|1997-06-13||Dublin, Ireland||6:39||Played twice during "Bradstock" (6/6/97), "Vultures" properly debuts in Dublin, a month before the band's historic 1997 summer tour. While the song will be reworked over the coming years, its essential elements are place, namely super intra-band improvisation, working within the "context" of the song's form, framed, in large part, by incredible percussion and rhythmic variation.|
|1997-08-03||George, WA||8:17||> "Dirt", the version demonstrates considerable growth over a short period of time. Page's fills fall like scales between Fish's off-kilter percussion, the jam itself a revelation. Trey's riffing and soloing is forceful, with each musician acutely attuned and playing "out" as if a means to somehow reign their sound "in". Impressive.|
|1997-08-11||Noblesville, IN||9:08||The band still toying with set placement, here, "Vultures" anchors the second set for the second time, and with great results. While a true appraisal will only coincide with the arrival of a crisper AUD (or SBD!), what IS clear is that Trey has grown comfortable playing within the "confines" of the composition's compact form, his soloing crisp and rich with both discordant and melodic variation, and really impressive phrasing.|
|1997-12-13||Albany, NY||10:29||Clearly comfortable, the band works through the intro into an awesome "middle" section featuring, unsurprisingly, inspired and deft play from Trey. The song loses its shape to assume a different form, the jam cooling after the 5:30 mark to become decidedly - and pleasantly - spacey, before a spirited return to the song's closing refrain.|
|1998-11-27||Worcester, MA||10:28||Rearranged and redefined (see History), the band offers another strong version, at home in another strong first set. The band breaks again for more ambient play, moored by some serious Trey sustain which fades to cool into a swirling ambient pool. After passing through a passage of concerted "noise", Fish drives the band to a rocking conclusion.|
|1999-09-21||Tucson, AZ||12:05||If not quite a carrion, than perhaps a clarion call to the desert's mystic surroundings. Trey breaks from the vocals to launch an all-out assault, his signature 1999 tone on full display. After setting a loop, Trey's beautiful, patterned soloing, artfully phrased, is matched by Page, with Mike soon leading the band through deep and cerebral play. Fish's perfect off-beat and stylized play soon smooths, with Trey's cool, slashing chording informing the -> "LxL". Awesome.|
|1999-10-10||Albany, NY||10:01||Cool version and another unmistakable "99". Trey's approach is notable, in that he opts for more direct and straightforward, fiery play, which, offset by Page, builds not so much to a peak, but a crazy sort of cacophony. This culminates in a grinding, shreddy sort of release.|
|2000-07-01||Hartford, CT||10:38||Relatively rote yet impassioned play begins to build, and build (check out the fan reaction around 8:08), as Trey trills, slashes, and powers the version to a blistering peak. This yields to cool riffing, with Mike and Fish locking in to form a fun run with Trey augmenting his tone before, with Page pounding upon his keys, the musicians break free to bring the version to a close.|
|2022-07-23||Bethel, NY||7:33||There's Utica. There's Mann. Since 09, however, one can easily argue this is the bandâs best performance of a song that, when examining its history -- like "The Wedge," or, to a lesser degree, "Esther"-- shifts shapes through a number of manifestations and, as such, deserves extra consideration. Or not. Simply enjoy an excellent rendition that, true to any form, features on-point Fish and incredible Trey.|
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