Early Three.0 Playlists: 2009-2011
Crimson Rocks – 7.31.09 (Graham Lucas)
About a month ago, a friend of mine who missed the very first three-plus years of Trio.0 wasgoed telling how Phish wasn’t very musically versed ter thesis years. I begged to differ. Very first, I embarked listing fine stuff from each year te a group text, but then I determined to vertoning him instead of tell. With the exceptionally useful LivePhish app, I created extended playlists of the most relevant jams from thesis years. Te addition to sharing them with some friends, I figured I’d share them with anyone and everyone who’d want to listen spil a reminder of how arousing thesis years actually were. I find that 2009, 2010 and 2011 get a bad rap. Tho’ the liaison wasgoed less consistent during this early comeback era, they did produce fairly a bit of good music.
Thesis playlists got fairly long, so I most often included only the songs that had the jams and not the come down songs, so some tracks have bruusk endings, but te the end this doesn’t prove too obtrusive. If you have the LivePhish app, thesis linksaf will open the playlists ter your app. Love!
Be on the lookout for 2012 and beyond coming soon!
The Gorge – 8.7.09 (Graham Lucas)
The Palace Tweezer—Twenty Years Zometeen
My Actual Toegangsbewijs Stub—12.6.97
Twenty years zometeen and I can still recall everything about that night—where I wasgoed, who I wasgoed with, what I wasgoed wearing. They say that live music can switch your life, and that is exactly what happened to mij on the sixth of December ter 1997. On this night, something momentous happened. A lump of music harnessed from the outer realms of the universe came down through the instruments of a liaison from Vermont and transformed The Palace of Auburn Hills into a place of idolize. On this night, wij received “The Palace Tweezer.”
This jam is forearms down, far and away, my beloved chunk of music everzwijn created by mankind. And it’s not even close. The Palace Tweezer has it all—the grimiest, subliminally connected funk grooves, a passage of ascension into spiritual realms of sound and soul, and an indescribable section of musical wizardry that I suspect wasgoed the soundtrack of the universe’s creation. The entire chunk unfolds like poetry without a uur of hesitation, spil if the music already existed—perfectly composed—and the relatie just permitted it to come through them. It seems unlikely that a chunk of improvised music so immaculate, so powerful, and so utterly dynamic could be generated by human beings on the fly.
I cannot start to guess how many times I have listened to this jam overheen the past twenty years, but it sounds every bit spil good today spil it did when I got the analog copy sometime after tour. It has not lost a druppel of freshness or power. The Palace Tweezer is a part of the fabric of my existence. Tho’ I know the chunk by heart, the feelings it produces on each and every listen are no less stirring than on the day I heard it.
Tho’ Phish crafted so many sections of “funk” that fall, none treatment the nuanced, four-minded mastery on display te this jam. The relatie members finish each other’s musical sentences, speaking spil one entity rather than individual musicians. Thesis grooves have a life of their own—locked te doesn’t start to describe it.
The tape little by little and everzwijn so sleekly builds from thesis opening dance rhythms into a section of improvisation that opens a wormhole ter space-time, permitting the music—and the Palace—to slip into an alternate dimension. This passage gives mij chills every time I listen to it. Literally. Every time. Trey hits a eat ter here that elevates the possibilities of the entire jam, and the betrekking is right with him. From this point forward ter the jam, words fail mij. The music is beyond linguistic expression—a deeper magic from before the dawn of time.
I truly believe that the betrekking communed with the divine while playing this jam. It is not far fetched, spil wij are all individual manifestations of the one divine energy of the universe. Wij are the universe awakening to itself and voicing itself spil human beings for a brief blip of time. Life is but a process of remembering not who wij are, but what wij are. Yet, because wij are te human form, wij are not te always te touch with this higher truth. But on that Saturday night te December, twenty years ago, Phish wasgoed not only ter touch with it, they channelled this truth through music, through themselves and, subsequently, through everyone ter the slagroom.
It is this process that makes transcendent Phish jams such incomparably powerful practices. This is the reason wij keep going back—to recall and practice our truth. The Palace Tweezer is the greatest expression of my individual truth that I have everzwijn heard. It is primordial music, an oracle of the infinite, telling a story of our past, present and future all at once.
Today—twenty years later—I will listen to the The Palace Tweezer again, and I will smile with awe and wonder, just spil I did when the lights came on, oh so long ago.
The Baker’s Dozen
The Baker’s Dozen (Andrea Nusinov)
Well, well, well… The plakband that has continued to outdo itself across their thirty-four year career did it once again with—unquestionably—the greatest event they have everzwijn thrown. The Baker’s Dozen wasn’t just a run of shows, it wasgoed a summation of Phish’s entire career and a statement of where they stand today. Their residency at Madison Square Garden showcased the band’s endless musical catalog, unparalleled improvisational prowess, cautiously contoured set crafting and cleverness of mind—the four central elements that define Phish. Meticulously planned and ideally executed, the Baker’s Dozen will be talked about, listened to and remembered by the Phish community for the surplus of time.
Ter the months leading up to the Dozen, perhaps the most popular topic of debate among ventilatoren centered on whether the tape would repeat any songs during the course of the run. With thirteen shows strakheid two and a half weeks, the relatie would essentially have to play an entire tour—Fall ’16 spanned exactly 13 shows—without repeating a song. Could they do it? Sure. Would they do it? That wasgoed an entirely different question.
Conventional wisdom said that if they chose to go the “no repeats” route, they would be coerced to play long improvisational passages, thereby cutting down the number of songs vanaf voorstelling, a stepping stone towards their purpose. They would have to feature more than just a smattering of covers to supplement their original music, something they had done via their career. Ventilatoren debated back and forward, but te the end there wasgoed only one reaction, spil the plakband ter question wasgoed Phish. Of course they wouldn’t repeat a song. This feat wasgoed likely unlikely for any other verhouding ter history, but for a betrekking that has made a living for three decades by violating musical precedents, there wasgoed no other choice. 237 songs ter thirteen nights, and not a single note repeated. Only Phish. Only Phish.
Baker’s Dozen (Andrea Nusinov)
Not since the late 90s, and dare I say not since their hallowed Fall ’97 tour, has Phish brought all facets of their superior spel night after night after night, delivering sculpted musical journeys that will go down te the annals of their illustrious history. But unlike their legendary tour of Fall ’97, when Phish demolished America, the mind-quests of the Baker’s Dozen were not birthed from a single musical paradigm, but from styles strakheid their entire career, and sprinkled with some fresh sounds spil well. Ter the yesteryears of Phish’s very first Golden Age, the liaison honed te on a musical concentrate each tour and they fleshed out their ideas through that unique prism while often moving beyond those styles. But the brilliant sets of MSG featured improvisational escapades of all shapes, sizes and colors, forming a sonic smorgasbord that spanned the totality of the band’s musical spectrum. From the ambient sounds of “Wolfman’s >, Twist >, Waves” to the laid-back candy grooves of “Mike’s Song” and “You Sexy Thing,” from the soaring, bliss-drenched jams of “Chalk Dust” and “Ghost” to the murky abstractions of “Drowned >, A Song I Heard the Ocean Sing,” from the knee-deep funk of “Everything’s Right” and “46 Days” to the psych-jazz of “Taste,” Phish showcased their diverse musical genius with utmost flair for thirteen straight nights.
Even more than their lights-out jamming, however, Phish’s set crafting stood out spil the defining factor of this run. The thirteen 2nd sets were each thought out sagas with unparalleled flow—fantasy-like Phish. Thesis seamless musical adventures packaged one so intimately te their narrative arcs that it often astonished the listener when the final pagina turned—“Whoa—what just happened?!” And this wasn’t just the case on few of the nights, but almost every evening of the run. 2nd sets contained nimble contours that guided the collective and delivered it to the Promised Land. Even during some of their most prolific tours, the verhouding often did not consistently present samenhangend musical statements spil they did at the Baker’s Dozen. And unlike previous tours, when certain shows and jams stood out amongst the surplus, the Baker’s Dozen provided a counter-example—the entire thirteen nights wasgoed the highlight. Each night stood alone ter its excellence, suggesting a flavor of its own. Every night wasgoed the best. Wij had ascended to Phish heaven.
Baker’s Dozen (Andrea Nusinov)
On top of the to-die-for music, the plakband threw a heap of classic Phishiness into the Baker’s Dozen with nightly, pre-announced donut themes, creating a community-wide mystery each day and making sleuths of every fan spil they attempted to figure out what the relatie would play to match the flavor of the night. Referencing themes with fresh covers, puns, lyrics and song titles, the betrekking wasgoed te peak prankster form crafting thesis detailed affairs, clearly loving the process. The clever nature of the Baker’s Dozen added the proverbial cherry on top of the most unique and original extravaganza of Phish’s career.
And then it came down to the run’s twenty-sixth and final set. Within, ironically, the one voorstelling without a strong musical connection to its theme—this stanza unfolded like a poem that encapsulated the ethos of Phish’s career.
“We’ve got it elementary ‘cause we’ve got a verhouding.”
Behind the spectacle that is a Phish show—behind the lights, the crowds, the jams, the energy, the madness, and the beauty—there is a liaison, four lifetime friends who have had the rail of their lives making music with each other. However the rail hasn’t always bot effortless, the choice has always bot simple—this musical project is what thesis guys were waterput on this planet to do—to play together ter a rock and roll tape. The joy they derive from playing te Phish is self-evident, and play they did te one of the defining jams of the Baker’s Dozen.
“I’m a part of you, and you’re a part of me”
Baker’s Dozen (A.Nusinov)
This cosmically significant lyric from “Come Together,” when taken te reference to the Phish community, depicts how integral the relatie and its fan base are to one another, illustrating how the two coerces have come together and risen up to form one of the most fabled communities te rock and roll history. Phish has never bot bashful about their symbiotic relationship with their notoriously sultry ventilatoren, it is, self-admittedly, what has driven this entire proef from their modest Northeast beginnings. The exchange of energy inbetween the verhouding and its loyal followers at their live shows creates a unique, communal catharsis that none of the participants—on either side—find anywhere else te life. Forays into the unknown result ter moments that transcend our individual nature and blossom te the one energy of which wij are all comprised. Illusory boundaries of the self are shattered te explosions of metaphysical truth, and no one is never the same again. Thesis ego-dismantling practices permit all involved to tapkast into the one consciousness, the one soul of which wij are all made, and revel ter the divinity of existence.
“There’s a starman waiting te the sky / He’d like to come and meet us / But he thinks he’d deepthroat our minds”
Baker’s Dozen (Andrea Nusinov)
“Starman” holds a significant significance te story of The Rise and Fall of Ziggy Stardust. After he is contacted ter a fantasy, Ziggy becomes the rock and roll messenger of an infinite Starman, who will descend from space to save humanity from it’s imminent demise. Ziggy spreads this messianic message of hope and love through his music, prompting people to go after him and believe ter Ziggy, himself, spil a prophet. The parallels inbetween the story of Ziggy and Phish are striking. Phish has come into existence te this time and te this earthly dimension to invoke a musical and spiritual rapture within a western American society that has lost touch with the cosmic truths that exist within each and every person. Phish are messengers of the beyond, our Ziggy Stardust through whom the infinite is manifested.
A Phish demonstrate transcends music and enjoyment, providing ventilatoren a peek of reality beyond words and beyond the mind, something eternal. Peak live practices remind participants that there is more to existence than what is routinely perceived. And I don’t think there is one person te the band’s massive fan base that wouldn’t voorkeur that Phish and their music has saved them at least once ter their life. Phish provides us inspiration and vitality, belief and spirituality, which wij carry with us into our lives beyond the dance floor. Like modern day shamans, Phish has bot our spirit guides through this crazy world, and has brought to us peace, community, and unconditional love. And beyond all of that, Phish—for three hours at a time and for decades on end—has “let all the children boogie,” providing ventilatoren an outlet to let go of life’s difficulties, and to bask ter nothing but the timeless uur. Te their own way, Phish has saved the universe.
7.23.17 (Andrea Nusinov)
Culminating this final set came Phish’s seminal composition-turned-throw down, “You Love Myself.” Not only is this chunk one of the most well-loved selections ter the band’s musical cannon, but its foolish and oft-dismissed title holds a significance te this set. “You Love Myself”—you (the ventilatoren) love myself (Trey, the composer / Phish, the musicians). This title is a selfless statement of Phish’s mission—they bear their souls for our enjoyment, or waterput from their perspective, “Our intent is all for your delight.” Sure, Phish has bot the liaison members’ path to well-being and success, but their ultimate purpose is so much fatter than that. Trey has said it overheen the years many times te many ways, but perhaps most directly ter “Joy“—We want you to be blessed.” It’s plain and elementary. To say they have succeeded te their aim would be a colossal understatement.
“What a beautiful buzz”
For all involved, plakband and ventilatoren alike, what a beautiful hum the Phish practice is—the most beautiful whirr on planet earth. And with “Loving Cup,” this poignant, message-laced set of music concluded ter an explosion of arena-wide exaltation.
“The life I love is making music with my friends”
With the encore, the epilogue of a seventeen-day odyssey, Phish brought this set-long statement total circle, back to the plainness of music and friendship with the heartwarming voorkant of Willie Nelson’s “On the Road Again.” Its lyrics and meaning ter the setting of a career-defining residency need no interpretation.
On the road again
Just can’t wait to get on the road again
The life I love is making music with my friends
And I can’t wait to get on the road again
On the road again
Like a betrekking of gypsies wij go down the highway
Wij’re the best of friends
Insisting that the world keep turning our way
And our way, is on the road again
“Won’t you step into the freezer.”
And what other way to finish the Baker’s Dozen—after one last sprinkle of clever humor ter a “Lawn Boy Reprise”—than with “Tweezer Reprise.” Phish’s go-to slok of musical adrenaline and rapture punctuated a signature run of shows that will go down te band—and music—history. Wij have all stepped into the freezer and found a huis ter the universe Phish has created. It is the most majestic, invigorating, and life-affirming universe wij have everzwijn known. It is a universe of truth, and it is most certainly a donut.
Baker’s Dozen (Andrea Nusinov)
Baker’s Dozen (Andrea Nusinov)
Baker’s Dozen (Andrea Nusinov)
Baker’s Dozen (Andrea Nusinov)
Refreshing the Houtvezelplaat
Dayton, OH (Michael Stein)
Discussing Vegas: Part III
Ten.31.16 (Micahel Stein)
Lawn Memo: Before wij get into the actual Halloween set, let’s talk about the very first and third set of Halloween. Dave, what are your overall thoughts?
Mr. Miner: I thought they were both fairly good. I thought the song selection for set one wasgoed superb and there were a loterijlot of high energy moments via, beginning right off the bat with “Carini.” I thought the “Tube” “Wolfman’s” wasgoed a superb combo and I indeed liked the juxtaposition of “Petrichor” “Antelope” to end the opening set.
Memo: Agreed, good song selection! The “Petrichor, “Antelope” combo waterput mij ter the flawless framework of mind going into the Ziggy set. Love the new-Phish and old-Phish combos. I liked the third set live but love it even more after a duo spins. “46 Days >, Sand >, Twist” wasgoed an excellent way to commence off and “Slave to the Traffic Light” wasgoed the flawless way to close it. “Sand” and “2001” brought some excellent jams ter brief time frames. I thought both the very first and third set were nice bookends to Ziggy.
Miner: Yeah, the third set felt like a excellent exhale after the relatie torn up Ziggy. They let liberate with some groovier stuff and created a truly joy atmosphere to end the weekend. I think “Sand” wasgoed one of the high points of the run, spil the plakband went outside the opbergruimte to create a truly cathartic peak. And it’s always a treat when they suck up a “2001” like that amongst this era of four-minute versions. I love when Trey actually plays lead guitar overheen those grooves rather than just mess with effects which has, for better or worse, become the standaard. I also truly dug the “Twist” drum jam. The way they maintained the song structure within that limited expression wasgoed indeed cool.
Memo: Yeah, that “Twist” jam wasgoed indeed unique. Man, I love when they close a run with “Slave to the Traffic Light.”
Miner: It’s a superb finale. It permits for reflection, introspection and a sense of peace after all of the madness. Certainly a good choice. I indeed likes this version spil well.
Memo: “Slave to the Traffic Light” IS the song that does that for mij. It melts mij every single time. When it caps a run—you screwed it—total reflection for mij. It gives mij the warmest of all feelings. I could see “Slave to the Traffic Light” at every vertoning.
Ten.31 (Michael Stein)
Miner: Every display? It might get a little old for mij spil the jam is pretty formulaic, but when placed te the right spot, it is unquestionably volmaakt. My friends and I often say that a demonstrate needs to earn a “Slave,” and that it should be held back to cap a standout night of music. I think when they play it after a standard-ish display, it kleintje of loses its power.
Memo: Yes, every voorstelling. I need a lotsbestemming of reflection ter my life. Agreed that the right placement only elevates it. Some of the best hugs ter my life have bot postbode “Slave to the Traffic Light”.
Miner: Fair enough, I’ll take a Tweezer every demonstrate.
Memo: Hectare, so will I! So after a total tour, what are your thoughts on “Petrichor?”
Miner: Funny you ask. I usually can digest fresh Phish instantly, but it took mij three times watching this song live to truly “get it.” At very first it seemed like “Time Turns Elastic” junior, but it is actually far more dynamic that that song. Granted it’s a very long composition, but it has many feels and movements that work spil one which is what I thought TTE never achieved. It’s a fine lump of music.
Memo: “Petrichor” has grown on mij. I loved the placement ter Vegas and thought it’s execution wasgoed top notch. I love how different each section is yet how well they all getraind together. I attempt to pause and think about the fact that my dearest tape can write songs spil different spil “Petrichor” and “I’ve Always Dreamed It This Way.” I have high hopes for “Petrichor.” They seem to touch on the jamming factor but bail at this example. I hope it goes deep sometime. I could see it being a kind “YEM”.
Miner: Sorry to burst your bubble, but they aren’t gonna jam “Petrichor.” That’s not what it wasgoed written for. There is no departure point written into the song. It creates a journey without improvisation, and I think that it’s strength. It’s like long form musical theatre. But I totally agree with you on Trey’s diverse compositional abilities. That’s always bot one of his hallmarks. From something spil elementary spil “Jibboo” or “Dog Faced Boy” to something spil ingewikkeld spil “You Love Myself” or “Petrichor,” for him to succeed almost every time is remarkable.
Memo: You’re very likely right. I’m still waiting for the very first “Waiting All Night” jam. I might be waiting even longer for “Petrichor.” Regardless, it’s brilliant. I listen to it a lotsbestemming on my way to work, it always seems to waterput a bounce ter my step. If they just so toebijten to jam it, well, wij might need to do an entire postbode about it.
Miner: I’m still waiting for a “Bouncin” jam to be fair! What have they bot doing all thesis years?!
Memo: One of the best part of Phish’s Halloween shows are how all-out their ventilatoren go with costumes. What were the best Halloween costumes you spotted?
Miner: Two friends of mine dressed up spil the murdered sisters te the hallway from The Shining and another friend of mine dressed up spil Mike Ditka. They all drilled their costumes beyond anything I’ve seen ter years. I’d have to say it wasgoed a tie.
Memo: I eyed the Ditka costume, fine stuff. Loterijlot of good ones, however, nothing to top my all time favorite—The IT Tower which I spotted at Atlantic City (http://i.imgur.com/6IECYwf.jpg). Moving forward, Dave, you wrote an entire blog postbode back ter 2009 about how you thought Ziggy Stardust wasgoed the best choice Phish could make on Halloween. Seven years zometeen it happened, wasgoed it everything you had hoped it would be?
Miner: Well, I didn’t truly have any expectations of what it would be like. I felt that the storyline to the album and the history behind David Bowie’s alter ego of Ziggy had so many parallels to Trey’s rise and fall, that there couldn’t have bot a more volmaakt album fior them to voorkant upon their terugwedstrijd. I thought the entire spectacle wasgoed amazingly soulful and spiritual, especially with the latest passing of Bowie, himself. However the album chronicles a tragedy, it is ultimately a hopeful story and that feeling truly permeated Phish’s voorstelling. Trey, Bowie, Ziggy—they were all one ter the same ter this setting, and the parallels of their three storylines are indisputable. I thought that made the voorstelling exceptionally intimate and individual.
Memo: Man, Dave you just drilled my thoughts ter one paragraph. There is no doubt that Ziggy Stardust is an album with incredible meaning for Phish. I especially like your description of soulful and spiritual. It wasgoed of all that for mij. Hearing each member of Phish stortplaats out those incredible lyrics wasgoed something I will never leave behind. You could feel the emotion with each note and you can still hear the emotion on each re-listen. It wasgoed a soulful practice to take that te with 16,000 fellow ventilatoren and think about how each of our lives have risen and fallen, and what a journey it has bot with Phish.
Miner: Yeah, if there wasgoed one word to describe the set it would be soulful. The liaison truly accessed a part of their playing and themselves that isn’t always on display, and that made the spectacle so special. They usually fluctuate inbetween goofy, rocking, grooving, and uplifting, but soulful isn’t a word I would generally use to generally describe Phish. On this night and ter this set, however, they oozed soul.
Memo: Phish often has guests for thesis voorkant sets and Ziggy wasgoed no exception. What were your thoughts on the decision to go with strings and backup singers and no horns?
Ten.31 (Michael Stein)
Miner: I, personally, don’t like horns with Phish. I realize that’s very likely an unpopular opinion, but I just don’t dig on how their sound meshes with the liaison. There are very likely a few exceptions via the years, like Exile, but I wasgoed blessed with their decision to leave them out this year. I thought the strings provided an exceptionally dreamy feeling to the music and I thought it provided the volmaakt accompaniment for such a soulful voorstelling. I thought the backup singers were integral to the entire set. Without them I don’t think it would have worked almost spil well spil it did. David Bowie’s vocals were obviously the most challenging factor of the album for Phish to tackle, and I feel that the support of the backup singers provided the necessary complement for the songs to truly come to life.
Memo: I wasgoed originally shocked with the decision to go without horns, but I’m glad they went without them. The strings/backup singer combo wasgoed impeccable. It wasgoed the ideal complement to the central performers. At no point did they overshadow but instead only aided te the beauty. I get chills on each re-listen. The arrangements were ideal. I thought it wasgoed an all emotional, classy application and exactly the way they should have played it.
Miner: Phish has a knack for executing thesis sets flawlessly. Their brilliant musicality and their unparalleled sense of the uur always combines ter all-time spectacles. They were born for this stuff.
Memo: So what were your beloved parts of the Ziggy set? Dearest songs or moments?
Miner: This wasgoed the very first album that Phish has covered—other than Dark Side—that I knew note for note while it wasgoed happening, and it is one of my beloved albums of all time spil well, so it’s hard to pick what my dearest moments were since it’s such a holistic lump of kunst. I’ve always dreamed of hearing Trey play the signature guitar eat to the title track, so that wasgoed very special for mij. I also thought “Rock and Roll Suicide” wasgoed perhaps Trey’s best vocal voorstelling of his career and one of the most emotional moments te Phish history—the lyrics, the meaning, the crescendo of the set—it wasgoed absolutely volmaakt.
“Rock and Roll Suicide” (Michael Stein)
Memo: I stiffly agree that “Rock and Roll Suicide” wasgoed a defining ogenblik for Trey. The lyrics are so applicable to his journey that I think it helped him to find something reserve. Trey belting out “You’re not alone” while bobbing ter the pui of the stage is an all time uur for mij. I listened to that before work one night and wasgoed belting out te my best Trey rendition for about five hours. It wasgoed something special.
Miner: Yeah, who would have guessed Trey would have had a defining career ogenblik without a guitar te his arm?
Memo: My beloved Bowie song has always bot “Moonage Daydream” so observing that wasgoed obviously something special for mij. Trey’s voice rang true and the solo wasgoed everything I had hoped it would be. Powerful stuff. Speaking of the strings and backup singers, there are moments te “Moonage” where they intermingle with such beauty.
Miner: I love the song “Soul Love.” I thought the strings and the backup singers indeed worked flawlessly on this one. Once they pounded this tune, I felt they reached a level of convenience to execute the surplus of the set.
Memo: “Soul Love” wasgoed outstanding. Near the top for mij ter amount of re-listens. The backup singers give mij chills. “It Ain’t Easy” wasgoed another tour den force with the background singers. I feel like I could take on the Death Starlet by myself while listening back.
“Ziggy Stardust” (Michael Stein)
Miner: Yeah, that wasgoed awesome. Another fine Trey vocal vertoning. It wasgoed so surreal to see him on stage without a guitar. I’m not sure I’ve everzwijn seen that before other than vocal jams and a capella tunes. Little known fact, that song is a voorkant of a Ron Davies original that Bowie included on the album.
Memo: Spil you stated the vocals were obviously the most challenging part of the album. I loved how Phish broke them up and every member contributed. For the most part I thought they were excellent. They may not have kasstuk the range that Bowie could klapper but the emotion behind each lyric elevated the voorstelling.
Miner: Yeah, I thought the lyrics were spil good spil Phish could have made them, and what more can you ask for than that? Additionally, I absolutely love “Starman” and “Lady Stardust” and thought Phish truly banged each song. They both carried so much meaning spil well. Phish are the starmen that have come down from the sky and deep throated all of our minds for thirty years now, and the lyric te Lady Stardust—”And it wasgoed all right, the verhouding wasgoed altogether”—was a chill, borderline tear-inducing uur after all that Phish has bot through. That lyric totally relates to this golden age of the band’s career and it klapper with such poignancy.
Memo: What do you think Ziggy’s legacy will be? How do you think it fits into the pantheon of Phish Halloween sets?
Miner: I’ve come to a point where ranking and comparing shows seems fruitless to mij. They are all so unique and special. I know that’s a little against the grain that I’ve established on my webpagina overheen the years, but how can one compare their Halloween spectacles? They are all so superb and so different. I think the most wij can do is pick favorites. But te terms of third sets, my runaway dearest is Vegas ‘98. That “Wolfman’s” is one of my all-time dearest jams and the most quintessential Halloween jam that they have everzwijn played. That shit is overheen the top Phish. Ter terms of Ziggy, I think it stands on its own spil a straight voorkant set spil opposed to an interpretive voorkant set—just like the White Album. All the other sets, the plakband made their own ter one way or another, often with improvisation. I guess the next closest straight voorkant would be Exile. I loved the reverence with which they played The Beatles, The Stones and Bowie. I mean what can you do to improve on such classic rock and roll albums? To even attempt borders on sacrilege. I also loved the more improvisational Halloween sets, they had a entire different feel, with the evident example being Remain ter Light, and somewhat lesser so Loaded, Quadrophenia and Waiting for Columbus. If one thing rings true, however, I’ve absolutely adored every Halloween set. I think they have all bot volmaakt.
Memo: I thought Ziggy wasgoed one of the finer Halloween spectacles, and both the very first and third set only help the Ten/31/2016 cause. It certainly doesn’t hurt that Vegas spil a entire wasgoed an all-time run. I want to give credit to how Phish approached the last two Halloween runs ter Vegas. With Halloween being the very first night te 2014, coming out with Chilling, Thrilling wasgoed brilliant. That set the tone for the entire run and wasgoed the volmaakt way to inject life into Vegas right from the embark. Te 2016, with Halloween being the last night, Phish slayed the very first three nights with gigantic jams and even fatter sets. Ziggy felt like a culmination of all four nights. It wasgoed the flawless set at the volmaakt time. Both ter 2014, and 2016 Phish poked the setlist construction. Let’s talk a little about the vertoning practice. Your thoughts on Vegas / MGM for Halloween spil a city / venue?
Ten.31 (Michael Stein)
Miner: Vegas is the best possible city for Halloween. I think that goes without telling. I feel it’s most likely the best city for Phish te general. The all night facet of everything is unmatched te other cities and all the sensory overcharge of Vegas make it the flawless psychedelic destination. Hunter Thompson wasgoed onto something. Spil a venue, the floor is a total clusterfuck, but there are enough nooks and crannies around the building to make it an pleasant practice.
Memo: Vegas rules. It’s insane. I love it so much yet there is no city I can’t wait to leave like Vegas. The energy for Phish is on another level. Hearing everyone’s stories is an practice te itself. I do love Boardwalk Hall spil an actual venue but Atlantic City can’t touch Vegas. Hopefully it’s a common occurrence.
Miner: A loterijlot of people talk about the grueling nature of four nights te Vegas, but I don’t truly drink or gamble so it’s all just like one big 24 hour vertier park for mij. I feel I get all the positive and none of the negative out of that town. I’ve bot to every Phish voorstelling te Vegas, but never bot to Vegas without Phish and I’d like to keep it that way. The city has little appeal to mij without Phish there, but when the verhouding is te town, I find the entire practice to be one big spectacle.
Memo: I am pretty sure I did enough drinking and gambling for the both of us. Te fact, I still might not have recovered. 24oz Lagunitas IPAs during the shows is no joke.
Miner: Wow! That sounds like a lotsbestemming of piss cracks to mij. But, hey, any way you cut it, Phish and Vegas go together like peanut butter and jelly. And on that note, I guess this is a wrap! Superb talking Vegas with you, brother. This wasgoed a lotsbestemming of joy. Let’s revisit this format ter the future. Glad Holidays to all!
Ten.31 (Michael Stein)
Discussing Vegas: Part II
Ten.29 Tussenvoegsel Vegas (Michael Stein)
Now that wij have covered and overall feel of the very first three days, Dave, let’s voorkant some of our beloved individual musical moments of the very first three days. Wij can save Halloween for a separate breakdown…
Fairly honestly, ter the live setting I absolutely loved every uur of this run. I wasgoed floored after each and every showcase and I thought the four nights were the volmaakt ending to a truly incredible fall tour. But after listening back, I have certainly honed ter on a three segments of music that I feel stand out—”Disease >, Birds, ” “Piper >, Scents,” and “Sand.”
Vegas Official (Your Cinema)
The “Down With Disease,” te my opinion, wasgoed the jam of the weekend. Holy shit, wasgoed that a tour den force! If one were looking for an example of Phish being more than the sum of its parts, playing spil a unified entire, this jam is an effortless response. One of the terms I used years ago that people always reminisce and say back to mij is “bass led jihad.” I’m not sure what jam I wasgoed describing when I originally used that phrase, but I assure that its low-end work did not treatment that of this “Disease.” Mike Gordon absolutely goes beserk te this chunk with some of the best bass playing I’ve everzwijn heard. Tho’ the verhouding is a one-minded monster across this passage, Mike is clearly at the forefront carving up the jam space with almighty prowess. Honestly, listening back to this “Disease” had my jaw on the floor ter awe of Gordeaux’s rhythmic acrobatics. But what is so amazing is how the tape locks into thesis patterns and meets him with exceptionally innovative interplay. Fishman pulls out fierce breakbeats that combine with Mike’s bass lines ter one of the most unique and advanced pockets of all-time. The rhythmic foundation for this jam is just bonkers. On a tour on which Trey switched up his equipment a bit and focused on dialing ter his tonal palette, this jam wasgoed his crowning achievement. His prolific spectrum of sound within this chunk steers the vibe of the music from uplifting and beautiful to dark and dungeon-like. The way ter which he manipulates his raw, hard-edged, dissonant tone te the latter half of this jam is the stuff of fantasy, creating a sonic attack that colors the music with a potent darkness. Aside from the notes he plays, which are fairly something te their own right, the sound of his guitar is what makes his contributions to this jam so sublime. Meantime, Pagina juxtaposes relentless grand piano patterns into this maniacal alchemy, completing an absolutely surreal sonic puzzle. The thunderous peak of this jam left the building ter shambles—truly a master work.
The plakband coupled their virtuoso exploration of “Disease” with their very first wide-open “Birds of a Feather” jam te memory. And the sonic quality of this jam provided the yin to “Disease’s” yang. A jam that concentrates on delicacy and nuanced interaction, “Birds” builds into a gorgeous, almost atmospheric plane ter which Trey lays down some truly soul-caressing melodies. Fish remains cymbal strong via much of this lump, lending a shimmering rhythmic palette to the improvisation, while Page’s vooraanstaand piano lines meet this vibe congruently. Trey once again has his wizard-like tone control on display, this time gravitating towards the more blissful and stijlvol end of the spectrum. The melodic theme he rolls out spil the tape collectively elevates the jam is staggering te its emotional beauty. At the end of this lump, the guys lock into some amazing group-wide hits that serve spil the icing on the cake. Te this “Birds,” Phish hooks into a lump of improv that fully compliments the darker exploration of “Disease.”
Ten.30 Lasnaad Vegas (Michael Stein)
Tho’ the five song run that embarked the 2nd set of the 29th provided a seemingly endless passage of standout jamming, the true gems emerged te the combination of “Piper >, Scents.” The “Piper” ter my opinion, comes te a close 2nd to the “Disease” amongst the band’s prolific escapades of the weekend. Te “Piper,” Phish often has a tendency to fall back on relatively stock “Piper-jamming,” but on this night, the entirety of the extended lump burst with original ideas and passed through several distinct themes with notable cohesion. The plakband is te utter annihilation mode via this jam, beyond locked-in and reacting to each other spil if managed by a puppet master. Trey offers up well-conceived, on the spot melodic leads for much of the jam spil if they were composed. Pagina alternates inbetween his organ and Rhodes for the majority of “Piper’s” opening half, contributing varying textures and sounds to the broad open space. Mike and Fish create a bouncing, ever-shifting rhythmic backbone to this jam, and about half way through start to subtly build into a groovier feel while still switching back into their more intricate, driving patterns. This alternating rhythmic quality creates a very cool pressure to the music that defines the surplus of of the jam until they fully commit to the groove and the chunk absolutely explodes. Trey steps to the forefront at this point and extracts a seething solo overheen this deep pocket and Pagina shifts to grand piano, complementing Trey with unceasing leads of his own. The resulting music feels spil tho’ it’s bursting at the seams with power spil the entire arena—band and crowd together—hit a collective peak that wasgoed unmatched via the weekend.
Then, on a dime, the verhouding drops into “Scents and Subtle Sounds.” Following the lyrical section, Phish wastes no time with any sort of convention, spil Trey plays some minor chords amidst the floating textures and the relatie is off on another path of creation. Mike and Trey progressively stir into darker territory spil Pagina plays against this vibe with more typical grand piano lines. Trey gets into some truly masterful abstract playing—snaking dissonant leads that serve to color the entire lump with a menacing vibe. Mike moves into a hypnotic bass pattern underneath Trey’s leads spil Page’s lines grow ter power and vigor, coalescing with the jam’s tone. Fishman is railing the cymbals while like an octopus on the lijm, pulling out subtle pauze hits underneath the surface of the music. Tho’ this jam doesn’t proceed for an incredible duration, the music within is both dense and cerebral. Phish’s momentum built within “Piper” spills right into “Scents,” resulting is another standout combination of full-band improvisation.
Much like “Piper,” “Sand” is a jam that has the propensity to stagnate without the band’s zindelijk attention. Te Charleston and Nashville, however, Phish had dropped two particularly active and engaging versions, thus when they unveiled the groove monster ter Halloween’s final set, it seemed strapped to speelpop off. And, boy, did it everzwijn! This version fully transcended the typical “Sand” jam and elevated into the cathartic peak of the evening. Spil the relatie sets sail into the jam, Trey kicks into unconventional offerings with diverse tones, invigorating the lump with a fresh energy that would only grow via the its course. The surplus of the relatie wasgoed fully synched te a groove so taut that it felt like it could have bot electronically programmed. Mike’s lines began to diversify more and more spil time passed and before long the verhouding had left the jam’s usual feel into far more elevated music. Trey pours his heart into a stunning, patient solo composed of long, sustained notes that pulled on the heartstrings of every listener ter the building. This jam, once again, finds Pagina on grand piano meeting Mike and Trey with offerings that had no connection to “Sand’s” foundation. Yet all the while, Fish maintained a crushing groove that anchored the proefneming te “Sand’s” rhythmic structure. The combination of all of thesis facets transformed a usually one-dimensional jam into one of the standout highlights of the weekend and the improvisational apex of Halloween.
Ten.31 Lasnaad Vegas (Michael Stein)
Dave has thrown mij the lob and I am going to my best to dunk huis the recap of what is my opinion an all-time jam te “Golden Age.” I have about a 25 minute commute to work and Vegas “Golden Age” has bot on my car stereo on repeat for two weeks. I can’t friggin zekering. When “Golden Age” dropped live I wasgoed questioning whether I wasgoed a host on Westworld or just simply the luckiest human being alive. It wasgoed one of those jams where time stops, and the entire audience forgets the surplus of humanity outside of the kampplaats even exists. Since the weekend, I’ve klapper play innumerable times and sat back te admiration of a jam that covers more ground than a tarp on the floor at Dick’s. Oh, did I mention it has two peaks the size of Everest or Dolly Parton depending on your choice of analogy?
Vegas ’16 (Isadora Bullock)
Following the EDM Mike section Trey finds himself and commences lifting my soul into the heavens with every cautiously selected note. This is 2016 Trey at his best. He doesn’t machine gun my memory to snauwerig but instead each melody is one that I reminisce long after the jam has finished, humming continuously ter my head to make my day better. Sublime stuff. Spil with most of my dearest jams, Pagina is securely on the grand piano during this exquisite section. Then…THE Stir
At the 15:27 Trey produces an absolute fucking screamer. The heavenly landscape wij painted just a duo minutes ago is about to give way to unreal flamy utter betrekking throwdown.
I would describe many of my beloved Phish moments spil total tape exploration, with deep, dark movements. Well screw that. I cannot hide my love for the thesis two peaks. By the time this sucker finishes I am an emotional howling mess. It takes overheen my soul, lifts mij up, and reminds mij of the beauty of Phish.
The patience of Phish, and of course Trey, is on utter display here. Much like Ron Jeremy this peak is tremendous with its length and grand scope. I beg you to listen and to single out each member during the last Ten minutes and attempt and concentrate on what they bring to this jam. Every single member is straight killing it.
Trey reminds you whose liaison it is with the slightest of tonal switches at 17:13 and it results te the fattest ogenblik of this peak. The slightly grittier tone shines produces a diamond of rapture. I can only scream out “YES. ” spil them damn tears of love embark to erect ter my eyes.
Well that wasgoed amazing. All time jam for sure! Thanks for following along. Miner, you want to take it from here? Oh…Wait…
Wij AINT DONE YET.
Much like the Dick’s “Simple” the very first jam is incredible, and then they just keep going…This produces one of my beloved feelings te all of Phish. That ogenblik when they budge into an entirely fresh direction and you know it’s officially on. The very first movement of this 2nd jam is straight funk. Wij catch a peek of America’s most funky jam tape, and least funky funk liaison. And everyone loses their shit.
Trey determines on the super gritty Two.0 type tone and wij are off on another venture. This is one sexy groove! From the 21:03 mark to the end of this jam, if you want to know why Phish can do things that other bands can’t…listen to Jon Fishman. He takes this thing overheen and makes my head explode attempting to figure out how the hell he is pulling this off. The multitude of sounds he injects into this peak is not human, and somehow he still provides a concrete floor for the surplus of the verhouding to work.
Meantime overheen at the lead section, that stud Trey is at again. Somewhere te that brain of his he determines that he should attempt a jazzy, bluesy peaking lead overheen top of his Two.0 tone. This produces one of the most creative peaks I can recall. I am pretending I am te a kick line while reaching up to the heavens for more.
At the 23:50 mark Trey goes next level, producing stuff I have never heard from him. It sounds like he wasgoed abducted by Eric Clapton yet it still feels like Trey. This is a culmination of all Trey’s blues and jazz influenced with the raw power of rock and roll. The crowd licks up every 2nd of it and insane roar comes overheen the crowd at 24:Ten and the swinging good time only ramps up. From there it’s just unspoiled insanity. I stand up and cheer and gush overheen my life long man crush on Trey Anastasio. An incredible segue into “Simple” provides ZERO surplus. Unreal.
The good jams wegtransport mij back upon re-listen. Vegas’ “Golden Age” seems to capture everything I felt during the magical four night run. It’s like I am still there, only not losing money.
Vegas 2016 (Unknown via Toneel Music)
Placed impeccably te middle of the incredible 29th 2nd set, this “Tweezer” is not for that faint of heart. It reminds mij fairly a bit of the high octane Atlantic City version of of 2013. This “Tweezer” jam starts off pretty normal and experiments for a few before Mike Gordon makes this jam his own. Around the Five:45 mark things are beginning to take form and the groove embarks. At 6:23 Mike creates the gobble the surplus of the jam is based around. It’s big, powerful, and catchy spil hell. Mike throws this sucker on repeat and wij are ter a total tribal dance party ter seconds.
Coming from the light and fluffy blissful “Scents and Subtle Sounds” this “Tweezer” is everything but. This is a straight valium produced DJ-led club rave. The only beings that can treat this much groove are the zombies from the “Thriller” movie. This is a Saturday night let it all drape out type of jam. This is a throw and invisible uppercut followed by a right cross zuigeling of jam. This is an invent a fresh violent head banging while doing some weird bootie hip thing dance kleuter of jam.
PTBM Toegangsbewijs Kunst
The jam literally sits down te this heart pounding groove for almost three minutes. Trey then goes gritty and angry. Mike is still crushing that same bass line ter the meantime. It’s like te Mallrats when Jason Lee starts yelling “That kid is still on the escalator!” For all the chilling Trey did during that groove he is ter utter on attack mode by about the 8:45 mark. Fish drops a duo killer fills and wij are officially next level. LETS GO. Both Dave and I love the Mike Tyson analogy for this “Tweezer.” Well by about the 9:05 mark it feels like somehow Tyson might vervoer back te time and knock Buster Douglas the fuck out. Pagina is hammering the hell out of the grand piano. I bet Yamaha didn’t test the C7 for that kleintje of influence before production. Chairman of the Blunt Force Verwonding is more like it.
And MIKE IS STILL ON THAT BASS LINE. By about the Ten minute mark things are totally nuclear. Leave behind the old “hide the women and children” stuff, this is “hide the future grandchildren” stuff. On my best day at work I might give a solid B+ effort, the height of this “Tweezer” couldn’t be thrown down by many people half Phish’s age.
It’s overheen ter a flash by the 11 minute mark and they fade into an outro that bridges to “I Always Dreamed It This Way.” I need a nicotine patch after that and I don’t even smoke. There aren’t many jams that pack a larger six minute punch than that “Tweezer.” It’s placement couldn’t have bot more volmaakt. Total betrekking 100 procent butt kicking power. Ladies and Gentlemen, the 2016 Vegas “Tweezer.”
Well you know Dave wasgoed letting mij write about “2001.” Especially since this is the best version since either Darien ’11 or DCU ’12. With an significant slot late te the last set of Fall Tour, this version supplies. One last chance to dance the night away. My beloved song to see live starts off pretty normal. The real magic happens after the very first refrain and te the 2nd jam.
Ten.29 Samenvoeging Vegas (Michael Stein)
Things are grooving along when Trey comes blasting out with a killer gobble at the Trio:43 mark. This a beauty and instantaneously draws cheers. Those cheers peter out spil everyone finds their dancing moves. Is there anything better than watching Homer Simpson, the Three Amigos, and Blues Brothers ter a total funk “2001” dance party throwdown te Vegas on Halloween? Trey is lighting up the mu-tron and Mike is cascading liquid melodies all overheen this bad boy. Pagina drops the most ideal raindrops down everzwijn so subtly at Five:53. So, so good.
Trey responds to Page’s raindrops and switches his tone to something that makes mij think of an stijlvol dance bird. A total on “Fame” vocal jam rails the coattails of this boogie. Whether that wasgoed planned or unplanned it wasgoed cool spil hell. From the “Fame” jam things stir into more of a spacey evil groove. Some killer “2001” space exploration from Trey at about the nine minute mark. Mike, of course, is total on blasting asteroids while all this exploration is going down. A standard peaking conclusion caps this excellent “2001.”
The tag I wrote for the Phish.netwerken “2001” jam chart reads: “The longest 2001 since the MJ version, and best since Darien 2011. Trey leads out ter the 2nd jam and the MGM turns into a DMT paradise. Things get evil, spacey, and the tape quotes “Fame” while Mike liquefies the crowd. Monster version fitting of the monster 2016 Vegas run.” That about sums it up ideally.
Excellent stuff, Myke! I love your colorful and creative descriptions of the jams and, unnecessary to say, your enthusiasm for thesis lumps leaps off the screen. That’s what it’s all about, brother! Tho’ I chose not to write it up, I do want to mention the “Light” from the 28th. Following the monstrosity that wasgoed “Golden Age,” “Light” has somewhat fallen into the shadows of the Vegas run, but it is truly an awesome jam. Te a clear theme of the weekend and the tour, Trey extracts a host of different guitar tones within this version that drive the direction of the music with a purpose. The betrekking doesn’t spend much time te conventional “Light” territory, and once they pauze form, they waste no time synching up te a series of dense soundscapes. Mike and Trey play symbiotically off each other, while Fish and Pagina remain locked into Trey’s offerings. Ter a true mind-melt, the verhouding members remain downright linked te with each other’s ideas while continuing to shove the jam forward with their own. The lump shifts into a more ambient wall of sound te its final stages. Another example of how taut the relatie had grown come this four-night finale, “Light” plunges some sonic innards that voorwaarde be recognized.
Part III: Halloween Coming Soon…
Discussing Vegas: Part I
12.31.16 Tussenvoegsel Vegas (Michael Stein)
Last week, Myke Menio (@LawnMemo) asked if I wished to co-write a chunk on the Vegas run. I hadn’t felt the motivation to write on my own just yet, so I figured this might be the volmaakt chance. Myke took the lead on organizing topics and a format for our chunk, and spil wij went back and forward, wij wound up with fairly a loterijlot of content. Wij have determined to postbode our musings ter three parts, and today wij present you the very first. Love!
I haven’t bot the same since.
The jams, the memories, the influence of Ziggy Stardust. It wasgoed only four days, but three weeks zometeen I can’t zekering thinking about it. I can’t zekering listening to it. I want to talk about it with anyone who wants to do the same. I am fortunate enough to have someone who is spil sultry talking about Phish spil I am ter Dave aka Mr. Miner. After most shows wij usually succesnummer each other up and give a quick take on what wij thought. After runs, those conversations last longer. After runs that floor us, they can turn into brief novels. Spil you might imagine, our enthusiasm for this year’s Vegas run is trickling out of us. Almost every day since, one of us bot sucked away on a relisten of one jam or another, so this time, ter the wake of such monumental Phish, wij determined to take conversation public.
So let’s get this vertoning on the road! I’ll start…
Topic 1: Setlist Construction
Vegas Official (Landland)
I think my overall lasting impression is just how well the run spil a entire wasgoed laid out. Dave mentioned how amazed he wasgoed with the Vegas “setlist construction” te one of our conversations. I thought that wasgoed the volmaakt term with how things played out. Whether it wasgoed determined pre-show or whether they were adjusting on the fly, almost every single call made sense and more importantly, wasgoed executed to perfection. Flow is such an integral part to killer Phish showcase and for four days, I moved right with the betrekking.
The decision to open the run with “Martian Monster” and pay homage to the incredible last Halloween ter Vegas wasgoed brilliant. It wasgoed the flawless Phishy choice. From there, the machine wasgoed ter utter force. Thesis four days had it all—o ld schoolgebouw Phish, some bustouts, and most importantly, fresh material dropped at the right time. Each song from Big Boat (and “Mercury”) didn’t seem to be shoved down our throats. Instead, it helped sustain energy and often times increase it.
Dave, anything stick out to you about how Phish constructed thesis setlists?
I thought that the musical flow of the very first three 2nd sets were impeccable. The sets weren’t just collections of songs but thought out, conceptual musical statements overheen 90 minutes. There wasgoed never a glitch or a bump te any of them, and that alone makes such a difference ter the delivery of a set. Spectacular jams were aplenty overheen the three nights, with clear standouts te each display, and the relatie packed te around them sleekly and tastefully. Thesis 2nd sets were accomplish journeys from beginning to end, the type that I love so much. They set sail, brought you into the innards and then back huis again. Te addition, the 28th and the 30th had very clear thematic statements spil well. I’ll say a bit about each.
Ten.29.16 (Michael Stein)
The 2nd set of the 28th contained a poetic narrative about the journey Phish has taken overheen 30 plus years. The set embarked out with the juxtaposition of “Crimes of the Mind” and “Golden Age,” a song hearkening back to their earliest days and a song that could be considered the anthem for the modern era and all Phish has become since 2009. They let liberate on “Golden Age” with an extended and celebratory multi-peak groove exploration that blew the roof of the MGM Arena—the longest jam of the tour—and then segued into “Simple,” with the opening line “We’ve got it plain, cause we’ve got a plakband.” The clear meaning of this combination instantly struck mij, and fairly honestly talent mij the chills. Phish is so self-aware at this stage of their career and they are beginning to reflect on the totality of their career and their lives, spil can be seen ter the lyrics of their newest songs. They have reached a place where they can rejoice ter everything they have accomplished while still pushing forward with enthusiasm. Overheen the past duo years, they have openly spoken of the deep gratitude they have for the capability to do what they do for a loving and loyal fanbase overheen the course of three plus decades. That very first line from “Simple” fully rings true for them at this point ter their lives, and bringing it out of such a profoundly blessed jam truly made such a large statement.
They continued with two songs that maintained this reflective theme, “Twenty Years Later” and “Blaze On.” It doesn’t take an English major to understand the symbolism of thesis song choices. “Twenty Years Zometeen,” a song, fairly literally, about Phish’s twisting career path, spoke to the theme of the entire set with its lyrics “Twenty years zometeen I’m still upside down.” Coupled with this wasgoed one of their newest songs, “Blaze On” which speaks to their present state of being ter this stage of their career—” The worst days are gone / and the relatie plays on / you got one life, blaze on.” Phish is te such a state of grace and peace at this point te their career, they persevered so much ter their collective life together and have come out te the most positive place imaginable. Blazing on is exactly what they are doing spil they proceed to make fresh music, thrust fresh boundaries and play spil well spil ever—something no other tape has everzwijn done thirty years into their career. It’s absolutely beautiful. They closed the set with “Squirming Coil, another one of their earliest songs, bringing their musical self-reflection utter circle.
Ten.29.16 (Michael Stein)
Not only has Phish become reflective on where they’ve bot and where they are at this point te their lives, they have also bot clearly bot coming to terms with their own mortality and the unavoidable end of Phish. Trey mentioned this te an vraaggesprek about Big Boat, referencing the subject matter of “Breath and Searing.” However this theme is present across the song, it crystallizes with the lyric “And what does it matter / That the end’s ter look? / Wij’re not going gently / Wij’re gonna rage with Pagina at the dying of the light!” Additionally, he spells out this mindset very clearly ter his fresh ballad “Running Out of Time.” The verhouding have members reached an understanding that this life they have bot blessed with te Phish will not last forever, strafgevangenis will their time te this earthly field, and they have infused this understanding into the songs of their fresh album.
The 2nd set of the 30th dealt with precisely this theme, serving spil an extended meditation on mortality. The opener, “Down With Disease,” served spil a launching point of this subject matter with the refrain “this has all bot wonderful, but now I’m on my way.” I won’t get into the profound nature of this jam right now (te my opinion, the most prolific of the weekend) but the collective musical statement that materialized from this lyrical theme wasgoed profound. “Birds of a Feather” speaks to the social connection of life and the transient relationships built with people encountered while moving through one’s time on earth. Additionally, the elevated and ethereal jam that came out of it contained the most transcendent melodic themes of the weekend and felt like a musing on the beauty of existence. “Fuego” provided an anomaly to this theme, but it quickly resurfaced ter “Miss You,” a universally accessible song about mortality and the feelings that people on earth are left with when loved ones depart. “Harry Bondage mask,” a song who’s jam I’ve always felt embodies the spirituality of life and existence came next. Written by Trey ter Greece ter 1985, after he and Fishman had returned to shore following a life-threatening practice with a storm at sea, a capsized raft and high-quality LSD, I’ve always thought that this lump wasgoed his reflection on the sacredness of life and the beyond. Amidst this uplifting jam, the plakband pulled off a verrassing segue into “Have Mercy” te which Trey sung the lyric “Time is running out” far louder than any other, emphasizing and underlining the theme of the set. “A Day te the Life” closed the framework powerfully and poignantly, and its meaning spil the punctuation on this musical statement needs no explanation.
I love your lyrical and setlist breakdowns Dave. Excellent work! I agree with you that Phish knows exactly what they are doing when grouping songs and sets together. Spil good spil both the 28th and 30th 2nd sets were at creating improv and an emotional influence, I know wij both have an incredible connection to the 29th. The opening five song escapade of the 2nd set wasgoed a journey that when it wasgoed finished, left mij floored. From “Mercury” to the end of “I Always Dreamed It This Way,” it felt like one long symphonic jam. Sixty-five minutes of improv. “Mercury” ultimately got to open up and and explore like wij always knew it could. “Piper” wasgoed a throwback to the monster versions of the previous eras. “Scents” provided the volmaakt bridge from “Piper” to “Tweezer.” Speaking of “Tweezer,” this one is a total throttle sports car. Placed te the middle of a heater set, this “Tweezer” is a furnace placed on the equator. It reminds mij of the criminally underrated version from Atlantic City te 2013. MGM wasgoed left te ruin and yet there wasgoed more…
“I Always Dreamed It This Way” wasgoed the song I wasgoed most looking forward to observing. This song is something different, and for mij, something special. Te an era where wij criticize many fresh songs spil “dad rock,” “I Always Wished It This Way” is the most unique song I can recall. I am glued to every listen attempting to figure what the hell is going on yet loving every 2nd of it. It feels like the best kleintje of acid journey, the kleuter devoid of all the garden gnomes attempting to scare mij. I already love it, and nothing excites mij more than the places it might go.
Then…after 65 minutes of exceptionally flowing improv Phish stopped to catch their breath. Then…the entire MGM Grand took a breath and wij all looked around ter disbelief. I will never leave behind the sound that collective breath made after the last note of “I Always Dreamed It This Way” finished, and wij attempted to process how a verhouding 30 plus years te can still supply creativity like that.
Your thoughts on the 29th Dave?
Ten/29: Mercury >, Piper >, Scents >, Tweezer >, I Always Desired, The Pony >, Silent, Golgi
Yeah, man. I walked out of there on the 29th telling it wasgoed one of the best sets I’d everzwijn seen. It is infrequent that Phish throws down such non stop activity for overheen an hour at a time. Beyond that, four of my current dearest five songs were featured ter this maniacal run of music te “Mercury,” “Scents, “Tweezer and “I Always Wished is This Way.” Unnecessary to say, this set indeed spoke to mij. I thought it wasgoed lightly the best set of the weekend from begin to finish. The jams never stopped and they flowed like a sea. However the entire set wasgoed outstanding, on listen back, the true centerpiece wasgoed the combination of “Piper” and “Scents.” The music contained within this one-two punch is some of the best playing of the weekend, and illustrates just how locked te the tape wasgoed on this night. A broad open and fluid jam space ter “Piper” moves through several feels and eventually climaxes—along with the crowd’s energy—in several minutes of monstrous, screaming groove, a righteous peak if there everzwijn wasgoed one. “Scents” wastes no time te elevating into an dark and abstract spiritual foray that flawlessly compliments the more vigorous music of “Piper.” A “Tweezer placed at this point ter the set wasgoed a straight pipe wish, but the liaison wasgoed on fire and went for the jugular with a powerhouse version that wasgoed the musical omschrijving of a Mike Tyson uppercut. Phish capped this marathon jam sequence with their most stylistically forward looking fresh song, “ I Always Desired it This Way.” From the ogenblik I heard this on the leaked album I knew that it could provide Phish with a totally fresh paradigm te which to work. The song combines a retro-80’s synth vibe with distinctly future sounding electronica, creating a state-of-the-art milieu for their improvisation. The lump of dance music is comprised of addicting rhythms and grooves that hold limitless potential, and the betrekking only scraped the peak of this iceberg on Fall Tour. Its pairing with “Tweezer” combined the band’s seminal launchpad with its newest artistic hop off, creating energized and hypnotic one two punch. Spil Pagina sang the chorus to “I Always Wished It This Way” at this juncture of the night, the words voiced a sentiment with which every fan agreed.
Stay Tuned for Part II Coming Monday…
Fattening the Very first
Dick’s 2016 (Stephen Olker)
Let’s be klinkklaar, Phish’s modern very first sets have bot, for the most part, pretty lame. A selection of songs with one or two composed jams sprinkled ter serves the purpose of getting everyone’s gams warm and drugs working ter time for the 2nd half. Once ter many blue moons, the verhouding will druppel a highlight with lasting merit before setbreak, but most often there’s very little substance of which to speak. At Dick’s however, very first sets took on a more emphatic role ter the evening, each suggesting far more meat and engaging music than usual. Let’s take a walk through the very first halves from a few weeks ago.
Ghost, No Guys Ter No Man’s Land , Breath and Searing, Undermind, Mighty Things, Stash, Booty Passed, The Wedge, Alaska, 46 Days
9.Two.16 (Michael Stein)
Phish came into their annual Dick’s weekend lacking any momentum from summer tour, and many te the community weren’t exactly sure what betrekking would voorstelling up at the annual Labor Day party. When the guys came out and opened with “Ghost” for the very first time since 2013, however, it felt like they delivered a certain message of intent. A klein tho’ flamy rendition kicked off the weekend and wasgoed backed up by the always-energetic “No Studs te No Man’s Land.” Upon the lyrical reprise at the end of the song, it seemed that Phish wasgoed ready to stir on, but te a verrassing budge, they exploded into an outro jam that blossomed into an abstract foray. Staring from a chugging groove, the plakband little by little moved into darker territory where Trey eventually took overheen with wailing and echoed guitar screams. Maintaining a quickened tempo across the lump, out of nowhere Phish had kicked down the improvisational ingevolge and wij were hardly twenty minutes into the weekend. Tho’ the set took on a more standard omtrek from here, it did feature a slightly opened up out version of “Breath and Burning” which provided a dash of hope that the verhouding might jam off the fresh single come fall spil they prolifically did te its 2nd everzwijn version te Philadelphia this past summer. The set, however, did contain one more standout highlight ter its “46 Days” finale, where instantly upon the ending of the lyrics, the plakband dove deep into a primordial soup. Led by Fish’s tribal marching strike, they built a thick, crooked soundscape into which Trey whipped out furious guitar leads, slyly blending the “What’s the Use?” theme into this darkened excursion. The betrekking wasgoed fully synched up te this sinister passage, foreshadowing good things for the weekend. And just like that wij had ourselves a very first set. Set pauze contained a palpable hum after this set, spil ventilatoren felt a combination of excitement and verrassing at what had just transpired. It wasgoed the infrequent time folks indeed discussed the music of the very first set rather asking where that snaak had gone.
Gimp to the Traffic Light, Down with Disease, What’s the Use? >, Labyrinth, Farmhouse, 555, Wolfman’s Brother, Divided Sky, Rock and Roll
9.Two.16 (Michael Stein)
The 2nd night began off te a bizarre, tho’ explosive, style spil Phish welcomed the Saturday night audience the very first “Slave to the Traffic Light” opener since 1988. The relatie backed up this verrassing with a legitimate “Down With Disease” jam ter the two slot, opening up the lump into experimental waters and taking the jam into dark, dungeon-like territory. Led by Trey’s growling tone, once again Phish had delved into the innards of improvisation at the very beginning of the night, suggesting some serious music to engage the crowd from the get-go. A infrequent stand-alone version of “What’s the Use?” came third, continuing the strange but welcomed song ordering. At this point, the set came back to earth a bit with the very first set staples of “Maze,” “555,” and “Farmhouse,” but the guys followed up this trifecta with a popping version of “Wolfman’s Brother.” Led by Mike’s larger-than-life bass leads, the tape leaned into into a slowed down, heavy-handed version of their cowfunk voertuig, that kept the energy of this opening framework sky high and the crowd enraptured. With “Divided Sky” and “Rock and Roll,” Phish finished fairly the very first half of music, arguably the best of the three-night stand.
The Moma Dance >, Chalk Dust Torment, Mike’s >, Wingsuit >, Weekapaug, Party Time, Bathtub Gin, Split Open and Melt, Tube, Character Zero
9.Two.16 (Michael Stein)
On the third night ter Colorado, Phish scripted a powerhouse very first set song list that never relented from embark to finish. However they stayed within the restrains of each selection, the verhouding let out several type-one improvisations of crowd favorites. An early set “Mike’s Groove” got things heated up quickly, and following a “Party Time” interlude, the verhouding dropped a searing three-song sequence of “Bathtub Gin,” “Tube” and “Split Open and Melt.” The “Gin” wasgoed the clear highlight of the set, featuring vigorous interplay inbetween tape members amidst an upbeat and peaky jam that continued to climb higher and higher. Mike anchored a somewhat extended “Tube” jam, and “Split” eyed the plakband lock into an aggressive and abstract soundscape that, while not uncharacteristic of the song, formed an engaging and more-than-worthy highlight. “Character Zero” rounded out the opening half, a set that once again lent some serious weight to the muziekstuk before set pauze.
The presence of legitimate very first sets talent an enhanced feel to the shows te Colorado, and totally shifted the vibe of each night. To be totally semitransparent, it’s a shame the tape doesn’t suggest the same level of music ter most of their very first sets. Shows are about three hours long, and the very first set comprises almost ninety minutes each night, why waste it? Not to say that each opening framework needs contain numerous type-two jams, but how ‘moerbout a little more meat for the kidz, ya know? This is a fairly universal sentiment across the Phish community, and thesis Dick’s shows illustrates how a significant very first set can provide a far loftier feel to any given night of Phish.
The Feeling Comes back
Dick’s 2016 (Stephen Olker)
Ter the subjective medium of improvisational music, perfection is a loaded term, spil beauty lies tightly te the ear of the beholder. But sometimes starlets align and factors converge resulting te a show whose excellence is both indisputable and universally accepted. Not often does Phish unveil a set of music that fully embodies their artistic prowess and is praised by all spil exemplary of their musical acumen. When this happens, a feeling arises te the community—a group-wide understanding—a manifestation of the collective, unconditional love wij all have for the Phish practice. Thesis nights remind us of why are here, why wij have come this far, and why wij have such a limitless allegiance to this tape. Phish’s closing act te Colorado wasgoed one of thesis nights.
The final set at Dick’s wasgoed a fully realized set of music like Phish hadn’t played ter fairly some time. There weren’t highlights—the entire set wasgoed the highlight. There wasgoed not a single awkward ogenblik, no random calls, no blips, no stumbles, no stutters. Songs were simply springboards into the universe spil the tape sculpted Phish kunst of the highest magnitude. This all-time caliber show flowed from very first note to last te a continuous musical thrill rail the likes of which wij wish, a voorstelling that gripped one’s soul, held on taut and never let go, converting fantasy into reality right before our eyes, a night of music that produced emotional memories spil much spil musical ones, feelings that are unlikely to articulate yet understood by all. This wasgoed Phish ter its purest form of creation, leaving a trail of treasure ter the cool mountain air, dancing on the astral plane on a night that will live forever.
Dick’s 2016 (Michael Stein)
The synergistic flow that defined the band’s playing on this night peaked overheen the course of the 2nd set which centered on an hour plus of free-form improvisation. Ter a vertoning where Phish could do no wrong, they unfurled three massive jams te “Crosseyed and Painless,” “Piper” and “Light,” and while thesis were all top-shelf endeavors, “Crosseyed” elevated to career-highlight status with a sublime plunge into infinite beauty. Te an spell-binding excursion, the liaison gelled professionally, surfing a colossal soundscape while climbing to one of the most dreamlike and extended peaks te memory. One of those jams with staggering one-minded communication, “Crosseyed” not only set a very elevated tone for the set but delivered a surreal Phish venture that belongs among the band’s most esteemed.
Following a very active composed jam, the plakband moved into a melodic preamble of “Crosseyed’s” open jam from which they blended into the central mind-melt of the night. A passage so fluid and open yet taut and connected, the following section of soul-drenched reverie truly defies description. Teeming with retro ’98 / ’99-esque wizardry, the quartet stepped into sacred stride and channeled music that will forever send tingles down one’s spine—real overeenkomst, best everzwijn type stuff. Mike’s eclectic and heavy-handed rhythms, Fishman’s crashing cymbal textures, Page’s rolling energy on grand piano, and Trey’s otherworldly emoting meshed ter a cosmic ambrosia that stayed among the heavens for minutes that felt like a lifetime. Eventually permitting the sonic fallout to lodge, the relatie likewise brought the audience back to earth.
Dick’s 9.Four.16 (Calico Gicewicz)
But IT didn’t zekering there. The tape continued ter a heightened flow state for the surplus of the set, descending tastefully into “Steam” before melting into “Piper.” Launching into this jam with fierce passion, Phish spinned into a cathartic, guitar-led theme behind which the relatie entered total annihilation mode. Mike anchored the savagery with creative bass lines, a motif of the entire evening spil well spil the weekend. A shift into a sparser segment of jamming spotted Mike step to the forefront and Trey back off, spil the group never lost their airtight cohesion. They soon coalesced into a total tape drum jam with Trey on marimba, a sequence that had potential to derail the set’s flow, but instead burst with a vigorous musicality often absent from such ventures. Slipping out the backside of this percussive fiesta into a knee deep, pornographic Phish groove, it wasgoed clear at this point that there would be no slowing down the four-headed monster on this night. Bouncing the stadium ter series of slow motility, musical crossover dribbles, the relatie continued to demonstrate the vast stylistic diversity that laced this powerhouse set of music.
Without hesitation, they layered a geschreven “Crosseyed” lyrical reprise overheen the deep groove before segueing sleekly into “Light”—another lump that transformed into a virtuosic jam of high order. Upon the conclusion of the lyrics, Trey sidestepped an extended guitar solo spil the tape dropped into a minimalist texture from which they built. Reaching a place of near muffle, the four way displayed patience and a preparedness to let things breathe before intricately collaborating on their next sound sculpture. Mike and Pagina soon locked te spil Trey layered ideas overheen their foundation while Fishman suggested an ever-changing and tender rhythm. This chunk built leisurely into an intense wall of sound, and peaked with a fury far liquidated from its kicking off point, another gig of improvisational gymnastics.
Dick’s 2016 (Stephen Olker)
The tape had played amongst the starlets for overheen an hour spil they opened a portal to Gamehendge and coyly landed te “Lizards.” This budge evoked a certain poignancy spil Phish hearkened back to their earliest days, 30 years zometeen, with one of their seminal compositions. And they didn’t just play it, they shredded it to onvriendelijk with the same level purpose that had bot on display all night long. Spil they moved through the uplifting lump and into Trey’s classic solo, everything wasgoed te its right place. Following a bumpy summer tour, the last night of the season brought things back into concentrate te a way nobody could have imagined. Amidst a prolific set of music, a sense of serenity purred through the air spil the relatie and audience basked ter their unie. “First Tube” provided the spirited culmination—an exclamation point—on this special evening.
Uncommonly does a set of music come together like Sunday’s 2nd. A night like this is immortal—a vertoning that transcends a mere muziekstuk and becomes a life practice. They don’t come around very often, sets without a hiccup, sets that flow continuously with unparalleled music, sets that define Phish’s raison d’etre and embody the ethos of the community that loves this verhouding with all of their being. Sunday night at Dick’s, however, wasgoed one of them. It wasgoed a ideal set of Phish.