In a more straightforward rocker, Phish closed out their mini-west coast run at The Gorge with a show that couldn’t quite hold up to night one’s triumph.  Thinking The Gorge would be exempt from the “Saturday Night Special”- the more anthemic rock and roll show catering to the weekend crowd- Phish nonetheless came with an upbeat rock episode that had many highlights, but left some majesty to be desired in a venue that defines the word.  Noteworthy jams came in both sets, while the band noticeably left the “2001” that had been looming all weekend long hanging for another day.  While not exactly my style of show, it was nonetheless presented quite well by the now-consistently-firing Phish.

The smoking eleven-song first set spanned the spectrum- from the return of “Mango Song” and the debut of a new Mike song, to an interesting “Tweezer,” a smoking “Wolfmans,” and a wide-open “Antelope.”  As the sun dipped below the gorge, Phish got the show started on a energetic note, opening with the 3.0 bust-out of “Mango Song”- a fitting summertime introduction to the evening.  The Gorge seemed like the ideal place to bust out the elusive favorite, and the song was greeted with open arms.  The band soon unveiled what is presumably called “Middle of the Road,” a new Mike song that brought his usual quirky songwriting into the mix with his second contribution to the new-school catalog.  When the band dropped the “Tweezer” lick for the first time since Red Rocks aural crack-out session, we thought we were stepping into a segment of deep northwest Yeti funk.  But instead of dropping into any heavy rhythm grooves, Trey continued building the jam with direct staccato picking, seemingly leading to a crescendo that would splash into some thicker territory.  His pattern of playing didn’t vary much, however, until he merged with the song’s natural build.  An interesting version- no doubt- but after Red Rocks, it just didn’t compare.  But if it wasn’t a musical masterpiece, it certainly was an experiential keeper.  Taking a “Tweezer” to the dome at dusk with a most psychedelic landscape engulfing your field of vision- well, there’s nothing I’d rather do in the world.

Phish brought back their lyrical tale of “Twenty Years Later” for the first time since it’s Jones Beach debut. An autobiographic tale about the experience of life over time, this song will close their new album of a similar theme.  After a bust-out of “It’s Ice” for the first time since Hampton, Phish played possibly the jam of the set in “Wolfman’s Brother.”  Getting into the dirty dance funk that “Tweezer” had sidestepped, this excursion brought a welcomed dose of thickness that was scarce throughout the show.  The other candidate for jam of the set came in the surprise post-“Zero” “Antelope.”  Taking the jam on a laid back, Gorge-esque path, the band infused some unique melodic work into the dark canvas, riding “Antelope” to its second unique jam in a row.  The band has certainly shot some revitalized energy into their old-school favorite that had long grown stagnant.  Punctuating a high-quality first set with a bang, the band left much for the imagination at setbreak.  With seemingly infinite songs to pull from, what they would bring on night two at The Gorge was anyone’s guess.

Opening a second-set with “Rock and Roll” for the second time this tour, this one went places the Red Rocks’ version could go only dream of.  Phish transformed the cover into a high-speed chase through the musical universe, taking crazy twists and turns while creating the no-brainer highlight of the show.  In what had to be close to twenty minutes of searing improv, the band moved from straight ahead rock and into several different sections of slower creativity, leaving many jaws firmly resting on the earth below.  When the dust settled on this jam, everyone was bright eyed and bushy tailed as the band drifted into “Makisupa,” which got the full second-set treatment.  Taking their time with the Vermont-style reggae rhythms, the band shaped a nice cool down session that included a Phishy twist at the end.  As the band settled into a basic pattern, Trey and Mike switched guitars for the end of the song and Mike played some great leads while Trey held down the bottom end.  This was but a small detail of the show, but it definitely bears a larger significance to the band’s state of mind and sheer enthusiasm for Phish right now, and with that shared enthusiasm, it was very fun to see.

The bluesy interlude of “Alaska” led to a high-spirited “Wedge” that was tended to with meticulous care.  At this point in the show, we knew the band was going big, and they decided to showcase a massive Gorge “YEM.”  Laying way back on this jam, the band played some fantastic lounge-like grooves in what was the second sharp and standout version in a row.  Bringing down the house with their quintessential opus, Phish had the crowd in the palm of their hand, manipulating energy like craftsmen.  If they were dropping the much-anticipated Gorge “2001” it was going to be now, but Phish started up “Number Line” instead, seeming to choose the less improvisational path.  Yet little did we know that the band was about to blow-up the song like never before.  Breaking its noodly pattern, the band got psychedelic on this piece for the first time ever, creating some hairy textures out of the usually vanilla jam.  As the band got further and further away from the song, we began wondering where this trip was taking us and that question was answered with a well-executed transition into “Piper” and the full-on, shred-session that followed.  Capping the show with a new combination of songs and two engaging jams, Phish ended their final set at The Gorge in dynamic fashion before stepping to the mic with the comedic a cappella conclusion of “Grind.”

A high-energy encore of “Good Times, Bad Times,” “Reprise” seemed to fit the vibe of the show quite well, topping off Saturday’s sundae with a bombastic cherry to complement the rocking affair.  If there is any better place to see a Phish than The Gorge, let me know.  Combining intense surroundings with intense explorations all weekend long, the band left their stamp on the Pacific Northwest mecca this year, reminding us what Phish at The Gorge is all about.  After a life-affirming west coast jaunt, we now have two days off before hitting The Windy City.  If you’re driving it, god bless and be safe, otherwise, enjoy your flights and we’ll meet down on a soccer field for a 30,000 person throwdown on Tuesday night.  Enjoy the much needed rest.

I. The Mango Song, Chalk Dust 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

E: Good Times, Bad Times

*debut

Phish at The Gorge- there’s simply nothing like it.  In the first show back in five years, we collectively felt the feeling we forgot as Phish played a show that meshed seamlessly with the one of the grandest surroundings in live music history.  Playing two sets with highlights galore, the band crushed the first night of their two-night stand on the hallowed grounds of their Northwest home.  Smoking right from the start, the band never paused, writing an entire show worthy of many re-listens- though isolated from the internet in rural Washington, listening back is a pleasure I’ve not yet had.  What was once again evident was Phish’s spirit of adventure, taking any opportunity to tear off a unique piece of improv, and creating an all-out musical odyssey.

Popping off right from the start, the band shredded an opening “Disease” that spoiled any opener pools after they had just crafted a marathon version in Shoreline’s second set.  With some high-energy fireworks to spark the weekend, the band followed it up with an extensive, laid-back “Ocelot” that represented the furthest out Phish has taken the playful new song.  The 3.0 debut of “Pebbles and Marbles” reminded us of one of post-hiatus’ best compositions, but its “Disease-eqsue” jam seemed somewhat proximate in the set to its brother in the set.  Yet, the boldest improv of the first half came towards the end of the frame in the form of “Stash,” “Sally > Cavern”- and trust me, looks can be deceiving.  The second consecutive blowout of “Stash” saw Phish again transcend the song’s path with a jam that passed through foreign territory with a shining light in darkness deep.  Growing out some melodic jamming from the dark song for the second time this tour, the band again crafted an engaging highlight version.

As the dramatic “Stash” came to a close, Phish launched into an apparent dance session with the bust-out of “Sneaking Sally.”  But what actually happened was far from what we expected.  As the band entered the jam, they didn’t go minutes deep into dance funk, but instead morphed the rhythmic textures into a “YEM-like” vocal jam.  However, unlike their popular opus, the band jammed out of the vocal mélange, crafting the grandest sound-scape we have heard from since the return.  Possibly inspired by nightfall over the vast landscape, Phish took the usual funk cover to uncharted psychedelia in one of the unquestionable highlights of the entire show. This jam illustrates the creativity of the Phish at this point in time, making musical mountains where you least expect them with purely original ideas that sound fresh to the ear and to the soul. This late set extravaganza sent ripples through the audience, giving the crowd a certain talking point for the break.

When Phish stepped onstage for the second set, there was one thing we knew for sure- it was gonna’be big- and big is certainly was. With a beautiful summer night as a backdrop, and with a perfect breeze, it felt blissful to be back at the Gorge again, and what better way to kick off the second set than with the earnest thickness of “The Moma Dance.”  Finally placed in the second frame, Phish gave the song more focused love, using it as a hearty, funkified splash into the second half of the show.  The rest of the set was almost purely composed of improv, as the band flowed through some of the most inspired playing of the tour.  Using “Light” to launch into an other-wordly excursion of the sort I’ve been dreaming of since Trey debuted the song in Brooklyn last summer.  Phish passed through many distinct stages of locked-in jamming before arriving in a stunning calypso groove that virtually sounded composed.  Strewn with more vocal accompaniment, this time layered atop the music, Phish’s creativity was again in full bloom, painting an ongoing portrait of a band renewed as they crafted one of the shows enduring memories.  This multi-textured jam is a must-hear highlight from a set that is filled with them.

Segueing into a soaring “Tatse,” the song’s ripping poly-rhythms were a fitting landing point for “Light’s” next-level improv, and carried the improvisational energy of the set into a surprise “Fluffhead.”  It was awesome to see the band showcase the old-school composition in the middle of the second set at the Gorge, as this version brought back echoes of the band’s first-ever show at the venue in ’97 when the piece took a similarly central role in the second set.

After a mid-set “Joy,” the rest of the night was the stuff dreams are made of.  With wide-open, patient jamming, the “Bathtub > Hood, Slave” just sounded like Gorge music.  Few venues influence the sound and style of Phish music like The Gorge does; you can go back through the years and hear the similarity in playing, regardless of the era.  And last night that tradition continued throughout the show, but particularly in these last three songs.

Just after “Bathtub” had taken a step into type-II territory at Red Rocks, the band slaughtered a mind-numbing exploration of the song last night.  Without having listened back, its hard to precisely recall the several connected realms that comprised one of the jams of the show, but providing a fantastic voyage central to the second set’s alchemy, “Bathtub Gin” shone as bright as than ever. Ending in an ambient space that sounded like we were morphing into “2001,” the band was foreshadowing tonight, because instead of launching into the space-funk, the band dropped into a cosmic cannonball of a different variety.  Building a monumental “Hood,” the band took their time to craft a defining moment of the night with the special life-force that only tremendous “Hoods” can channel.  Leaving the entire crowd blissed-out in a spiritually heightened state, this energy spilled into the majestic “Slave” encore.  One for the highlight reels, the band climbed patiently up the ladder, starting in near-silence in which you could hear a pin drop throughout The Gorge, and peaking the jam considerably later in an awing cascade of melody and harmony.

Another beautiful chapter in Phish’s Gorge legacy, last night’s tapped into the unique vibrations of the venue moreso than either post-hiatus show, returning the magical amphitheatre into our own Phishy wonderland once again.  And as the sun came up today, everything seemed a bit more exciting as the proposition of a night two “Tweezer” and “2001” come into play.  In mere hours- let the continuing mystery unfold!

I. Down With Disease, Ocelot, Pebbles and Marbles, Possum, Sleep, Destiny, Stash, Sally > Cavern
II. Moma, Light > Taste, Fluffhead Joy, Bathtub > Hood
E: Slave