Mr. Miner's Phish Thoughts

Back in 2009, most Phish jams possessed a common, well-worn course that began with guitar-led, rock textures, passed through a sparser section of percussive grooves and then ended with a quasi-generic, ambient outro. By the time fall tour ended, this formula had been beaten to death, for even many of the band’s better jams followed this path. Regardless of whether they sprung from “Disease,” “Piper,” “Rock and Roll,” or “Drowned,” 2009 jams tended to sound the same. Staggering improvisations were few and far between while the guys built their chops back, as they relied heavily on this formula to navigate their jams. Only come Miami did we see things truly begin to diversify.

Fast-forward four years to Summer 2013 and Phish has cast down a completely different improvisational paradigm. Over the past four years, from 2009 to 2012, we saw Phish gradually move away from the templatized jamming of ’09, while adding signature sounds of the present era. But this year, for the first time since their comeback, the band came out with a wholly renewed musical perspective that took their music in new and original directions. Blending styles from the totality of  their career, the band carved a new musical path this year, unrelated to the rebuilding process that—in all honesty—lasted until Dick’s 2012. Throughout this re-evolutionary process we saw flashes of brilliance that reminded us of Phish’s utmost capabilities. Jams like Albany’s “Seven Below,” Miami’s “Tweezer,” the Greek “Light,” the MSG “Ghost,” and the Gorge “Rock and Roll” kept us on the path, believing that the turning point was but a tour away. And then—building on the momentum of Dick’s and MSG—Summer 2013 happened.

It was apparent from the get-go that the band was determined to make things different this summer. Bangor’s sublime “Antelope” gave us the first glaring sign, and then confirmations came flooding in at SPAC with completely original jams  out of “Light,” “Split,” “Carini,” and “Disease > Ghost.” These jams were not only outstanding, they were stylistically diverse—a trend that continued all tour long. Diversity even existed within versions of a single jam this summer. Take, for example, “Light.” In 2012, each version of the song conversed with and built upon the previous rendition, coming to a massive peak in Colorado. Conversely, in 2013, Phish took “Light” in different directions that were wildly unrelated. To illustrate, let’s compare this summer’s first four versions.

At SPAC, Phish played a tightly wound, psychedelic tale that evoked the feel of 1995, with masterful command of musical tension  while releasing into a blissful outro that could only have been played this year. Days later at PNC, Trey anchored a dark horse, late-set version with stunningly emotive soloing. At Merriweather, Phish fused hard groove with a sort of free jazz to craft an explosive, avant-garde show highlight. Then, in Chicago, they dropped a third set “Light” that favored delicate, almost ambient, full-band interplay before blossoming into groovier, melodic textures. Four different jams that all sprung from “Light,” yet totally dissimilar—a microcosm of the summer’s improvisation in full.

The diversity of Phish’s 2013 jamming is also evident in looking at tour highlights. Tahoe’s “Tweezer,” Hollywood’s “Harry Hood,” Denver’s “Chalk Dust,” San Francisco’s “Runaway Jim,” the Gorge’s “Undermind,” San Francisco’s “Rock and Roll,” the list goes on and on. But at no point do these jams significantly overlap like so many jams did from 2009-2012; they all contained fresh ideas and unique directions. This is something new to 2013 Phish. Throughout the band’s glory days, they progressed in a very stylistically focused way, meaning that they—largely—concentrated on a single improvisational style within a single tour. Even in the hallowed tour of Fall ’95, one will hear far more stylistic consistency than in Summer 2013. And maybe that is the hallmark of Phish’s current Golden Age? While past eras can be identified by a homogenous musical style, 2013’s “style” is its musical diversity. The band is now able to step between improvisational feels better than ever before, an unquestionable result of thirty years in the trenches together.

So what does this mean for Fall Tour? Well, for the first time in three years, the band will be able to legitimately build off their accomplishments of summer. This, in itself, is huge. With the assumption that they’ve had to practice for their Halloween performance, one can assume the guys have been in close contact since Dick’s and are just as excited to hit the road again as we are. The band’s ability to hook up on stage—something that became second nature this summer—should be back in full force when they step inside Hampton Coliseum for the first time since their legendary comeback. But where the jams will go, however, is anyone’s guess.  Throw in a Halloween weekend, some tiny venues and some classic rooms, and considering how the band has been playing, this tour—albeit short—has to be the most anticipated of the era.

For the first chunk of their comeback, I often wondered what the band’s new stylistic focus would become. Would it be “plinko” funk?“ Storage” soundscapes? Maybe bliss jamming? No, it would be none of the above. The place to which the band was building has finally arrived—a comfortable peak where they can code switch between improvisational settings like a chameleon. The band can now reach into their arsenal and pull out just about anything, providing a new drama to modern shows. The intense creativity that once defined Phish is back in full, and the band is cranking out jams and shows at a level and consistency unseen in years. But instead of doing it with one style of jamming as in their peaks of the past, they are doing it with all the tools in their thirty-year repertoire.

*****

“Tweezer” 8.31 II

This late-set surprise completely blew up as Trey prominently featured his Camden ’09 “Tweezer” lick plucked from Led Zeppelin’s “When the Levee Breaks.”

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/2.08-Tweezer.mp3]

***

“Sand” 8.30 II

This jam provided the centerpiece of night one; the best version in a light summer for “Sand.”

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/2.02-Sand.mp3]

***

“Chalk Dust Torture” 8.31 II

The jam of the weekend at Dick’s—a multi-thematic monster anchored by the morphing rhythms of Jon Fishman.

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/2.01-Chalkdust-Torture.mp3]

***

“Stash” 8.30 I

Though not quite on the level of Merriweather’s gem, this version elevates beyond the norm.

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/1.09-Stash.mp3]

***

“Carini” 9.1 II

A feel-good jam to cap a feel-good summer.

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/2.01-Carini.mp3]

***

“Caspian > Piper” 9.1 II

The second consecutive, out-of-character Denver “Caspian” segued, unfinished into a hot “Piper.”

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/2.04-Prince-Caspian.mp3,http://phishthoughts.com/wp-content/uploads/2013/09/2.05-Piper.mp3]

***

“Ocelot” 8.30 I

This was the jam with which the weekend began to elevate; my favorite version of the three thousand played this year.

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/1.08-Ocelot.mp3]

***

“Bathtub Gin” 8.31 I

A straightforward, though peaked-out and inspirational “Gin.”

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/1.09-Bathtub-Gin.mp3]

***

“Say Something > Walls of the Cave” 8.30 II

It didn’t take long for the band to place “Say Something” in the second set. Look for big things from this jam come fall tour.

[audio:http://phishthoughts.com/wp-content/uploads/2013/09/2.03-Say-Something.mp3,http://phishthoughts.com/wp-content/uploads/2013/09/2.04-Walls-of-the-Cave.mp3]

5) 7.5.13, SPAC, Saratoga Springs, NY

Lo and behold, the band’s July 5 performance at SPAC holds up at the end of the summer in the top five. The story of this night truly starts with the combo of “Cities > Bowie” at the end of set one. A fresh take on “Cities” blends into one of the forgotten “Bowies” of tour—a version that is among the season’s top few. But the second set was elevated to a whole ‘nother level. In the second show of tour, after a 2012 summer in which the band grew a tad predictable, they threw us one of the freshest sets in years. A palpable excitement filled the air as Phish kicked things off with the debut of “Energy,” a new cover and jam vehicle at a time when the band desperately needed one. The band’s enthusiasm bled right into “Light,” a version that remains the most engaging and refined of the summer—a profound statement for the beginning of tour. The greatest part of this set is that the band got creative with every single piece less “Mango Song.” One such moment took place in a filthy, slowed down wah-funk segment out of “46 Days,” a jam that coyly slipped into “Steam.” Everyone had been hoping for a jam from “Steam” since its 2011 debut, and albeit a whale-drenched one, we finally got it at SPAC. Changing the course of the song’s career, this version paved the way for a handful of second setters over tour.

Just when it felt like the guys might fall back into convention, they dropped a late-set “Drowned” that veered from its usual rock textures into delicate groove excursion, maintaining the newness of the set’s feel. Closing things out with an astounding “Slave” built with patience and reverence, Phish had dropped one of their sets of summer in just their second outing.

I: Kill Devil Falls, The Moma Dance > Sample in a Jar, Roses Are Free, Birds of a Feather, Yarmouth Road, Bathtub Gin, Nellie Kane, Army of One > My Friend, My Friend > Cities -> David Bowie

II: Energy > Light -> The Mango Song, 46 Days -> Steam, Drowned > Slave to the Traffic Light

E: Character Zero

***

4) 7.12.13 Jones Beach, Wantagh, NY

Amidst a monsoon on the edge of Long Island Sound, Phish threw down one of their sets of the season. Jones Beach’s main event was flawless in execution from start to finish with zero hiccups to note. Featuring a wide-open, twenty-minute “Rock and Roll” to start, this set never slowed down as the band segued into “2001” and then into an infectious take on “Tweezer.” The mid-set sequence of “Tweezer -> Cities -> Wedge” flowed like a single piece of music, while the band’s interplay in both “Tweezer” and “Cities” was especially enticing. Placing “Velvet Sea” exactly where it fits, the band then followed with their favorite set-closer of 2013, “Character Zero.” It’s rare that the guys come out—on any night—and pitch a perfect game, but after set break—as the clouds momentarily parted—Phish threw an absolute gem.

The inclement weather made the first set of this show a rough scene until the band flipped their script with the closing combination of “Reba” and “Bowie.” Though their playing was tight from the jump, it felt as though the guys were oblivious to the vigorous downpour as they slogged their way through a standard set of songs.  But once “Reba” started, the rest was history.

I: Chalk Dust Torture, Cars Trucks Buses, Ocelot, My Sweet One, A Song I Heard the Ocean Sing, Water in the Sky, The Sloth, Beauty of a Broken Heart, Sugar Shack, 46 Days, Backwards Down the Number Line > Reba, David Bowie

II: Rock and Roll > Also Sprach Zarathustra > Tweezer -> Cities -> The Wedge, Wading in the Velvet Sea, Character Zero

E: Sleeping Monkey > Tweezer Reprise

***

3) 7.31.13 Harvey’s, Stateline, NV

It was tough to not put this show higher for the “Tweezer” alone, but I am trying to be quasi-objective here. The Tahoe “Tweezer” is—without question—the jam of the summer, and the most magical moment I’ve ever experienced at a Phish show. The way the crowd seamlessly integrated themselves into the most epic jam of the modern era pushes this one over the top of every other contender. But when it comes right down to it, there was little else in the show of note.

To be honest, the first set was straight up abysmal. The guys picked up zero momentum in the opening frame set until a standard, set-closing “Stash” felt like a gift from heaven. Then, after “Tweezer,” the band played out a standard string of songs before a fiery “Antelope” closed shop. Nothing mattered after “Tweezer”—it was clearly all gravy—but with no supporting meat less a gorgeous “Architect,” I can’t place this show any higher than third.

I: Chalk Dust Torture, Camel Walk, Sparkle, Back on the Train, It’s Ice, Brian and Robert, Yarmouth Road, Kill Devil Falls, Lawn Boy, Ocelot, Stash

II: Tweezer, Tela, Twist,  Architect,  Bouncing Around the Room, Run Like an Antelope

E: Julius > Tweezer Reprise

***

2) 8.31.13 Dick’s, Commerce City, CO

Providing stiff competition for the show of the year, the second night at Dick’s, however, lands in second. Bottom line, the second set isn’t perfect, and I’ve got to give the nod to perfection. But there is a hell of a lot to discuss here, starting with “Chalk Dust.” The most innovative and original jam of the year anchored this performance, and was supported by a gargantuan, late-set “Tweezer.” But in between, though they were minor, the set had a few flaws. Firstly, “Light” had reached a crazy, original plane that was steeped in the creativity of “Chalk Dust” when Trey decided to chop it for a standard run through “46 Days.” Honestly, I didn’t notice the abruptness of this change in the live setting because the show was staggering up to that point, but on listen back, it’s just not smooth. “Steam” and “Free,” though great live, provide little playback value and a “Number Line” closer is nobody’s friend. However, despite these minor bumps in the road, the band’s playing was incredible all night long, earning this night the second slot of summer.

The first set of this performance certainly helped land this show over Tahoe. A 90-minute affair filled with choice, high-energy selections set the table for the massive second half. Throw in a couple rarities in “Buried Alive” and Fee,” and everyone was all smiles at setbreak.

I: Buried Alive, AC/DC Bag > Wolfman’s Brother, Yarmouth Road, Fee > Halfway to the Moon, The Wedge, Halley’s Comet > Bathtub Gin, Bouncing Around the Room, Mound, Gumbo > Run Like an Antelope

II: Chalk Dust Torture, Light > 46 Days > Steam -> Free, Joy > Also Sprach Zarathustra > Tweezer > Backwards Down the Number Line

E: On the Road Again > Tweezer Reprise

***

1) 7.27.13 The Gorge, George, Washington

Phish’s second performance at the Gorge earns the top slot of summer due to its impeccable flow and perfect second set. Seldom does Phish offer a set of music with zero stumbles, hesitations or miscommunications, however at the Gorge, they attained perfection. From the opening note of “Disease” through the final note of “Antelope,” this set moved with a criminal smoothness and—literally—never hit a bump in the road. Featuring seamless segues between “Disease” and “Undermind,” “Light” and “Sally,” and “Sally” and “2001,” this set contained non-stop action, flow galore and great setlist calls throughout. The band spent almost the entire set in an improvisational space and threw down tour highlights of “Disease > Undermind” and “Sally > 2001,” including one of the jams of tour in “Undermind.” It felt like the band started this set, and then it ended, as there was no break in the action and never a moment to lose focus of the stage. We hung out in the pavilion for as long as permitted after this one ended—it was one of those special nights at the Columbia River Gorge.

The band eased into their second show at the outdoor mecca with a mellow, afternoon vibe in the trifecta of “Architect,” “Golgi,” and the only “Curtain With” of tour. The band worked in some standard rotation songs before debuting Gordon’s “Say Something” and capping the set with the Americana pairing of “Ocelot” and “After Midnight.” The first set was above average for this summer, and paired with a flawless second, the band’s July 27th show at the Gorge takes home the season’s top billing.

I: Architect, Golgi Apparatus, The Curtain With, Kill Devil Falls > The Moma Dance > Maze, Beauty of a Broken Heart, Roses Are Free, Say Something, Ocelot, After Midnight

II: Down with Disease -> Undermind > Light -> Sneakin’ Sally Through the Alley > Also Sprach Zarathustra > Walls of the Cave > Fluffhead, Run Like an Antelope

E: Show of Life > Good Times Bad Times

 

The 30th Anniversary Summer Tour—the run that Phish came out bursting with new ideas again. Starting at Bangor and SPAC, and carrying right through Denver’s three night stand, Phish played with an intent to bring their music to new places. No longer did the band adhere to template jam structures, rather they developed sonic tangents that brought their jams onto fresh ground. The band also reinvigorated their contained improv, resurrecting classics like “Split Open and Melt,” “David Bowie,” “Run Like an Antelope” and “Mike’s Groove.” But above all else, the band’s open jamming was incredibly efficient, reaching sublime planes with little searching or indecision. In this their 30th year, Phish has come as close to mastering the art of improvisational music any as group that has ever stepped on a stage. And now—as they prepare to take this monstrosity indoors to Hampton Coliseum and beyond—Phish is primed to launch into one of their most anticipated tours of the modern era—Fall 2013.

Early-Summer jams such as Bangor’s “Antelope,” SPAC’s “Light,” “Drowned,” and “Piper,” and PNC’s “Crosseyed” sent the community an early message that things would be different this year. In each of these passages, the band took things in new directions—“Antelope” opened up into a blissful, out-of-character interlude; “Light” fused the textures and control of ’95 with the rolling, thematic style of today; “Drowned” shied from rock for a delicate, groove session, while “Crosseyed” opened the floodgates of creativity in one of the most original and impeccable jams of the summer. We were only a week into tour, and things felt like the heyday again. Every night held an incredible sense of adventure. There was no longer a question if Phish would go huge after setbreak, the only mystery was how they would melt our minds each night. Every show ended with excitement and adrenaline for the musical happenings—Phish tour truly felt like Phish tour again; 2013 was the new 1997. The styles were different, but the push for original territory each and every night was the stuff of reverie. And once again, we were living the dream.

The tour rolled on to Jones Beach where the band performed a flawless second set—one of their best of the summer—with slithery segues dotting the setlist at every turn. Merriweather provided the summation of the east coast portion of the tour with two rock solid performances, weighted towards the second night. The band’s outstanding run of “Lights” came to a head with Columbia’s avant-garde excursion, the unquestionable highlight of a non-stop evening. Alpharetta seem to be the forgotten shows of summer, though each was quite good. The first night’s second set, in my opinion, in the dark horse stanza of tour. Stocked with surreal jamming, this set never relented featuring stellar versions of “Rock and Roll” and “Chalk Dust,” not to mention a quality “Tweezer.”

Following a rain-soaked weekend in Chicago in which things never truly got going until night three, the band hit Toronto, site of the most sublime versions of “Disease” and “David Bowie” of the year, then took a couple days off before landing at the Gorge for the stand of the summer. Phish dropped two phenomenal shows—including strong first sets—at the venue of legend. The first featured a twenty-minute “Crosseyed” that sits among the jams of the season, and the second set of the second night gets my vote for the set of tour. There was not a single misstep as the guys navigated a diverse musical statement that spanned “Disease -> Undermind,” “Sally -> 2001” and compositions such as “Walls of the Cave” and “Fluffhead.” Though nobody commands perfection from the band, sometimes they deliver, and on this night they could do no wrong.

When people bounced down to Tahoe, few believed they’d leave the mountain town in a greater state of bliss than they left the Gorge, but after Tahoe’s monumental “Tweezer”—one of Phish’s finest moments—that is exactly what happened. Obviously confident in their playing and the new musical ideas that had began to bubble up on the west coast, Phish put their best foot forward in fulfilling a personal fantasy—one I’m sure is shared by many others—and dropped a colossal long form “Tweezer” of the likes that hadn’t seen the light of day since the mid-90s. This was heaven. On a warm summer night in the Nevada, Phish delivered a dream—a dream that would come to define Summer 2013 as a whole and recalibrate what is actually possible in live music. It was just that good.

Finishing their west coast run of legend, the band annihilated Bill Graham Civic Auditorium in San Francisco for three nights, dropping several top jams of tour including “Down with Disease,” “Seven Below,” “Rock and Roll” and “Energy > Runaway Jim.” The third and final show was an instant classic and capped the run with a memorable performance. A fairly tame show at the Hollywood Bowl turned interesting in an instant when the band opened up a late-set “Harry Hood,” blossoming one of the most creative improvisations of tour and ending their month-long jaunt with a discernible bang.

And then came Dick’s. A year after redefining themselves in the Rocky mountain paradise, Phish headed back to the soccer stadium in Commerce City to complete another summer docket. Filled with anticipation, the community descended on the well-loved venue for another unforgettable Labor Day weekend. The first night—highlighted by “Ocelot,” “Stash” and “Sand”—felt a bit musically tight due to the constraints of spelling out “Most shows spell something.” Nonetheless, the show translated quite well and carried a definite flow. The next night, however, was a totally different story.

On Saturday, the band played one of their strongest two-set outings of the year, jam packed with top-notch improvisation. The opening frame carried a medium tempo dance groove the whole way through, as Trey shrewdly selected a delectable setlist. The musical theatrics bulged during “Wolfman’s” “Bathtub” and “Antelope,” though the band’s playing was particularly sharp from the jump. In each of the last two years, the jam of the weekend came on the Saturday night at Dick’s. In 2011 it was “Tweezer,” in 2012 it was “Light,” and this year it was “Chalk Dust Torture.” Taking their rock anthem on, perhaps, the ride of its life, the band stretched this version over 23 minutes, weaving at least four separate themes and/or jams together in fluid, 3.0 fashion. Trey and Fishman were locked up throughout this “Chalk Dust,” and Trey often mimicked Fish’s beats, using his guitar as a rhythmic vehicle rather than a lead instrument for much of this piece. This maneuver added a textured and dancy quality to this breakbeat driven episode, and things were able to progress along an unconventional trajectory. This jam underlines the fresh, stylistic directions that emerged in the band’s late summer improvisations, while also highlighting Trey’s willingness, all summer long, to allow his band mates to lead jams. Innovative Phish at its finest, one could tell—as it was happening—that “Chalk Dust” would be the defining jam of this year’s stand.

The final night of the Colorado weekend started off quite well, though hit some bumps after setbreak. The band wasn’t flowing as easily as they were on the previous two nights, and it was pretty evident in the calculated risks they took during the fairly contained set. The opening “Carini,” however, remains a standout of the run with its melody-anchored, atmospheric excursion. And “Caspian > Piper” emerged as the other piece of highlight reel Phish on their final night of summer. As I walked away from the stage for a final time this season, a flood of memories washed over me, reminding me of the stellar moments, people, and music that comprised this summer. And I was just so grateful for the life we live.

When this thing started back up in 2009, opinions varied on how far Phish would progress in this era. Would they remain a vestige of the past steeped in nostalgia? Would they build back their proficiency to the point where they were churning original jams again? Or somewhere in between? Everyone seemed to have an answer when this circus got rolling again, but I think its safe to say we can now agree that Phish is playing some of the best music of their career. We have reached that elusive Golden Age that had been foreshadowed for years, and we tasted at the end of 2012. In their 30th anniversary—a celebration usually reserved for box set rereleases of band’s classic albums—Phish is at it full force, peaking once again in a career renaissance. And as we look forward a mere six weeks to Fall Tour, nothing in the universe could be finer.

Phish finalized their summer season on Sunday night in the Rockies with a well-played show, though the second set lacked coherency and flow. The highs of “Carini” and “Prince Caspian > Piper” were quite high, but the main event didn’t fully elevate as a whole. Although the band was on top of their game musically, the weekend’s final set didn’t have the punch we’ve come to expect from performances at Dick’s Sporting Goods pavilion. With some out of place singles breaking up the fluidity, the second set had a patchwork makeup. But coming at the end of a revolutionary summer tour, this show felt just fine.

The first set translated quite well as the band showcased their on point musicianship by tackling several of their most technical songs. Tearing through “Rift,” and then “It’s Ice,” “Guelah Papyrus” and a smoking “Divided Sky” in succession, the band was challenging itself and they passing with flying colors. Closing the first half with a classicly-shaped “David Bowie,” the band finalized their virtuoso display. The rarities, “A Song I Heard the Ocean Sing” and “Meat,” the former of which opened the show for the first time since it’s Brooklyn debut in 2004, rounded out a solid opening frame, and when setbreak came, Phish seemed primed to tear apart their final set at Dick’s. But when the dust settled, the second set contained more of an up and down flow than we are used to in the Rockies of Colorado.

Most everyone I spoke to expected the band to open their final set with “Down with Disease” or “Energy,” but they threw a curveball in the form of “Carini.” And as soon as it started, everyone knew “Carini” was going huge. Spending only a brief time in darkness, the band moved into an uplifting, atmospheric jam that shied from an outright groove for quite some time. The jam carried a feeling of ascension—a communal floating into the heavens above after a summer tour that far surpassed everyone’s expectations. Trey tickled spiritual melodies and Fish backed the piece with delicate, complex rhythms as the cerebral music enveloped the audience. The band reached a cathartic plateau and remained their for a while, allowing their fans to revel in the blissed out music. Then—finally—deep into the excursion, the guys hit a change and Fish moved into a mid-tempo groove that spoke to the soul. This was one of those moments that resonated through your entire being—an arrival of the collective consciousness. The energies of the band and audience united in truly spiritual event, leaving souls purged and jaws on the floor. The coolest part of “Carini”—the outright highlight of Sunday night—was how different it was from Saturday’s “Chalk Dust” and Friday’s “Sand.” Show me another band on earth that can play three such diverse pieces of virtuoso improvisation and I’ll show you a liar.

As “Carini” floated in the stratosphere, steeped in reverie, Trey decided it was time for “Birds of a Feather.” Ouch. And there happened the first strike against the flow of this set. Trey seemed to be only stopping off in a rocking interlude when he started up “Golden Age,” one of this summer’s signature jams. But this time, the band decided not to jam it at all, carrying out the composed vibe of the song before dissolving into “Prince Caspian”—another bumpy migration. But the band absolutely slayed “Caspian” as Trey developed a three-chord theme that transformed into the focus of the whole-group improv. A tasteful exploration of the song evoked memories of 2012’s Denver “Caspian” before the band segued nicely into “Piper.”

The combination of “Caspian” and “Piper” became the second highlight of the show, as the band constructed an uptemo canvas that Fishman painted with lightening-quick breakbeats. This full-throttle version hinted, momentarily, at “Guy Forget” as the band sprinted towards the finish line of their last open jam of the summer. And as Trey would have it, this “Piper” wouldn’t be complete without a final set of “Woos.” As the audience responded to his stops and starts, he seemed quite happy with the late summer development, but will he bring the “Woos” to fall? We shall see.

An awkward combination of “Boogie On” and” Saw It Again” preceded a quick run through a “Mike’s Groove,” that filled the closing spot of the set—a five-song sequence that flowed like a pile of bricks. Summer’s closing “Groove” did, however, feature a comical nod to Colorado’s recent marijuana tolerance with the debut of Peter Tosh’s “Legalize It.” After a stadium-wide smoke session, Trey dropped a final version of “Character Zero” and the summer came to a close. This year, however, the feeling wasn’t so bittersweet with fall tour sitting but six weeks away! For the first time, Dick’s will not be the last we see of Phish until the holidays at MSG. Nope, this year we’re on the road again.

I: A Song I Heard the Ocean Sing, Kill Devil Falls, Back on the Train, Rift, Meat, It’s Ice, Guelah Papyrus, Divided Sky, Funky Bitch, Cavern, Stealing Time From the Faulty Plan, David Bowie

II: Carini > Birds of a Feather, Golden Age > Prince Caspian > Piper, Boogie On Reggae Woman > Saw It Again, Mike’s Song > Legalize It* > Weekapaug Groove, Show of Life, Suzy Greenberg

E: Character Zero

*debut

Showing zero signs of a three-week layoff, Phish stepped onto one of the favorite stages in the land and delivered an awesome show from start to finish to open Denver’s end-of-summer trifecta. Knowing that many fans would be doing their best Encyclopedia Brown in trying to decode the setlist, the band used a bit of tongue in cheek humor in spelling out “Most shows spell something” backwards over the course of the show. Phish’s feat of the night, however, was crafting a flawlessly contoured performance with the given letters, including a fresh setlist and plenty of improvisational meat to go around. For a band that makes a living on doing the unexpected, chalk up night of Dick’s 2013 as another notch on their belt.

One could tell strange things were afoot immediately as the band opened the show with “Ghost” for the first time since The Fillmore in August 15, 1998. Last year’s “Fuck Your Face” show forced the band to jam, birthing four extended, timeless pieces of music, and three approaching the twenty minute mark. This year’s wordplay—on the contrary—made sure everything fit just so, therefore “Ghost” remained within orbit while providing a fiery start to the affair. The initial segment of the show felt a tad forced, as the band placed “Icculus” after a second-song “NICU” and following it up with “Heavy Things” and “Theme from the Bottom.” But the musical highlight of the set was just around the corner.

Let me start this paragraph by saying that I’ve grown to hate “Ocelot.” The standard blues rock build has done nothing out of the ordinary in memory, and has become but a stale place filler in the first set. That said, last night I found myself completely lost in the wide-open jam, having to remind myself more than a couple times what song we were in. This one got slinky and psychedelic in an instant and remained in a wholly creative space for the duration. And this was the point in which the show truly took off.

Rolling the improvisational zest right into “Stash,” the band absolutely slayed their classic vehicle in the no brainer highlight of the opening frame. Adopting a similar wide open feel as the preceding “Ocelot,” this jam navigated some twist and turns before arriving in some of the more hooked up, melodic playing we’ve heard from “Stash” since Merriweather’s outing. A graceful end of the set was highlighted by the debut of “Easy to Slip,” a Little Feat cover previously played by the Mike Gordon Band. The setlist prank remained in limbo, though many fans had long since caught onto the fact that they were spelling something backwards. I’m pretty sure that theories—and perhaps confirmation—of the setlist joke had made their way through the crowd, but how it would play out would be anyone’s guess.

A potent combination of “Punch > Sand” injected the main event with a primal tone, and as soon as the band dove into “Sand’s” jam, things got staight buck wild. From its first lick, this jam had “All-Star” written all over it, and by the end of some of the most exhilarating groove-based interplay of the year, it was a first ballot hall of famer. Veering out of structure into a scintillating passage of soul candy, the guys scripted a keeper that sits among the upper echelon of the year’s offerings—awe-inspiring music by a band that can do no wrong.

Phish brought back Mike’s “Say Something” and placed in squarely in the middle of the second set last night—and just like that the new vehicle started to deliver. Taking the gritty blues rocker off course, the band built into an atmospheric segment that eventually dissolved into “Walls of the Cave.” “Oh Kee Pah Ceremony” provided a mid-set surprise, but not the level of surprise as when the band rolled out of the ragtime staple into “Harry Hood.” Having only segued into “Suzy” and “AC/DC Bag” with any sort of regularity out of “Oh Kee Pah, the band added another song to an exclusive list last night with the first ever “Oh Kee Pah > Hood.” And the surprises just kept coming.

The final quarter of the set was carefully crafted and flowed like water from “Hood” through the end of the set, but midway through the “Hood” jam, the jam got very quiet, and out of nowhere the band slid into “Silent in the Morning.” Once again “Silent” appeared sans “Horse,” making it a clean sweep of the summer for “Horseless” versions. The opening notes of “Twist” continued the impeccable flow of this segment, and the jam quickly grew more interesting than the many hackneyed renditions that have dotted summer tour. And in a pairing that evoked the ending of classic sets such as 11.14.97 and 7.4.2000, the band put the cherry on top of the second set in the form of “Slave to the Traffic Light.” A wonderfully emotive version capped this beautiful portion of the set, and marked it complete.

The guys finished off their setlist tom foolery with a double encore of “Oh! Sweet Nothing” and “Meatstick”—and just like that another first night of Dick’s was in the books. Laying off all their major jam vehicles, the band has set up two filthy, action-packed shows for the next two nights, and something tells me one of them will be the show of the year. In only hours, perhaps that tale will be told.

I: Ghost, NICU, Icculus, Heavy Things, Theme From the Bottom > Esther, The Moma Dance> Ocelot, Stash, Lawn Boy, Limb By Limb, Easy To Slip*

II: Punch You In the Eye > Sand, Say Something > Walls of the Cave, The Oh Kee Pa Ceremony > Harry Hood -> Silent in the Morning > Twist > Slave to the Traffic Light

E: Oh! Sweet Nuthin’, Meatstick

*debut

The first jam of the band’s 30th Anniversary year appropriately stemmed from “Golden Age.”

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.01-Golden-Age.mp3]

***

“Rock and Roll” 7.12 II, Wantagh, NY

The twenty-minute kickoff to one of the sets of the summer.

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.01-Rock-and-Roll.mp3]

***

“Light > Sally > 2001” 7.27 II George, WA

The high-octane, middle portion of the band’s seamless second night offering at the Gorge.

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.03-Light-1.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.04-Sneakin-Sally-Through-the-Alley.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.05-Also-Sprach-Zarathustra.mp3]

***

“Run Like an Antelope” 7.3 II, Bangor, ME

The best “Antelope” of the modern era closed a solid, though unspectacular, tour opener.

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.08-Run-Like-an-Antelope.mp3]

***

“Stash” 7.14 I, Columbia, MD

The first incredible “Stash” in memory.

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/1.07-Stash.mp3]

***

“Carini > Piper” 7.30 II, Stateline, NV

A wide-open, west-coast jam sequence that has been lost in the shadows of Tahoe’s “Tweezer.”

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.06-Carini.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.07-Piper.mp3]

***

“Mike’s > Simple > Weekapaug” 7.13 II, Columbia MD

This revitalized “Mike’s Groove” sent a shockwave through Merriweather Post. Check out the subtle rehash of “Disease” in the “Simple” jam.

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.07-Mikes-Song.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.08-Simple.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.09-Weekapaug-Groove.mp3]

***

“Tweezer > Cities > Wedge” 7.12 II, Wantagh, NY

Smooth like butter…including some of my favorite minutes of summer music out of “Cities.”

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.03-Tweezer.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.04-Cities.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.05-The-Wedge.mp3]

***

“Golden Age > 46 Days” 7.30 II, Stateline, NV

Another stellar chunk of Tahoe jamming that hasn’t gotten its due.

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.02-Golden-Age.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.03-46-Days.mp3]

***

“Light > Boogie On” 7.14 II, Columbia, MD

The east coast portion of tour saw the band focus on “Light” as an improvisational launchpad. This Merriweather version culminated this run, and the band dialed their modern jam back out west. after Chicago,

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.05-Light.mp3,http://phishthoughts.com/wp-content/uploads/2013/08/2.06-Boogie-On-Reggae-Woman.mp3]

***

“Split Open and Melt” 7.6 I, Saratoga Springs, NY

The best first set jam of summer. An abstract tale of whale-drenched dementia.

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/1.11-Split-Open-and-Melt.mp3]

***

“David Bowie” 7.22 II, Toronto, ON

Summer ’13 saw a resurrection of “David Bowie,” none more impressive than Toronto’s set two closer.

[audio:http://phishthoughts.com/wp-content/uploads/2013/08/2.09-David-Bowie.mp3]

What the hell just happened? In a five-week whirlwind, Phish just tore apart the nation like they haven’t in at least a decade. When the band came back in ’09 few expected them to reach any level of skill beyond nostalgia. And even when they crushed 2012—a year that has firmly been filed under “Yesterday’s News”—few expected the band to redefine itself one year later. In retrospect, the years of ’09 through ’12 were all related to their past, a sort of getting up to speed on what they had accomplished in their career while showing flashes of innovation and brilliance. This past tour, however, Phish opened the floodgates of creativity, presenting us with a forward-looking tour that was plucked from our wildest fantasies. This summer, Phish started to forge a new path again with jams that sound different from any other time in their career and an energy purer than ever. Don’t look now, but with Dick’s as a stepping stone, Fall Tour is just around the corner! 2013 is shaping up to be a year musically on par with any in Phish history.

When I listened to several of my ’97 and ’98 favorites since tour ended, the jams sound far less dynamic than they do right now. I love that shit to death—trust me—but Phish is absolutely reached another level this summer. The efficiency and proficiency of their jamming is unparalleled to any point in history. The band needs exactly zero searching to find where they are going these days—as soon as they entered a jam this summer, with few exceptions, they were locked in directional, purposeful, whole-band improv. The quickness in which ideas were exchanged and built upon set a new standard for Phish, and consequently, the band was able to get far more out of their jams. This musical density had been building since Miami ’09, and has now reached a mind-boggling level. For example, go listen to the Alpharetta “Chalk Dust,” one of the best east coast jams of summer, and then try to wrap your head around the fact that it is under ten minutes long! Phish of 2013 is another beast all together. Their entire thirty-year career has led them to this point—a place where they draw on their illustrious past to create music that moves beyond their previous accomplishments.

The number of highlights from Summer Tour is nothing short of staggering. Trying to sum up this tour in writing is a task unseen in this era. Very little 3.0 Phish compares to what just went down over the past month. With only a slight dip in Chicago due to non-stop weather delays, the band launched off the “Harpua”-laced third night of the stand and never looked back, crafting two of the most memorable weeks in Phish history. Toronto’s majestic “Down With Disease” gave us a glimpse of the holy realms that we would frolic in we hit the west coast. Tour—undoubtedly—peaked at the Gorge and Lake Tahoe with several elite sets of Phish including the Tahoe “Tweezer”—in my opinion, the best jam of all-time. Finishing things with an outstanding four night run in San Francisco and Los Angeles, the guys dropped jams on the level with the previous weekend, but only sculpted one monster show in Bill Graham’s finale. At last, the band played a legit west coast run, and—go figure—it produced the best Phish we’ve seen in over a decade.

I’ll get down to analysis, but right now I’m still in awe of what we just experienced. I still have yet to spin three of the west coast shows—it was just different this time. As in the days of lore, we knew that after setbreak things would absolutely get crazy—a feeling that just hasn’t been prevalent over the past four years. But now, it’s full steam ahead! The entire community is more mature and everyone can appreciate what is transpiring quite a bit more, and I reckon the band feels the same. Nobody expected to be where we are right now, making this year of 2013 all the more magical. Hot damn, it’s good to be alive.

Phish wrote the final chapter of their 2013 summer tour in the picture-perfect setting of the Hollywood Bowl on Monday night in Los Angeles. Tailoring their performance to the Hollywood audience, the guys covered four different bands, tightened up their jams and played a more straightforward show than we’ve grown accustomed to in the past week. But just when one thought the guys might pack it in early, leaving their final show with no timeless music, they dropped one of summer’s most profound statements in a 22 minute, free-form version of “Harry Hood.” In sculpting a unique flow to the second set and switching the improvisational focus from the beginning of the frame to the end, Phish threw us a curveball in their final outing of the season.

Before delving into the concert, let’s discuss the Hollywood Bowl for a moment. On my last visit, I sat far too close to the stage and totally missed Chris Kuroda’s lighting theatrics. This time, I had a perfect view in a lower box and—Holy Shit! That was the most hallucinatory Phish experience of all time. Upon realizing this during the “AC/ DC Bag” opener, and then again after dark, I made a point to keep my eyes open far more than usual  last night in order to bask in the psychedelic eye candy. I have no idea how Kuroda set up his lights to do what they did last night, but god bless the man, because that was absolutely fucking outrageous!

OK—the show. A solid first set favored rotation songs throughout, though the place really seemed to perk up when the guys dropped “While My Guitar Gently Weeps” to close the half. The unquestionable highlight of the set, however, took place in “Scent of a Mule.” For the Mule Duel, all four members moved to the drum kit—and things got weird. Extremely weird. Mike held his bass above his head for Fishman to play with mallets, while he adjusted the fingering on his strings—an incredible collaboration. Trey and Page employed different elements of the drum kit to add to this abstract collage. Essentially, the band was playing “Drums” and “Space” simultaneously! And then my buddy hatched a theory. The Grateful Dead played from 1965 to 1995—exactly thirty years. To commemorate the 30th year of their own career in which they are surpassing their forefathers, Phish will cover a Dead album for Halloween. And it will blow everyone’s fucking mind. Don’t miss it.

After San Francisco’s monstrous third show, someone asked me how Phish could top Bill Graham in LA. I suggested that they wouldn’t even attempt to do so, but rather play a tasteful show with one incredible jam, a prediction that—eventually—proved to be spot on. Just when it looked like they would leave the idyllic Southern California evening without any long-form risk taking, out rolled “Harry Hood.” Phish had only opened up “Hood” twice before and the versions were separated by just a week in the Summer of 2003—Charlotte (7/25) and Camden (7/31). Charlotte has long been hailed as the most successful exploratory “Hood,” but after last night’s spiritual rite, the it now has competition. For the first half of last night’s “Hood,” it felt like we were on course for a solid—though standard version. And then, in a single moment, the course of the jam changed in full. Taking the always linear jam completely sideways, Trey led the band into uncharted waters and on to unparalleled glory. “Harry Hood” carries an inherently cathartic vibe, thus when the band puts a magnifying glass on the jam and blows it wide open, things necessarily get sublime. Kuroda painted this instant Hall of Fame version with an array of patterns against the band shell, creating a surreal visual field to compliment the holy music.

On this west coast run, Phish has been feeding our souls nightly with musical ambrosia; infusing our beings with a magic from the dawn of time. When it felt like we might go into the night with a show far to fluffy to conclude such a special tour, the band dropped a jam that stands up to any of summer—and it came out of “Harry Hood,” making it so much more special than if sprung from a conventional jam vehicle. The band—via Page—has made no bones about recognizing the what has gone down during these west coast shows. It is not every day that the stars align for a week of music like we witnessed from The Gorge to Hollywood Bowl. And to punctuate one of the most special weeks in the their career, the band dropped a sacred improvisation that absolutely matched the majesty of the moment.

The bulk of the second set was filled with a largely, flowless mélange of jukebox mini-jams—a quasi-appropriate concept for the metro audience. The band seemed primed to bookend the tour with stellar versions of “Golden Age,” when Trey stepped into a minimalist, wah-based texture. What felt like the foundation to a much larger jam, however, wound up aborted for an unspectacular “Birds of a Feather.” Each time the band started up a song, one thought it would be the single jam of the night. Would they open up “Sand” for the first time since Dick’s? Nope, they played a smoking version that remained anchored in groove. Would they blow out a mid-set “Disease” to cap a tour filled with outstanding renditions? Nope, but they did showcase intense creativity in a compact type II wonderland that still had plenty of legs when Trey bailed for “My Friend.” And that brings us back around to Mr. Hood…

What an incredible summer it has been! From Bangor to Los Angeles, Phish has taken the country by storm with new music in a way that they haven’t since 2003—and some would say even longer. Happy, healthy and on top of their game like no time in their past, Phish is now. Be grateful for any shows you caught in the past, but don’t let your connection to those memories skew what is happening today, because it’s nothing short of breathtaking. Thirty years into an illustrious career, Phish has stayed true to their ethos and has recommitted themselves to creating the most groundbreaking improvisational music this world has ever seen. And the best part about 2013 is that Phish will build on this momentum at Dick’s and then—Fall Tour! Things are only getting better, folks. Things are only getting better.

I: AC/DC Bag, The Moma Dance, Sparkle, Stealing Time From the Faulty Plan, Lawn Boy, Wolfman’s Brother, Roses Are Free > Scent of a Mule, Ocelot, Cavern, While My Guitar Gently Weeps

II: Chalk Dust Torture, Golden Age > Birds of a Feather, Sand > Down with Disease > My Friend, My Friend, Harry Hood > Character Zero

E: Loving Cup

On the penultimate night of a revolutionary summer tour, Phish threw down an absolute classic. A colossal Sunday night performance at Bill Graham is quickly becoming a modern tradition, much like Friday night at Dick’s in Colorado. And on their second such evening in the Bay, the band torched the intimate arena with a stellar second set that will forever be remembered for the improvisational odyssey of “Energy > Runaway Jim.” While bands, traditionally, use anniversary tours to celebrate their past, Phish’s 30th celebration has very much been centered on celebrating their future. Once again crafting groundbreaking music on a nightly basis and introducing new songs into rotation, Phish has evoked the spirit of their heyday while forging a new path—and that is exactly how to honor the legacy of the greatest band the planet has ever seen.

Breaking down the walls of their newest jam vehicle, Phish cracked open a universe of possibilities last night with a wide-open jam out of “Energy.” Beginning to realize the potential we heard when the song debuted at SPAC almost a month ago, the sky is the limit for his one. Sprouting a jam in Alpharetta, and expanding on structure in Chicago, “Energy” is now, officially—after San Francisco—the new-school jump off. Breaking from structure almost immediately—differently than previous versions—the band wasted no time launching the audience into a vast dancescape. My memory, without listening, is somewhat compromised, but I recall seriously demented music within the context of heavy, textured groove; super infectious and incredibly danceable while remaining as wide open as “Piper.” This jam will absolutely light up the general admission dance floors throughout the northeast come fall tour. Welcome to the future…

Though “Energy” was incredible, “Runaway Jim” was a straight up masterpiece that will be drooled upon for eternity. Fading into the jam with a series of loops, Trey set up an ominous excursion that was very clearly moving in a direction other than the norm. And before we knew what had hit us, we were amidst the most sinister prophecy of tour. This is not your everyday Phish. Not much is these days, but this was a whole ‘nother beast—completely original music plucked out of a personal fantasy. Without having respun the show, I am wholeheartedly still in awe of this master work, a feeling with which I often like to sit and enjoy without running to the tapes. But even in real time— captivated by the onstage sorcery—most everyone knew we were witnessing greatness of the highest degree. I can’t wait to relisten to this one after tour is over, but if you weren’t there, go listen now. Do it now!

At this juncture in the set, the music had been so dense and adventurous for so long, one had to wager that a cool down song would be next. And then the band started “Carini!” Imploding Bill Graham with the opening chords of their rock anthem, the band had control of the room’s energy as if it were a tangible substance like silly putty—manipulating the form and pulse of the collective consciousness with every musical dart and dash. Quoting “Fluffhead” through the onset of the jam made for a bizarre aberration—presumably referencing the song’s legend in which Pete Carini got LSD squirted in his face. The piece, uncharacteristically, moved into an almost jazzy, minimalist passage before smoothly melting into “The Wedge” in a out-of-the-ordinary song combo.

When the band started up “Light,” it almost didn’t even make sense. After a virtually all-improv set, the band was now starting up their most prolific jam vehicle deep into the set? Well, sort of. While “Light” was the unanimous MVP of this summer’s east coast run, out west the band has reigned in their new age epic, playing two quasi-type I jams at the Gorge and Bill Graham. This one however, far outdid the Gorge version, moving into incredibly creative interplay anchored by some inhuman work by one of my tour co-MVPs, Jon Fishman. It felt as though the jam would pop from structure at any moment, but interestingly enough, the guys remained close to the song’s feel for almost its entirety. The mind-expanding portion of “Light,” however, came as a surprise tacked onto the end of the song. Dropping into Page’s house of clav, the band brought us into a crunchy come down that grew more ambient and abstract by the second, smoothly constructing a psychedelic bridge into “David Bowie.

After a tour filled with outstanding “Bowies” of all shapes and sizes, Phish punctuated this seemingly set-long run with a classicly contoured rendition. Intricate, intense and totally on point could define the band’s interplay in what certainly felt like the set closer to me. But, apparently, the band still had a chunk of time left. A few feel good songs led us to “You Enjoy Myself”—one final dance session of an unforgettable weekend.

Capping the run with a double encore of “Sanity” and “Bold As Love,” Phish continued to keep things fresh out west, dropping two more tunes we had yet to hear this summer. Every single one of my friends I spoke to after the show in three different locales were absolutely beaming about the state of Phish right now. Here we are, all grown up, and things are better than ever. What a community. What a band. Phish for life—for real.

First Set Notes: A composition-heavy first set contained virtually zero jamming, though the band did play some specialties quite well in “Foam,” “Taste” and “Pebbles and Marbles.” Usually we get a portion of meat in the first set to satiate our appetites, but last night Phish had us gnawing at the bones of “Taste” and “Pebbles and Marbles” for the improvisational nourishment to tide us over to set two. Always heaping it on after setbreak, the one thing the band needs to consider for fall tour in the lost art of the first set.

I: Crowd Control, Divided Sky > Wilson, Foam, Halley’s Comet > My Soul, Ya Mar, Army of One, Taste, Gumbo > Train Song, Pebbles and Marbles

II: Energy > Runaway Jim > Carini > The Wedge, Light -> David Bowie, Silent in the Morning, Meatstick, Quinn the Eskimo, You Enjoy Myself

E: Sanity, Bold As Love