Monday 08/03/2015 by phishnet

TUSCALOOSA RECAP: ALABAMA GETAWAY

[Editor's Note: this recap is by musicologist and phish.net contributor Jake Cohen. Jake's blog is at: smoothatonalsound.com. –PZ]

Trying to predict anything about a certain Phish show is an exercise in futility. All you can ever be sure of is that you will hear lots of songs you love and have an amazing time. That’s the baseline standard, but there are huge variations within all that. Coming off what are in the view of many the two best shows of the summer so far in Atlanta, it was tough to say how the band would respond. On the one hand, they had just blown up Atlanta with heady, deep improvisation in both night’s second sets (and in the first set on Friday), and were about to cap off that three-night run. On the other, they changed venues and cities, which might interrupt the momentum. But of course, #NeverMissASundayShow.

Tuscaloosa Amphitheater is a gorgeous small amphitheater with no lawn. Imagine just the pavilion of a venue like Merriweather or Great Woods, but the entire lower 100-level section was GA. Sight lines were excellent and the venue felt really tiny, with great sound everywhere, and cheap beer! With the sun setting behind the stage and woods all around, and a friendly Southern spirit in the air, the scene was right for a good time.


Photo by Walter Maddox, Tuscaloosa, AL Mayor

Sample in a Jar” got things started off, and right away the energy was palpable. It was as if everyone was carrying over their excitement and spirit from the Atlanta shows into Alabama. Being in both a college town and also being in the South, away from the main core of the fanbase, the crowd seemed to skew a touch younger than usual, which overall made for a highly enthusiastic opener, and the feel-good rock/pop vibe of “Sample” matched it well. A surprising second slot “Chalk Dust” came along at a slow, thick tempo, immediately hinting at the possibility for some drawn out improv early in the show. This wasn’t a typical first set in-your-face rocker; instead Phish seemed to be taking their time on the build, with Mike and Fish locked into a funkier-than-normal pocket. Instead of going deep in the second song, Trey opted for something more traditional: a classic tension and release peak. Building up dissonant lines over a big dominant harmony, Trey released to the climactic riff like it was ‘92 hose.

The crowd continued to show even more of their excitement and energy during the break after “Chalk Dust,” clearly amped up on both the big release of the “Chalk Dust” jam and still riding the fumes from the mindblowing Atlanta jams the night before. Showing our love for them, the band acknowledged the fevered exhilaration of the crowd, with Trey visibly expressing gratitude. We are all really so, so lucky.

The rare “Train Song” showed up next, likely referencing the train bridge that cut across the river directly behind the venue. Unlike some recent version which have been train wrecks, Phish played Mike’s folksy composition perfectly, delivering what is probably the most accurate version in a while. In fact, throughout the night the band’s playing on compositions, especially Trey, would have a confidence and accuracy that matched the show energy. “Devotion to a Dream” came next, another good version that continues to showcase Trey’s new post-GD50 comfort with country/blues soloing. Page thanked the crowd, saying how happy they were to be back and that they hadn’t played Tuscaloosa since 1993. The first surprise of the night came with a big, fun, laid back “Meat.” This trip through this now-rarity saw some sections extended even longer than usual, and only one fake-out ending. “Maze” continued the theme of big energy and classic tension/release jamming that we got in the “Chalk Dust,” with a serious big Page organ solo.


Photo © Phish From the Road

The Line” came next, and this is just honestly one of the few songs I don’t care for. Everyone has one or two – for me, it’s “The Line.” But this was a good place for it, where it couldn’t do much damage to the flow or energy in the set. “Roggae” is a song that I will gladly hear anytime at any show, and this version again showed how Trey’s practicing on modal, moderate-tempo Dead tunes has filtered into his Phish playing, with a truly gorgeous, soaring solo. It was funny that I heard “My Friend, My Friend” in back to back sets, but of course a treat, and the end of the song just has so much intensity which brought the crowd’s energy roaring back. A badass “46 Days” seemed to be the closer, but then they surprised everyone with “Cavern.” Trey even thanked the crowd and said they’d be right back, something that he doesn’t really do anymore at the end of first sets, clearly showing that the band’s excitement matched the crowd’s.

Everyone had a feeling set two would lead off with “Down with Disease” and the band delivered with a nice high energy version. Settling into the groove, the band kept chugging away at a relatively moderate tempo and volume, not getting too fast or high energy coming into the jam. Trey sat back at first, offering some excellent chunky strumming and setting up a loop of him playing tremolo on a single note while Page dominated the early part of the jam on piano. Things seemed to be heading for that typical spacey slowdown that 3.0 era “Disease” jams often find themselves in, but instead Fishman kept up the beat as the band turned to more minor key jamming.


Photo © @tweeprise

About twelve minutes into the jam, Fishman switched up the beat to something with a bit more peppiness to it, shifting Page onto the clav and Trey into a major key area again. Soon Trey found himself in a familiar place, playing the plagal-style jam that has become such a hallmark of 3.0 style. Yet he was doing it all with strumming, as Page swirled around on piano keys. Trey’s strumming pattern resembled “Piper” heavily at this point, and since he was playing two of the chords that make up the “Piper” progression, Fishman responded by going right into the “Piper” drum beat while Mike played a few of the octaves that typically signal the beginning stages of a “Piper” build. But instead of a segue, Trey kept soloing, and gave us a wild, high-energy “Piper” jam during the “Disease.”

I really thought that at any point throughout this whole section of the jam they would slam into “Piper,” but eventually they wound down again, heading for a minor sound with Trey giving some big, wah-infused funk strums. Weird spaciness followed, with really eccentric dissonant notes, and Fishman slowed the beat into something even funkier. Mike played some really eerie circular riffs on his bass and it seemed as though everything might keep getting weirder, but instead Trey surprised everyone with another fun tour debut: “Camel Walk.”

In the post-jam cooldown spot, “Camel Walk” absolutely shined. It was not only an old, rare tune, but it just dripped with funk. It had a playfulness after all of that “Disease” improvisation that it doesn’t always have when it shows up in the first set, as it has the past few years. Trey’s soloing was the perfect combo of melodious lines and funky riffs, and just as with the first set’s compositions, they nailed every change.


Photo © Phish From the Road

The improv potential continued with the tour’s first “Seven Below.” As someone who saw 27 shows in 2003, “Seven Below” has a ton of personal resonance, and this version packed a lot of heat into what felt like much longer than ten minutes. The tempo clicked along at a slightly faster pace than usual, really propelling the jam forward. Right away, Trey eased the jam into another plagal progression jam, clearly wanting to get back to that improvisational launching pad that he’s found so comfortable. All the while Trey had a shimmering electronic sound going on in the background, giving everything a psychedelic sheen, and he played around with some big circular riffs high up on the neck of his guitar with the Mu-tron turned on. Heading for a big ramping up of energy, Trey found his way into some fast strumming with Fishman playing around heavily on the woodblocks. The return of Fish’s love affair with his woodblocks is one of the fun stories of summer 2015 so far. The jam peaked without a flurry of hose, but rather with a increasing amount of action from Page and Mike, with Trey finally erupting into some big chords and, interestingly, returning to the “Seven Below” riff to end the tune.

Sound faded away into the piano opening of “Fuego,” starting a fantastic string of songs that would end the second set with a series of high energy punches. The “Fuego” jam kept the energy flying as the band headed into the first “2001” of the summer. This was a classic version with Page and Trey both offering a variety of jazzy funk licks without trying to peak or build the jam, just keeping it grooving along on the Mike/Fishman pocket. Longer than the four or five-minute versions of a few years ago but not quite up to the ten-plus minute versions of the late 90s, this “2001” was a big crowd pleaser and set everyone up nicely for the “Harry Hood” that dropped in what seemed to be the closer spot.

Unlike the Shoreline and Texas versions, this “Hood” toed the line pretty close to the normal structure, which is to say that it was gorgeous and gentle leading to a big, classic tension and release peak. Like the “Maze” and “Chalk Dust” in the first set, Phish chose to stick to the tried and true improvisational style that characterizes so much of their sound, but they did so with a crispness and ease that we don’t always see in this era. Every mini-peak seemed to be perfectly placed within the overall form of these jams, and the entire band was dialed in to each other’s cues as to where the major structural points of the jam should be.


Photos © @tweeprise

Letting it all loose on the final “Possum,” the boys delivered one more burst of energy to cap off the blazing night before returning to huge applause and treating us to the always welcome “A Day in the Life” encore.

In the end, Phish followed up what are probably their two jammiest and biggest shows of 2015 not with more of that dark exploratory improv that burst through the seams of Atlanta’s “Kill Devil Falls,” “Tweezer,” and “Carini” jams, but instead by building on the energy of those great shows and delivering a Sunday night full of the same excitement and buzz as Atlanta but a bit shorter on transcendent improvisational moments. Still, the nearly 20-minute “Disease” with its “Piper” jam and the big blowout jam on “Seven Below,” along with a number of bustouts, tour debuts, and a much needed “2001” dance party made for a fun, spirited Sunday night.

Phish Summer 2015 – Setlists & Recaps
07/21/15 SetlistRecap – Bend 1
07/22/15 SetlistRecap – Bend 2
07/24/15 SetlistRecap, Recap2 – Shoreline
07/25/15 SetlistRecap – LA Forum
07/28/15 SetlistRecap – Austin
07/29/15 SetlistRecap – Grand Prarie
07/31/15 SetlistRecap – Atlanta 1
08/01/15 SetlistRecap – Atlanta 2
08/02/15 SetlistRecap – Tuscaloosa
08/04/15 SetlistRecap – Nashville
08/05/15 SetlistRecap – Kansas City
08/07/15 SetlistRecap – Blossom
08/08/15 SetlistRecap – Alpine 1
08/09/15 SetlistRecap – Apline 2
08/11/15 SetlistRecap – Mann 1
08/12/15 SetlistRecap – Mann 2
08/14/15 SetlistRecap – Raleigh
08/15/15 SetlistRecap – Merriweather 1
08/16/15 SetlistRecap – Merriweather 2
08/21/15 SetlistRecap – Magnaball 1
08/22/15 SetlistRecap – Magnaball 2
08/23/15 SetlistRecap – Magnaball 3
09/04/15 SetlistRecap – Dick's 1
09/05/15 SetlistRecap – Dick's 2
09/06/15 SetlistRecap – Dick's 3


Tuscaloosa, AL LE poster by Leslie Herman. Edition of 600. 18x24.

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Comments

, comment by raidcehlalred
raidcehlalred Again: Another concerted effort to do something interesting in the encore slot. While the choice doesn't disrupt the flow of Set 2 (others have), it would be welcome to see such reflection go into the opener (which, of course, sets the tone)....

We've had the debuts; we've had the 'standards;' we've been Dusted; and now Disease has been 'dusted' off. Yes: There have been 46 Dogs.... Exceptions aside, and this going back a number of years now, if you are truly being honest, you can take most of these '20 minute' jams, and, post the point of ('composed') departure, interchange them.

This happens again here....

(*Yes, Jake, sure does....)

In addition to Waves, Seven Below*, Undermind, Scents and the like, it would be great to see some of the tunes the band is playing exceptionally well (Twist comes to mind) or just some different ideas occupy this space. Love them or leave them, tunes like BOAF (sans quotes is fine) and Piper would almost by default invite a different pace of playing than that which, at times, seems 'tacked on' to the end of CDT, KDF, Ghost, Disease.

This is said only with admiration; the band is playing so well - take the Reba / Gin - that it'd be so cool to get this energy and fantastic play from the get go. Not to be negative, but many of the openers (this year and last) are a lesser form of noodling.... Not really idea-driven.

And I haven't even broached the subject of an Age or Drowned....

Been locked into the shows.... And this isn't to write just for the sake of writing. Upon re-listening, it simply feels to me to me such a strange 'paradox.' To be willing to continue to write and play so much new material; only to, like Fall 96 or something, possess such a 'comfort' level open Set 2.

Just a place where I would like to see 20 minutes explored a bit differently than years past.
, comment by MikeHamad
MikeHamad Nice review, Jake. I also thought Piper was coming.

Noticed also: In Seven Below, Trey tried to flip from C maj > min, and Page either didn't hear him or exercised his veto power (as chairman of the modes).
, comment by InsectEffect
InsectEffect Thanks for another solid .net recap!

Who's got my Mu-tron lot shirt? Because surely...
, comment by hdorne
hdorne Excellent recap! I had a great time at this show. Like you said, there aren't going to be any key versions on the jamming chart from this show, but the energy was amazing. The second set just didn't let up. I thought for sure they would transition into Piper during the Disease jam, but it wasn't to be. I absolutely love this venue, by the way. I'd much rather make the trek from Birmingham to Tuscaloosa than go to Oak Mountain. Here's hoping they make this gorgeous amphitheater a fixture on the southern stretch of future summer tours!
, comment by FACTSAREUSELESS
FACTSAREUSELESS @raidcehlalred said:
Again: Another concerted effort to do something interesting in the encore slot. While the choice doesn't disrupt the flow of Set 2 (others have), it would be welcome to see such reflection go into the opener (which, of course, sets the tone)....

We've had the debuts; we've had the 'standards;' we've been Dusted; and now Disease has been 'dusted' off. Yes: There have been 46 Dogs.... Exceptions aside, and this going back a number of years now, if you are truly being honest, you can take most of these '20 minute' jams, and, post the point of ('composed') departure, interchange them.

This happens again here....

(*Yes, Jake, sure does....)

In addition to Waves, Seven Below*, Undermind, Scents and the like, it would be great to see some of the tunes the band is playing exceptionally well (Twist comes to mind) or just some different ideas occupy this space. Love them or leave them, tunes like BOAF (sans quotes is fine) and Piper would almost by default invite a different pace of playing than that which, at times, seems 'tacked on' to the end of CDT, KDF, Ghost, Disease.

This is said only with admiration; the band is playing so well - take the Reba / Gin - that it'd be so cool to get this energy and fantastic play from the get go. Not to be negative, but many of the openers (this year and last) are a lesser form of noodling.... Not really idea-driven.

And I haven't even broached the subject of an Age or Drowned....

Been locked into the shows.... And this isn't to write just for the sake of writing. Upon re-listening, it simply feels to me to me such a strange 'paradox.' To be willing to continue to write and play so much new material; only to, like Fall 96 or something, possess such a 'comfort' level open Set 2.

Just a place where I would like to see 20 minutes explored a bit differently than years past.
Uhhh.....umm...well....huh?
, comment by Ohfee
Ohfee Im still waiting for FEE .....
, comment by raidcehlalred
raidcehlalred @FACTSAREUSELESS said:
@raidcehlalred said:
Again: Another concerted effort to do something interesting in the encore slot. While the choice doesn't disrupt the flow of Set 2 (others have), it would be welcome to see such reflection go into the opener (which, of course, sets the tone)....

We've had the debuts; we've had the 'standards;' we've been Dusted; and now Disease has been 'dusted' off. Yes: There have been 46 Dogs.... Exceptions aside, and this going back a number of years now, if you are truly being honest, you can take most of these '20 minute' jams, and, post the point of ('composed') departure, interchange them.

This happens again here....

(*Yes, Jake, sure does....)

In addition to Waves, Seven Below*, Undermind, Scents and the like, it would be great to see some of the tunes the band is playing exceptionally well (Twist comes to mind) or just some different ideas occupy this space. Love them or leave them, tunes like BOAF (sans quotes is fine) and Piper would almost by default invite a different pace of playing than that which, at times, seems 'tacked on' to the end of CDT, KDF, Ghost, Disease.

This is said only with admiration; the band is playing so well - take the Reba / Gin - that it'd be so cool to get this energy and fantastic play from the get go. Not to be negative, but many of the openers (this year and last) are a lesser form of noodling.... Not really idea-driven.

And I haven't even broached the subject of an Age or Drowned....

Been locked into the shows.... And this isn't to write just for the sake of writing. Upon re-listening, it simply feels to me to me such a strange 'paradox.' To be willing to continue to write and play so much new material; only to, like Fall 96 or something, possess such a 'comfort' level open Set 2.

Just a place where I would like to see 20 minutes explored a bit differently than years past.
Uhhh.....umm...well....huh?
In response to Set 2 openers and the songs 'being' 20 mins long; the 'jams' sound very similar.

In response to Set 2 openers and their being 20 mins long; it'd be cool to see the band open with different jam 'vehicles.'

In trying to remain upbeat, I seem to have used to many words.

In light of this fact, I apologize for taking your time.
, comment by OrangeSox
OrangeSox This a solid, engaged piece of writing. Thanks for treating this night with evenhandednessand a healthful dose of optimism. It was a perspective I was needing. Thanks again!
, comment by FACTSAREUSELESS
FACTSAREUSELESS @raidcelarled.....

Okay. Guess your just Stealing Time From a Faulty Plan.

There are four things I want to see this tour before it's over, no, five:

1) David Bowie to open a 2nd frame and restore the glory days of Bowie

2) Mango Song with the Mutron

3) McGrupp to open a show

4) Llama encore

5) One Dead cover. I vote for Tennessee Jed or He's Gone.
, comment by raidcehlalred
raidcehlalred @FACTSAREUSELESS said:
@raidcelarled.....

Okay. Guess your just Stealing Time From a Faulty Plan.

There are four things I want to see this tour before it's over, no, five:

1) David Bowie to open a 2nd frame and restore the glory days of Bowie

2) Mango Song with the Mutron

3) McGrupp to open a show

4) Llama encore

5) One Dead cover. I vote for Tennessee Jed or He's Gone.
Nicely done....

He's Gone is a great choice -
, comment by FACTSAREUSELESS
FACTSAREUSELESS I also want to say that I truly am touched at how emotional Trey gets whenever he plays BDTNL. (Usually he can barely sing it because he gets choked up) To all the haters out there, and I mean for you to take this personally....fuck off.

This song is so deeply personal to Trey, you must know that he will never stop playing it. So learn to love it.
, comment by frankstallone
frankstallone Seemed like Trey had some technical difficulties or something during hood. kept adjusting and signaling over to the board. Kind of seemed like that kept him from locking in and going deep

Fun show, it sure is nice to hear Trey rip through a Maze again the way he did last night
, comment by Jestinphish
Jestinphish I just want to throw my two cents in and say I am so happy for all the noobs out there that are seeing the boys for their first or second tour. To me, they seem to be playing with as much passion and force as I've seen them play in many, many moons. For all the kids out there that are just discovering Phish (as I did in '95, when they spit hot fire on a regular basis and I didn't know how lucky I was), enjoy it. They are in peak form right now. For the "jaded vets", quit talking about how they used to do this, or you wish they did that, or whatever. None of us are where we were 20 or 30 years ago. Time moves on. Trey will never rip Bowie like he used to (not a dig at FACTSAREUSELESS, who's opinion I respect more than 95% of the commenters I've seen on this site over the years, I also would love to see Bowie restored to its glory days), he simply can't do it. When I listen to older material I am simply amazed at the fretboard gymnastics Red used to pull off, but the plain and simple truth is dude got older. Time moves on. Before I ramble too long I will leave it at this... Enjoy it. Stop over-analyzing. This site used to be a celebration of how great Phish was. Some days now it seems to be a place to vent over sub-par shows (are you fucking kidding me??? there has not been one even remotely sub-par show this tour) or what peoples personal expectations are on a given night. Let one of these dudes get in a car wreck and never be able to play again. You'd all be begging for a Waiting All Night or The Line (both songs I love, but for me there are no "bathroom break" songs) or an "interchangeable" 20 minute jam. This is the time. Stop analyzing and critiquing and just enjoy it. They are at the top of their game and just like everyone in this world, their trip is short... It may be over before you know it.
, comment by raidcehlalred
raidcehlalred @Jestinphish said:
I just want to throw my two cents in and say I am so happy for all the noobs out there that are seeing the boys for their first or second tour. To me, they seem to be playing with as much passion and force as I've seen them play in many, many moons. For all the kids out there that are just discovering Phish (as I did in '95, when they spit hot fire on a regular basis and I didn't know how lucky I was), enjoy it. They are in peak form right now. For the "jaded vets", quit talking about how they used to do this, or you wish they did that, or whatever. None of us are where we were 20 or 30 years ago. Time moves on. Trey will never rip Bowie like he used to (not a dig at FACTSAREUSELESS, who's opinion I respect more than 95% of the commenters I've seen on this site over the years, I also would love to see Bowie restored to its glory days), he simply can't do it. When I listen to older material I am simply amazed at the fretboard gymnastics Red used to pull off, but the plain and simple truth is dude got older. Time moves on. Before I ramble too long I will leave it at this... Enjoy it. Stop over-analyzing. This site used to be a celebration of how great Phish was. Some days now it seems to be a place to vent over sub-par shows (are you fucking kidding me??? there has not been one even remotely sub-par show this tour) or what peoples personal expectations are on a given night. Let one of these dudes get in a car wreck and never be able to play again. You'd all be begging for a Waiting All Night or The Line (both songs I love, but for me there are no "bathroom break" songs) or an "interchangeable" 20 minute jam. This is the time. Stop analyzing and critiquing and just enjoy it. They are at the top of their game and just like everyone in this world, their trip is short... It may be over before you know it.
Appreciate your passion, but there was a time, and it seems as though you may have been present long enough to remember, when people used to 'complain' about _Runaway Foam_....

I'll read anything, so long as the spirit is right. I am new to the site, as it's no longer possible to attend as many shows. The banter is amusing; there is no other place where I'd have seen the pretty meter and alliteration that is Mango Song and Mutron (suggested by Facts earlier).

And some of the chatter regarding the band (see 10/31/13) leads to amazing things (see 10/31/14)....
, comment by MOstGhoSt
MOstGhoSt i enjoyed reading this recap.

as i read, i am listening to the recordings - the dwd is interesting. i got lost in the jam and had to double check what i was listening to again. the dwd is exploratory.

i enjoyed listening to this concert unfold live over the "radio" and ditto with regard to re-listening to the recordings. ( thanks and shout out to you kind people who stream live music for those of us at home ).

the recording is sweet southern sunday night phish - and to my ears, the most excellent unity among band members continues...

in my memory listening to the other night live, i heard, fuego - 2001 - hood - possum as one long composition with the pinacle of excitement within possum. granted, this is my subjective experience. i am only speaking for myself. to me - last night - the possum really got me.

thank you - @ jake cohen - for the reminder of piper arrangements in the dwd.

i like this review and after listening to the live ( radio ) stream and revisiting the soundboard recording, i like this arrangement of phish songs.

this night is a sweet southern recording and this one is going to my cache for the next road trip and so on...

never miss a sunday night... somehow... even if it means you are listening with the distance of the "radio"
, comment by white_lightning
white_lightning @Jestinphish said:
When I listen to older material I am simply amazed at the fretboard gymnastics Red used to pull off, but the plain and simple truth is dude got older.
There is definitely truth to this, which only makes complete sense. Besides being musicians, there is athleticism involved in what they do. Just briefly, off the top of my head, I would point to things like Ventura 98 Hood or Denver 97 Ghost as examples of dexterity that is possibly out of reach for Trey at this point. HOWEVER, all coins have two sides. There was an almost machine-like precision to his playing in those days...whereas now I would, dare I say, often hear something really soulful in his playing...maybe even something more important than mind-boggling speed on the fret board.
, comment by nichobert
nichobert There are really people who like the Denver Ghost more than the jams they're doing these days?

I'd take the Texas Chalkdust-> Sinple-> Silent over that Ghost all day every day. Just a much more interesting and conversational kind of improvisation.
, comment by SmokeyJonez
SmokeyJonez quote]

In response to Set 2 openers and the songs 'being' 20 mins long; the 'jams' sound very similar.

In response to Set 2 openers and their being 20 mins long; it'd be cool to see the band open with different jam 'vehicles.'

In trying to remain upbeat, I seem to have used to many words.

In light of this fact, I apologize for taking your time.[/quote]

So you are saying the jams in the most recent Tweezer and Kill Devil Falls (both recent 20 min + Set II openers) sound similar? I find them very unique and unique from one another after a few listens...to each his own I guess...
, comment by white_lightning
white_lightning @nichobert said:
There are really people who like the Denver Ghost more than the jams they're doing these days?

I'd take the Texas Chalkdust-> Sinple-> Silent over that Ghost all day every day. Just a much more interesting and conversational kind of improvisation.
I was only discussing speed with which he played distinct notes, making no comment at all about the actual structure, quality or content of those jams vs anything newer or older than those.
, comment by raidcehlalred
raidcehlalred @SmokeyJonez said:
quote]

In response to Set 2 openers and the songs 'being' 20 mins long; the 'jams' sound very similar.

In response to Set 2 openers and their being 20 mins long; it'd be cool to see the band open with different jam 'vehicles.'

In trying to remain upbeat, I seem to have used to many words.

In light of this fact, I apologize for taking your time.
So you are saying the jams in the most recent Tweezer and Kill Devil Falls (both recent 20 min + Set II openers) sound similar? I find them very unique and unique from one another after a few listens...to each his own I guess...[/quote]

This was only to make a minor point in regards to something a tad different THIS year that I'd like to see continued. And you're cherry-picking two (although KDF has Tweezer jamming in it / 'reprised,' anyways) of the last four, which all go 20 plus I think. But here I go again.... I'm not writing in the pejorative.

It's beyond debate that the past couple YEARS has the band opening Set II with Dust, Disease, Carini, Fuego.... (Simply take a look at the lists if you hadn't heard, couldn't make it....) All the music is cool. Your Tweezer is a bit of an exception - and extremely great. KDF, for me, falls in category of 'Dust with jam tacked on;' or 'unfinished Disease.'

In no way was I trying to take away from this year.... I agree with all the positive reviews. The point was simply to suggest that it isn't necessarily the fan but the song choice that is jaded (using the term liberally here.... as in worn out) to open Set II.

When tours are so 'short,' it all adds up. I was simply pointing to the fact that we're getting all these fresh encores. My hope was that the next move would be to see 'all things reconsidered' and some new energy applied to open the frame. It's not to say that the playing is poor - I really love Trey's tone; moreover, I really like the control he seems to have (re)asserted.

I'd never come here and post something negative about the band all of you love. I love them too. But if every post is a victory lap, or a self-congratulatory pat on the back, I don't see the point. I'm not going to complain about the length of Tube, or bore with anecdotes about (forget Bowie - which I, too, Love) Mockingbird in 94.

But to point out that Dust and Carini opened sets 8 or 9 times last year seems fair and not mean-spirited. Are they chasing after something? And yeah: I do think those particular excursions sound similar - and based upon Fish's cues and Mike's Bell and Page's 'face,' I think the band has felt that way as well.

I agree with another writer who posted this is as great as they've sounded in years.

Again: long way of saying.... I'd love to see some different tunes to start the set. Mainly because this isn't 94, and you only get a handful of shows.
, comment by nichobert
nichobert To be clear, I was being a little sarcastic about being curious about people liking the Denver 97 ghost more than Dallas 15 Chalkdust... I personally find the latter more interesting, but that Denver show is held in hallowed regard and the Texas shows seem immediately consigned to the "lets pretend this never happened" pile.

I'm not overly concerned with the songs they use for the big excursions. The list of songs where they really got long winded was generally pretty short in 94/95 too.. Tweezer, Bowie, Mikes, Melt, Stash, a few Paugs, DWDs and Frees, a few singular curveball crazy versions of songs like Bitch

I guess the question is more about if Phish views 92-95 or 97-04 as their golden age. The last few years seem to point towards the former, and they seem to be taking a quality over quantity approach that hasn't really been their MO since 95.

I love that every tour has more people thinking "this is the best they've sounded since.." Personally still think the 2012 improv is the freshest style since 95 and the purest distillation of early and late 90s jam styles, but this newfound nimbleness in Trey's playing has lead to an increased swagger which really helps them develop jams quickly and confidently. Something like that Tweezer-> MFMF from Ingleood makes me giddy knowing that they aren't feeling the pressure to make every Tweezer long as much as the pressure to make everything great.
Seemed like the biggest problem from 2010-2012 was that their standards for what constituted interesting improvisation might have been too high, and they'd try to pull the ripcord on something before it got less interesting to the crowd than the next song might be. Clearly their standards are different than ours as a lot of those quick > s seemed to truncate jams right as they were exiting an amorphous space between themes and beefing the process of coalescing into something new. Late 90s/00s Phish they were a little bit too trusting that things would make a turn for the better eventually. A few years of stricter quality control have made the improv very mindful. I dig.

And despite some rocky parts in the process, there isn't a better sign for this bands vitality than them revamping and refining the way that they listen and play off one another. They seem really engaged and happy compared to when I started seeing shows.
, comment by phern
phern Jake, your review is phenomenal - it wonderfully captures the experience I had in Tuscaloosa..

As someone fortunate enough to have been at the last 5 shows (beginning with Austin), I personally think Phish has been in the zone (transcendent? Holy Phish?) since Julius at the Verizon Theatre in Grand Prairie, TX..

Btw, just for context: I didn't discover Phish until 2011 at Dick's, so I don't have any meaningful Phish knowledge beyond 3.0, and I am not a musician. But between what I experienced at Fare Thee Well and this Phish tour I am more grateful, confident, and optimistic than ever - for what the band will produce, in Trey specifically, and what we can do to celebrate along the way!!

Summer 2015!!
, comment by raidcehlalred
raidcehlalred @nichobert said:
To be clear, I was being a little sarcastic about being curious about people liking the Denver 97 ghost more than Dallas 15 Chalkdust... I personally find the latter more interesting, but that Denver show is held in hallowed regard and the Texas shows seem immediately consigned to the "lets pretend this never happened" pile.

I'm not overly concerned with the songs they use for the big excursions. The list of songs where they really got long winded was generally pretty short in 94/95 too.. Tweezer, Bowie, Mikes, Melt, Stash, a few Paugs, DWDs and Frees, a few singular curveball crazy versions of songs like Bitch

I guess the question is more about if Phish views 92-95 or 97-04 as their golden age. The last few years seem to point towards the former, and they seem to be taking a quality over quantity approach that hasn't really been their MO since 95.

I love that every tour has more people thinking "this is the best they've sounded since.." Personally still think the 2012 improv is the freshest style since 95 and the purest distillation of early and late 90s jam styles, but this newfound nimbleness in Trey's playing has lead to an increased swagger which really helps them develop jams quickly and confidently. Something like that Tweezer-> MFMF from Ingleood makes me giddy knowing that they aren't feeling the pressure to make every Tweezer long as much as the pressure to make everything great.
Seemed like the biggest problem from 2010-2012 was that their standards for what constituted interesting improvisation might have been too high, and they'd try to pull the ripcord on something before it got less interesting to the crowd than the next song might be. Clearly their standards are different than ours as a lot of those quick > s seemed to truncate jams right as they were exiting an amorphous space between themes and beefing the process of coalescing into something new. Late 90s/00s Phish they were a little bit too trusting that things would make a turn for the better eventually. A few years of stricter quality control have made the improv very mindful. I dig.

And despite some rocky parts in the process, there isn't a better sign for this bands vitality than them revamping and refining the way that they listen and play off one another. They seem really engaged and happy compared to when I started seeing shows.
as usual, i agree with what you have to say. (although in 94 and 95 there were simples and antelopes and gins and yems and timbers....)

my favorite moment thus far (summer 15) has been the friendly tweezer. sort of what i've been getting at. even the 15 min dust you've pointed to; how this > simple is so interesting. i'm more into this, of late, than a 28 minute dust or unfinished disease (carrying over from last year). especially in light of trey's nimble swagger! this is all a positive; they are playing so well.

as someone pointed out; the mechanical nature of executing bowie is insane.

the newer tunes are less demanding. now that the band has its collective verve, i'd love to see more of more.
, comment by Destiny_Bound
Destiny_Bound @FACTSAREUSELESS said:
I also want to say that I truly am touched at how emotional Trey gets whenever he plays BDTNL. (Usually he can barely sing it because he gets choked up) To all the haters out there, and I mean for you to take this personally....fuck off.

This song is so deeply personal to Trey, you must know that he will never stop playing it. So learn to love it.
BAM... the Silent Majority has spoken. Nothing beats the Stringdusters doing "He's Gone"... or "Free" for that matter... if we are talking covers.
, comment by curleyfrei
curleyfrei Excellent write-up! I really enjoy when reviewers break down the musical parts -- I haven't listened yet, but the way you described all the important bits only gets me more excited to hear for myself!
, comment by FACTSAREUSELESS
FACTSAREUSELESS @nichobert said:

[i]Seemed like the biggest problem from 2010-2012 was that their standards for what constituted interesting improvisation might have been too high, and they'd try to pull the ripcord on something before it got less interesting to the crowd than the next song might be.[/i]

That's an interesting and generous take, and not incongruous with the notion that interband communication was lacking. I do think your conjecture makes sense when it comes to Trey and his desire to please.
, comment by GAphishin
GAphishin These guys are absolutely in the seam together.

Saw Atlanta and Alabama. One of the many things I said fervently was, "MY GOD ARE THEY PLAYING WELL!" Notes and vocals are just flowing from these guys! Absolutely lovely time to be a Phish Phan!
, comment by hdorne
hdorne I'm probably in the extreme minority here, but I absolutely love Number Line. It's got such a touching story behind it. I got a little choked up myself when I first read Tom Marshall's story about how the song came to be. You've got to consider, songs like McGrupp, Harpua, Tweezer, etc. have absolutely zero resonance for these guys at this point. Even Mike had to be convinced to play Mike's Song again in 2009, because he no longer felt any connection to it. They're all fathers and have been through more of life's tough times than they had when they wrote the "classic" stuff. As I grow older, some of the more sentimental/heartfelt Phish tunes resonate a lot more with me. Obviously I'll rage my face off when they dust off a bustout or jam out a classic in concert, but I'm a sappy bastard and won't complain in the slightest when Trey wants to sing a song that means something to him right now. We're lucky to still have him and the band.
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