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

Phish came out on Saturday night at Dick’s and played their most impressive show of 2013. Rivaled only by the Gorge’s second night, Saturday featured the most innovative, forward looking music of the season as the band tore part the second set with jaw dropping improvisation. Anchored by Jon Fishman—the unquestionable star of the show and the weekend—and his inhuman breakbeats Phish carved brand new sonic pathways in the year’s most creative jam—a 23-minute odyssey out of “Chalk Dust Torture.” And then the train just kept chugging along. Blasting into “Light” and, later, a surprise, late-set “Tweezer” that popped with aural ambrosia, Phish never relented throughout the second set, leaving a wake of fire in their trail. I had the feeling one of Dick’s s performances would wind up in the top slot of summer, and Saturday night was most definitely that show.

Before getting to the otherworldly second half, the first deserves some discussion. Relatively thin on jamming, Saturday’s opening frame was, nonetheless, high on energy, favoring uptempo selections throughout. Songs that shined included “Wolfman’s Brother,” “Bathtub Gin” and “Antelope,” while the rarities of “Buried Alive” and “Fee” surfaced as well, together forming a very solid 90-minute opening set. The band must have been feeling good, because after setbreak, they would throw down their defining jam of the year.

A “Chalk Dust” second set opener can go it two ways: a short rocker to kick things off or a monumental open jam. This version was the latter. Steeped in virtuoso improv, “Chalk Dust” flowed through at least four different mini-jams with notable fluidity, crafting an unparalleled modern epic. Moving from a blissful, melody-based opening to the darkest, fastest drum and bass music we’ve heard since the post-hiatus era, Phish showcased the full spectrum of their abilities—and that was just the first half of the jam! The communication between the band members was shockingly tight and precise given the jam’s breakneck tempo, and—boy—did Jon Fishman shine throughout. Giving his best performance in a year where he has routinely stood out, Fish upped the level of the entire band within this jam and throughout this entire show. After exploring a futuristic, quasi-electronic realm, the band migrated into a chord progression that strongly suggested a segue into “Light.” However, after dancing around the song’s chords for a period of time, they, instead, slipped into a mini-“Manteca” jam before ending “Chalk Dust” with some intentional stops and starts that induced some enthusiastic crowd “Woos.” Honestly, I think this is the jam of the year. While Tahoe’s “Tweezer” was far longer, this jam contains the most original and innovative music dropped by Phish this season. Tahoe’s “Tweezer” consists of many themes pieced together, all which sound like Phish. Denver’s “Chalk Dust” contains a more vicious flow from start to finish while containing groundbreaking music that pushes the boundaries of Phish universe. In the end, there is no need to compare the two, but I felt I needed to if I was claiming “Chalk Dust” to be the jam of the year. In the end, this “Chalk Dust” raised the state of the game to an entirely new level, foreshadowing mind-bending possibilities for fall tour.

When Phish revved up “2001” late in the set, I felt a “You Enjoy Myself” coming out of it to end the set on a celebratory note. But much to my surprise, Trey kept his delay loop going at the peak of the jam and he laid down the opening lick to “Tweezer!”  Hello!! With a move that took most everyone by surprise, this set was about to get a hell of a lot better—and boy did it! Once again following the infectious rhythms of the Greasy Troll, the band threw down a cathartic version of “Tweezer” that absolutely brought the house down. Moving with an urgency through several different feels from the uplifting to the thick groove, the band absolutely slayed the song’s first rendition since Tahoe, peaking the show with absolute ferocity. When I re-spun this “Tweezer,” it was even more impressive than I remembered live—a certain keeper and the perfect way to cap this set.

The band ended with a relatively conventional run through “Number Line,” allowing everyone a moment to catch their breaths and find their marbles after quite the night of music. When Trey came out for his encore, he spoke of how much fun they had this summer and how much they are looking forward to their first fall tour in three years. The band then played Willie Nelson’s “On the Road Again,” a move that conveyed ultimate enthusiasm for their current endeavors. And when they ended with “Tweezer Reprise” everything felt perfect in the world. Apparently Phish loves the last day of August, as each of the last two shows on that date have elevated in full. When this night ended, one got the sense that this performance was what we came for. Sunday would undoubtedly be great, but Saturday was IT. And damn, was it good.

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

*debut

Damn, that was fun! On an idyllic afternoon in Lake Tahoe, Phish greeted their California-based crowd to a dance throwdown unlike any other on tour. From the opening couplet of “Wolfman’s Brother,” “Gotta Jibboo” through the encore of “Weekapaug,” “Character Zero,” every note seemed scripted to the dancer in all of us, as one groove after another emanated from Harvey’s stage. On a tour filled with inclement weather, a sun-drenched California dance party on a flat asphalt parking lot really hit the spot. Rarely does Phish play a show that carries a single vibe all the way through, but Tuesday in Tahoe, that’s exactly what happened, and it was grand.

Both “Wolfman’s,” and the first “Jibboo” of tour extended into standout versions, an early sign that this was gonna’ be a groove-laced afternoon. A cleverly placed “Cavern” and a ripping “Birds” both provided first set surprises that kept the energy high. “Cities,” though not leaving its form, burst with a fresh feel courtesy of Jon Fishman. His rhythm brought an urgency and a snap to this version that made it standout immediately.

The highlight of a non-stop opening set, however, came in “Bathtub Gin.” Phish has infused “Gin” with a newfound energy this summer, and this version grew in a unique direction as the band totally deconstructed the jam before building it back into a glorious peak. Shying from a groove until the jam’s arrival, this “Gin” stylistically diverged from other versions of tour and absolutely shone. Phish took all of this energy and channeled it into the final pairing of the set—“Tube” and “Walk Away.” The band had not closed a set with “Walk Away” since 1991, so it certainly felt a bit odd as they took their bows following the James Gang cover. The first set had smoked from start to finish while channeling an infectious vibe—a vibe that would be picked up upon with the first notes of set two.

Without having respun the show, my narrative process is somewhat compromised, but my overall memory of that second set is an absolute fucking explosion. Every single piece of the set popped with extra zest, forming an incredible whole—another monstrous frame of music from our beloved Vermont quartet. “Golden Age”—likely the jam of the show—opened the main event with a smorgasbord of grooves and then promptly transcended them in a sublime segment free form music. The guys brought this one deep, finally attaining the caliber of jam we all knew could stem from this new era cover. It’s taken them a few years to really get comfortable with “Golden Age’s” jam, as they had seldom moved beyond a standard groove, but Tahoe’s version provided the type of soul-quenching journey for which I’d been waiting.

When the band blended into “46 Days,” a song that can get real generic real quick, I thought we were in for a rocking interlude. I was wrong. Going absolutely buck wild on an additional jam segment, Mike Gordon led a disgustingly crunchy funk session that brought the house to its knees. This was real-deal molasses thickness, the music that envelops you from every side as your superhuman self spins through eternity. Jiving completely with the contour of the night, the opening sequence of Golden Age > 46 Days” blossomed into an instant classic. And that was only the beginning.

They say all good things come in threes, and—honestly—the trifecta of “Ghost > Carini > Piper” was nothing short of exhilarating. Forming a dynamic contour over three jams, each also popped with a creativity all their own. Though the band connected pieces with less than precise transitions throughout the set, that’s about the only persnickety gripe one can poke at an inspiring night of music. Laying into a groove-based “Ghost” jam like they haven’t this tour, the band let things hang out on their elusive vehicle in version that I can’t wait to hear again. If you haven’t gotten the picture yet, this set possessed a torrid flow and an energy that gripped the audience and simply never let go. So naturally, the next song was “Carini.” Blowing out the jam into an uplifting triumph, the band gave their sinister anthem the treatment—like just about every piece they touched last night.

The hits just kept coming as the band capped their three-jam sequence with a full-throttle, melody-driven “Piper” that brought things to a rolling boil. This set really, truly had it all.  “Ghost > Carini > Piper” provided a magnificent centerpiece to the main event, especially considering the caliber of jamming we had already heard in “Golden > 46.” I can only imagine the replay value of this entire set, let alone the show as there never was a single lull.

Exhaling, momentarily, with “Wading in a Velvet Sea”—again placed impeccably—the band played the only slow song of the night before igniting once more in an awesome closing couplet of “Mike’s Song” and “Slave.” I couldn’t put my finger on what song would close things out last night, and “Mike’s” provided a welcome surprise, not to mention the out of nowhere move into “Slave” when it felt like a “Hydrogen > Weekapaug” was already in the books. Dramatically closing the set with “Slave,” a move we hadn’t seen since Chicago, the band added a final curveball to the night as they left “Weekapaug” hanging for the first time in ages. But not for long.

A fantastic night of Phish concluded with a swift run through “Weekapaug” and—of course—with “Character Zero,” Trey’s Summer 2013 nod to a smoking night of music. Being in the mountains of California for Phish is glorious on its own merit, but when the band is crushing like they are currently, everything gets turned up a notch—or ten. The difference between where the band was the last time we stood in Harvey’s parking lot and where they are now is astounding, and every part of Lake Tahoe looks a bit more beautiful given the current circumstances. Nature, Phish and friends…what could be better?

Nothing in the universe.

I: Wolfman’s Brother, Gotta Jibboo, Cavern, Birds of a Feather, Funky Bitch, Cities, Rift, Bathtub Gin, Tube, Walk Away

II: Golden Age > 46 Days > Boogie On Reggae Woman > Ghost > Carini > Piper > Wading in the Velvet Sea, Mike’s Song > Slave to the Traffic Light

E: Weekapaug Groove, Character Zero