Phish is one of pure …
