, attached to 2022-07-14

Review by PaulSzk14

PaulSzk14 So this (14Jul22) was my first Phish concert. Many thanks to my wife who reeled me in to this amazing band. So after deep diving in as much as I could listen to ... This was a great concert, a fantastic sampler with a range of beloved classics and some favorite sleepers for a guppy like myself. Some greats that folks chase years to hear live, so all-and-all I think I was spoiled. Ghost was a great opener. PYITE and SANTOS are two of my favorites but we were walking to the car with a sleeping 4yr on my back old who made it singing each song on my shoulders all night til Sand... So I'll be chasing those two .. but they sounded awesome, thanks LP for hosting the concerts. So this being my 2yr Phishiversary of the show, still great memories. Overall, I'd give it a solid 3.5/5, great overall Phish experience.
, attached to 1991-05-19

Review by thelot

thelot The SBD source for this show is listenable but the pitch is a hair sharp. McGrupp switches over to an audience recording which has decent sound. Divided Sky cuts in during the “There’s a Christmas Star” section. Decent Chalk Dust. The opening section to YEM is a little rough. It finishes strong albeit somewhat straightforward for the tour. Set 2 starts off with the band wishing a happy birthday to Josh and some headmaster talk. Oh Kee Pa and a pretty straightforward Bag get things started. Foam has an interesting opening section. Well played Reba. DaaM>Sloth pair nicely. McGrupp switches over to an audience recording. After McGrupp Trey says they need to take another break to deal with some technical issues. When the band returns to the stage Page says “it’s last call for t-shirt sales. 8 bucks a T!” Jon Fishman from the neck down and Zero Man from the neck up delivers a nice vac solo for I Didn’t Know. Golgi closes out the set. Solid Possum encore.
, attached to 1996-07-15

Review by spreaditround

spreaditround PHISH, MONDAY 07/15/1996 LA MARNA Sesto Calende, Italy Soundcheck: Character Zero SET 1: My Friend, My Friend: Intro is a bit sloppy. Punch You in the Eye: Standard. Fast Enough for You: Standard. Guyute: Standard. Possum[1] Standard. I Didn't Know: Funny little crowd clap along: “Hey Hey Hey” Harry Hood: Solid offering here. Cavern: Standard. SET 2: Down with Disease: After the traditional ending, they noodle around for 20 seconds or so and then into… > Maze: Hot version. Trey gets after it. Going into the big ending peak, not everyone is completely on the same page but it’s not too bad. Loving Cup: Trey blows some lyrics. Played slower than normal it feels like and just feels like they are going through the motions. > Makisupa Policeman: Standard. > It's Ice: Standard. Julius: Standard. Hold Your Head Up > Purple Rain > Hold Your Head Up: Standard. Uncle Pen: Standard. Run Like an Antelope: Standard. ENCORE: Golgi Apparatus: Trey really Marty McFly’s this one. Very sloppy. Summary: One of the most boring Phish shows of the mid 90’s – easily. Guess they were more interested in partying with the fans and swimming in the river behind the venue that blowing anyone’s doors off. Replay Value: None. [1] Simpsons and All Fall Down signals. Possum contained Simpsons and All Fall Down signals.
, attached to 1996-07-12

Review by spreaditround

spreaditround PHISH, FRIDAY 07/12/1996 MELKWEG Amsterdam, Netherlands SET 1: Wilson: Standard. > Divided Sky: A little sloppy but nothing to egregious. Horn: Standard. Split Open and Melt: Below average version, it’s chugging along and then it’s not – it just peters out into nothing basically, then Page teases something that I can’t put my finger on and then the traditional ending. Ya Mar: This one is kind of interesting. There is a super quiet, chill section and then it sounds like they are going to go into BBFCFM, but that doesn’t happen and they go into Funky Bitch > Funky Bitch: Seems like it’s played faster than normal out of the gate. This one gets super quiet too and Mike whispers lyrics rather than belting them out. It eventually levels out and they get louder and end it like normal. Strange version. Taste: Way below average. It’s like no one had any interest in playing this at all. Trey especially – no solo. Theme From the Bottom: Standard. Tweezer: Standard. > Llama: Standard. SET 2: It's Ice[1] Great jam, Page rocks this one, would recommend! -> Prince Caspian: Standard for the era > Mike's Song[1] Short, no second jam. No power or oomph behind this, very noodly -> Run Like an Antelope[1] It does it’s typical thing then mellows way out and into… -> Purple Rain > Hold Your Head Up, Jam[2]: Comic relief. NICU[1] Trey: Your guys jam is to weird, we are going into one of our songs, lol. -> Slave to the Traffic Light[1] Standard. Suzy Greenberg: Nice and funky. Solid offering right here. SET 3: David Bowie[1] Standard -> Free[1] Standard. Hello My Baby: ENCORE: Bathtub Gin: Standard. Johnny B. Goode: Standard. Summary: I have listened to this only one other time. When I got the tape back in the spring of 97 and me and buddies were driving from OH to SC for spring break. We all laughed at it and I decided there was no reason to ever pull it back out. I was in the ‘sloppiest show ever’ crowd. But upon relisten, it’s not that it’s sloppy. It’s that this is basically a sound check played in front of a paying audience. This show was a very difficult ticket and I think it’s lousy that the band decided to get wasted and play this waste of a show. Old man yells at clouds? Sure probably. But, I stand by my opinion. Would rate this one as a 1/5. The only redeeming quality is the ‘unique’ nature of this show and It’s Ice. Replay Value: It’s Ice
, attached to 2022-06-29

Review by ThatPharGone

ThatPharGone On a perfect June night in NYC I got a text out of the blue from an old friend living out in Denver that Trey was sitting in with Billy tonight. Surely this was just wishful thinking, I mean Trey had just joined Goose at Radio City a few nights before, but a boy can dream right? When set break came around the crowd was buzzing with anticipation and the rumors seemed to be coming true. Billy's looney tunes shirt (clearly a nod to Trey's 90s attire) all but confirmed it for us. When Trey finally did step out onto the Pier 17 stage the crowd went nuts and we were treated to about an hour of musical bliss by these two guitar icons. You could tell that Billy and Trey were enjoying this just as much as everyone lucky enough to be in the crowd from the shit eating grins they both were sporting throughout their set. I fully believe if it wasn't for the crazy early curfew these two would've played for hours, but a skipped encore break to keep pick'n was the best they could do. Of all the shows I have seen this is the one I consider myself the luckiest to have been at (ok this one and Earth Day) and it always brings a massive smile to my face when I give it a relisten. Thank you Trey and thank you Billy!
, attached to 1994-07-06

Review by andrewrose

andrewrose [i][b]I Didn’t Know[/b][/i] I was driving down St Urbain a few days ago, on the way to Old Montreal to run an errand. I thought waiting until 10pm or so would help me avoid traffic, but neglected to note that it was a Friday night in July, and the Montreal International Jazz Fest was still filling the air with free programming, and the crowds and cars—on the few streets that were still open for traffic—were plentiful. I didn’t mind much. The air was warm, a little humid but not oppressive. Spring and summer have been beautiful here in Montreal this year. A real contrast to the apocalyptic smog-filled skies that literally cast a cloud over the region last summer, starting with forest fires in Northern Quebec and then making their way down the American seaboard. I know those fires will be back at some point, but I’ve been doing my best to appreciate the relative blessings that this season has had to offer. Anyway before I hit the traffic I had my windows up, was listening to Phish Radio and a show from 7/5/19 in Boston I don’t think I had ever heard. Five years gone since that Summer Tour already (one that I continue to feel gets better with age). A pretty nice Sand was chugging along. But once the traffic slowed, I rolled down the windows, turned the music down, and let the warm air, the sound of the outdoor shows, and the din of the crowd fill the car as I rolled slowly past the exit for the Place des Arts parking lot. I had this strange sense of comfort and familiarity come over me. Do you ever get those feelings, when there’s a smell to the air that reminds you of a time when you were younger? Maybe it’s like the first chill evening of the late summer or early fall, and it reminds you of starting up school again? Or burning wood in the winter that reminds you of early mornings at a chalet before skiing. Anyway this one took me back to a different time, being a teenager in Montreal, exploring the Jazz Fest for the first time with a sense of infinite possibility. And just as that feeling was narrowing to a more specific moment, I glanced up and took notice of a green road sign—you know, the kind that they put up in tourist-trafficked areas that tells you which direction and how many kilometres away certain monuments or venues are. Normally I wouldn’t have given one of these much of a thought, but this one was different tonight. It said “Theatre St. Denis.” I was thirteen when that place first took on significance for me. By some divine grace, a few kids years ahead of me at the boys school I went to had taken me under their wings in the year or two prior, and introduced me to what was really important—music. Frank Zappa, Bob Dylan, Paul Simon, [i]Jazz[/i]. As Grade 8 was letting out a bunch of them were getting tickets to various Jazz Fest shows and I was encouraged to get in on the action. John McLaughlin with Paco deLucia, up and coming saxophonist Joshua Redman with a quarter that included a then still little known piano player named Brad Mehldau. Elvin Jones and McCoy Tyner. I remember being at that last show at Place des Arts, sitting next to two of those friends, Omar Ahmad and Rob Gilletti, while an older woman looked at me—what was a little prepubescent kid like me doing at a show like this without my parents? “What brings you here?” she asked. Omar or Rob leaned over and said something like “his older friends who like music,” with a tone that suggested I belonged there as much as anyone, that music was mine too, age be damned. After the show as we were walking out and bumped into some other friends of theirs, someone pointed out a strange looking guy with weird glasses talking to some people a few rows ahead. “That’s Fish,” someone said. Apparently he was the drummer for another show we had tickets for. It wasn’t part of the Jazz Fest programming technically, but it was very much in the plans. We were going to see Phish at Theatre St Denis on July 6th. I had heard of Phish. It could have been as early as two years prior in what must have been September 1992. I had just turned 12 and started Grade 7, and we kicked off the school year with a camping weekend with the Grade 12 students. I had the good fortune of having this guy Adrian Burhop as my assigned counselor for the short trip. He was immediately disarming, kind, and made me feel like an equal despite what in that context would have felt like a very big gap in years. He was likely the first Deadhead I ever met, the quintessential older cool 'Head with a twinkle in his eye and sacred secrets to share. It’s likely he would have mentioned or played Phish, too. I can’t say for sure. I do know that not longer after a [i]Junta[/i] tape made it into someone’s car and I was immediately amused by this band with a song about a car with tires on the road, and a guy who “wrote the fucking book, ok?!?” Adrian graduated the next spring, and I wouldn’t see him again until outside Theatre St. Denis that evening in July 94. He had grown a huge beard, long hair, still beaming, but this time part of a scene I had never encountered before. Girls with armpit hair, which I could easily see because many of them had their index fingers in the air (what did [i]that[/i] mean?); strange but not off-putting smells; it was a happening to be sure. I was intrigued, and ripe. Whatever this guy is onto, I remember thinking, I want to figure it out. I may have known who Phish was loosely, but I didn’t know what I was walking into. Theatre St Denis is a small theatre in the ‘Quartier Latin,’ a bit of a no man’s land between the main downtown strip and a more touristy area that stretches up St. Denis. I don’t think I’ve ever been back there in the thirty years since. By contrast, Metropolis, where Phish had performed just a couple months prior, now dubbed MTelus, I’ve been to probably a hundred times and know intimately, backstage and front. It was an intimate affair, the balcony was closed. Tons of people had taken off their shoes and put them in a pile next to speakers on Page's side. I did the same, because apparently that’s what you did. There was no smoking, much to the surprise and chagrin of some of the showgoers who made full use of set break to address the issue with something other than cigarettes. It would be disingenuous at this moment to comment on the show here in too much depth musically with the perspective I now have. I didn’t have it then. I didn’t know “Reba” didn’t usually sound like [i]that[/i] in the middle. I remembered the ‘bag it, tag it,’ that stuck, but it would be years before I came around to the significance of that performance, and retroactively come to sanctify it the way I have. But did it become so sacred precisely because of some experience I had that night, that I can’t quite pinpoint or recall? I’ll never know. I didn’t know at the time how special it was to meet “Fluffhead”, “David Bowie”, and “Harry Hood” (and in those ‘94 incarnations, no less) on the same night, nor the space they would come to occupy in my head and in my heart in the thirty years since. I didn’t know how many more times I would step into the freezer, how this moment planted the seed for so many others whose significance I would be fully conscious of, like the one eight and half years later at the Nassau Coliseum. Or how much of a kick I would get out of seeing Trey play “Llama” this past May at MTelus with TAB, as a nod to his first time back playing in Montreal since that night. I didn’t know that the heavy metal extravaganza of “Big Black Furry Creature From Mars”—which made quite an impression on a kid who was also pretty into Metallica in the early nineties—wasn’t exactly typical at every show, or that it would feature on a tape from Rochester, NY three years later that would be an early staple in my growing audio arsenal. Or that the Internet In a Box we got that summer who soon connect me to people all over the world, some of whom would send me tapes in exchange for ‘blanks and postage’—or in my case, blanks and a couple bucks of US cash, because I couldn’t [i]get[/i] US postage where I was. I didn’t know what kind of significance the a cappella “The Old Home Place” would come to have over the years, on this night nodding to the proximity to Vermont, but then applying to the home base of their first festival in Plattsburgh two summers later (my next show, and first of six consecutive festivals), or the Worcester Centrum in 98, after my first fall shows there in 97, and returns in 2003, 2010 and 2012. Or to the performance at MSG last summer, after New Years runs in 97 and 98 and the Bakers Dozen. I didn’t know that ten years later I’d be wandering around Coventry, Vermont with a homemade t-shirt that said “the moment ends,” and being interviewed for some documentary talking about how excited I was about the music scene emerging in Montreal, with bands like The Unicorns, Wolf Parade, and Arcade Fire. Or that in the coming year I’d go on to fill the Phish-shaped hole in my soul partly by co-founding a record label and releasing Patrick Watson’s first record, later signing the Barr Brothers, whom I had first encountered as the Slip at Oswego in 99. I didn’t know I’d luck into pit seats at SPAC in 2009, my first post-hiatus show, and end up tearing up during “Guyute” of all songs, newly a father. Or that in December 2010 I’d be similarly moved when the band busted out “Albuquerque”, a song I would sing to my son as a lullaby, a month after learning that his mother’s mom was dying of cancer. A lot happens in thirty years. People are born, people die. People stumble, people recover. I’m reminded of a passage Tom Marshall wrote in the foreword to the first edition of [i]The Phish Companion[/i]: “my favourite ‘thing’ about Phish is more of an emotion … it has to do with holding their children in my arms, and watching their kids play with mine … It’s my pride as I watch them gracefully grow older.” And that was twenty-five years ago! I don’t know the band personally—as much as it can feel like I do sometimes. That’ll happen when you’ve heard four guys playing out their emotions and their friendship, in thousands of variations onstage and even more on tape, over the course of decades. But Tom’s sentiment still feels like it applies, somehow. I think about how much bigger the scene has gotten since then, especially these last five years—of course the same words could have been uttered in 1994 or 1995 without any less significance. How silly the consumerism and spectacle of it can be. How much addiction there still is—not just to substances. And how much I’ve learned about addiction, about pain, and what we do to soothe it, and how tragic some of the earnest attempts are on the one hand, and how beautiful and redemptive some are, on the other. About how it’s no accident that music, risk-taking and improvisation are such a beacon for so many of us who have had the good fortune of feeling what it’s like to be part of something bigger than yourself. How much of a balm a string of notes can be when it has no agenda other than to bare its soul as time is torn up in its wake—if you know how to listen. And how enticing it can be to then try and pull that magic down from the ether, preserve it in collective mythology, ritual, and secret language. It’s still a mystery to me, thirty years later, where the sweet spot is in this whole affair that has me writing thousands of words just because of a concert I went to thirty years ago. And while I’m still taking notes on “Bathtub Gin” vintages (that one from Mexico this past February is [i]no slouch[/i], let me tell you), what’s not a mystery are the handful of people and personal connections that have endured, those who share the soundtrack, that tugs on my heart the most. On December 6th this past year I was at a hockey game when I learned that Adrian Burhop, that first fan I had ever met, had died tragically cross-country skiing on a lake north of Montreal after a huge early snowfall. Over the years I would run into him around Montreal. He worked at a used sports store in the late 90s and helped me find some hockey skates, and we connected the dots and he was all smiles, as before. Eventually as I settled into the Mile End neighborhood around 2004, I started bumping into him more and more. We never got super close, and didn’t see him at shows, I don’t think he ever became as big of a fan as I was in later years. But he was a full on court jester in our local scene, never taking himself too seriously, full of kindness, equanimity and poise in the face of the cosmic joke of just being alive. I mentioned him after his passing to another older school friend, Mathias—whom I’ve seen many a big show with over the years—and asked if he remembered him, to which he replied, "of course! he was always carrying around a copy of [i]The Dharma Bums[/i], if I recall correctly." Big Bodhisattva Energy. If you wanted to be a little mystical about it, you could say he lived his life with the kind of grace and humour of someone who somehow knew they had limited time. Mathias and I are going to see the shows in Bethel together this summer. Our first together since SPAC 2016, and the first time we’ll have seen three shows back to back together since doing ten or so twenty-five years ago in Summer 99. Neither of us were fortunate enough to have gotten a tip about Gamehendge last December, but it stung a little less being able to share the story. Of course if you had told me on 7/6/94 that they’d be doing Gamehendge at Great Woods at the [i]next[/i] show, I likely wouldn’t have known what that meant nor made my way there. I was a kid. I didn’t know. Adrian knew though, and I learned pretty quick: la la la la la la la … life is just a bundle full of joy (if you know how to listen).
, attached to 1991-05-16

Review by thelot

thelot The Nak cm300 audience source for this show sounds great! The source on YouTube has some annoying fades and cuts throughout the second set. I doubt the circulating FLAC source has these issues, so that would be the source to seek out. I reviewed Set 1 previously. Of course this source was a far more enjoyable listen! Set 2 is highlighted by a fantastic Tweezer and a strong GXBX set closer.
, attached to 1991-05-18

Review by thelot

thelot The audience source for this show suffers from substantial mic overload in the right channel throughout the night. The levels start off over saturated for Buried Alive. They get bumped down during Golgi but still run hot. Rippin’ Chalk Dust! Chalk Dust transitions seamlessly into YEM. The levels go back to being over saturated during YEM. YEM is well played. After Paul and Silas Trey mentions that this is the last night of the tour until July and that they’re going into the studio once this tour wraps up. A celebratory Sky follows. Decent Possum closer. Most of Oh Kee Pa is cut to start set 2. Sound issues still persist. Nice Stash. Solid mid-set Bowie. A well played Lizards closes out set 2. Before the encore Fish introduces DaaM as America’s favorite pre-dating ritual. Strong Jim to wrap up the night.
, attached to 2008-10-19

Review by HarpuaTheBulldog

HarpuaTheBulldog Listening to the Ruby Waves for historical purposes as we go on 5 years of it being played by the full band. It is noticeably slower and Trey is either a bit late or early on several of the vocal runs, it's obvious that it hadn't been worked out in full yet. The early TAB arrangement has brighter/bouncier keys during the early parts than its Phish equivalent. The jam is relatively straightforward and sounds like an average TAB jam from this era, but it shows that the promise was always there for it to be taken for a ride. There isn't really too much else to say. I don't see too much else from the show that is worth seeking out just from the setlist, the Ruby Waves included. There's a 16 minute Money, Love and Change from slot 2 in frame 2 if that's your speed. This was right during the period (a couple weeks after) where Phish had already been announced as returning together in early 2009 and so perhaps Trey was essentially practicing for that. It's worth noting that a few of the early Phish 3.0 debuts and mainstays were being put out by Trey first as TAB during this stretch - such as Backwards Down The Number Line, Alaska, and Light. It's possible that Ruby Waves was a contender for one of those spots - not hard to see a universe where Ruby gets developed by Phish in 2009 and goes on the Light trajectory. But overall I'm glad that we got Ruby in Phish when we did - it was easily one of the bright spots of late 3.0 and has continued to display its radiant power since the return in 4.0. Just a weird quirk that it was the only GOTF song to be previously played, and in doing so was over a decade prior. Wonder what caused its resurface...
, attached to 2019-07-06

Review by toddmanout

toddmanout On July 6th, 2019 m’lady and I were midway through a run that would have us visit three American cities that were each hosting a pair of Phish shows; a triple double-shot if you will. We woke up in the spare bedroom at our friend’s place in Boston and after leisurely shaking the previous night’s cobwebs loose we set out for what proved to be an overtly pleasant day strolling up the lengthy Charles River until we set upon a pop-up outdoor pub (it may have been a permanent enterprise, but it sure looked rickety to me. Or perhaps vice-versa). I assume we strolled back down the river afterwards to return to our friends’ place but I’m a little foggy on that. Regardless, we ended up heading to Fenway Park either in or after a pretty heavy rain (but unquestionably under some very dark and ominous skies) for a second consecutive night of Phish. (Come to think of it, the day we walked up the river was so sunny and beautiful that I’m questioning now if that this might have occurred on the following day, because it certainly rained on this day, and not just a little. Now I remember…we ended up walking away from the river and finding a small bar with a cool name…maybe Bukowski’s…where we had dinner and more drinks…but whether this was day one or day two remains a mystery…Ah well, no matter. One thing’s for sure: it would save us both a lot of time if I figured this stuff out before I started typing.) It was too wet to bother with much of the lot scene so we went in to the stadium early. We had pretty great floor seats for this show but due to a lightning storm they weren’t letting anyone onto the field. We were instead ushered up to the covered bleachers where we waited out the storm with a few thousand other early-arriving fans. It was quite beautiful; we were all sitting there facing the same vista so whenever a lightning blast would light up the sky we’d all ooh and ahh like we were watching fireworks together. The amazing light(ning) show was periodically punctuated with an update printed on Fenway Park’s famous giant screen. First we were told that the concert’s start-time would be delayed, then came reassurances that the concert was indeed going to happen. Finally the giant message board told us that due to the late start and the city’s live music curfew there would be no setbreak and the show would be one great big set instead of Phish’s standard of two sets. Interesting. Finally things cleared up and we were allowed down onto the floor. The show kicked off considerably late and was fantastic. I’m pretty sure this is the only time I saw the band play a full show in one single set and it made for a fun breaking of the wonderful monotony and somewhat predictability of a regular two-set Phish show. The idea of first set-songs versus second-set songs melted away into a sea of illogic. Did the midset [i]Down With Disease[/i] mark the end of an imaginary setbreak? Wondering if this song or that song was an obvious set-closer became nonsensical, though ironically for the last forty minutes of the concert I kept looking at the venue’s oversized and impossible-not-to-notice clock mired in the constantly distracting thought that[i] this has got to be the last song[/i], And it kept not being the last song, as the band ended up playing a half-hour past what I assumed was the 11pm curfew. Turns out the city’s curfew was 11:30. Anyway, it ended up being a beautiful night out and we were treated to another heckuva show. I even bought a show-specific t-shirt at the official merch table. It has come to be one of my favourite Phish shirts.
, attached to 1997-07-22

Review by dr_strangelove

dr_strangelove Epic show, made even more by the infamous by the lightning storm during the first set and an official DVD release. The highlights from this show are all choice meat cuts. Quick plug for the 6/16/95 YEM that is a bonus track included with the soundboard release of this show - Boyd Tinsley fiddle feature really amps the energy! OK, back to this glorious show and highlights: [b]1) [u]Jim -> My Soul[/u]:[/b] The Jim jam is short, but rocks solidly before dropping very briefly into a funky, hopping-across-hot-coals, romp. And while I would have loved that to continue a little longer, what happens next is more than forgivable. This transition into My Soul is 'Risky Business' level smooth as it slides across the hardwood floor and kicks the ever loving snot of my skull. Chills inducing amazing. [b]2) [u]Taste[/u]:[/b] Maybe its just the image of the infamously ferocious lightning storm (or perhaps it is the the extremely audible lightning crack that can be heard on the soundboard version of this show), but I swear that Zeus himself is whipping every band member into a frenzy of Type I jam excellence! I think the audience was in more danger from what was happening on stage than whatever was going on out in the elements. Ride the motherf***ing lightning!!! Definitely need a setbreak after that one. [b]3) [u]DWD[/u]:[/b] Very exploratory adventure, with a funk-flavored backdrop. Starts with plucky riffing by Trey while Page hits some 1999-esque synths and Mike's bass leads tangle and collide with Trey. After a brief tension flirt, the band settles into an armchair groove, the kind where you kick the BarcaLounger up as you sink into the La-Z-Boy for spacious, atmospheric blues vibes. Fishman's steady, simple beat keeps the open space grounded and Page is just adding subtle hints, while Trey and Mike have a lovely intermingling conversation. As they swirl around each other in this airy blues debate, apparently the conversation begins to shift to a new topic... [b]4)[u]->Mike's[/u]:[/b] Two masterclass transitions!? The patience with how Trey starts the Mike's riff before slowly bringing it up to full speed with the rest of the band is jaw unhinging. Clearly the crowd loves it, which only intensifies the spine-tingling effect because everyone felt the ungodly power in that one. Transition aside, this 15 minute beast casts about from the high octane rock, typical of a Mike's song, to plunky rock funk, back to high octane rock with some added psychosis from layered gutiar loops and a mix of baby grand/organ stabs. The building layers finally give way to this incredible mood of darkness triumphant, where Trey's vibrato tone and deliberate, repeating plodding guitar riff become the anthem of a horned demon king surveying its gray clouded moors. Its such an awesome moment in this brilliant shifting jam. One last jolt back to the Mike's Groove proper, before a deceptively straightforward ->Simple! Also, I disagree with the Jam Chart description of the last transition being forced. More like an appropriately violent wake-up call from one nightmare into another
, attached to 2022-09-25

Review by HarpuaTheBulldog

HarpuaTheBulldog Figured I would review this show since I attended it, and will attempt to see what I remember from it. I was living in downtown PDX at the time and since Phish wasn't coming to the West Coast that year, this would have to scratch my itch. Got off work early and drove roughly 5-6 miles to see TAB here at the Edgefield. The Edgefield is a cute little venue, they have roughly 7-8k in crowd space and it's a sloping grass venue surrounded by trees, so it looks like a magical spot in the forest. Very Oregon-core area and design. A bit small for Phish but perfect for TAB. So I got in super early to the show and thought about sitting in the grassy area but the space right up to the stage was WIDE OPEN and so I got a spot essentially in the second row, almost right in front. Great stuff and met some other folks my age which was really nice, and even a few people I recognized from the Goose show a month prior in Pioneer Square. As my first TAB show, I had listened to a bit of TAB before but made sure to double over some of the bigger recent albums like Burn It Down prior to showtime. I love how Trey's solo shows focus more on jazz and polyrhythmic music than Phish shows, especially with the different instrumentation. The show began and I was super excited. There were a few songs that I didn't recognize in the first set (Olivia, Drifting, Liquid Time, Valentine) but they were sandwiched between Phish originals that I really enjoyed. Nothing was amazing from this show in terms of "next-level" jamming but I was glad to just be there and support the scene. Gotta Jibboo and Set Your Soul Free were the highlights of the first set. Second set was a better overall set, started off well with Sand. I remember distinctly enjoying Burlap Sack and Pumps. Moma Dance was great and I've always been a big Last Tube fan. Tuesday is another banger that I really was glad to catch a version of. And then honestly maybe the best jam of the night was in the encore - Everything's Right. Great tune. I remember almost running out of the venue to beat the traffic since I had to work the next morning. The concessions people were leaving out their burgers on the counter since they had made too many and weren't able to sell them all, so I got two free veggie burgers to eat on the car ride home. Lots of fun and it was just good spiritually for me, enjoying a concert essentially alone and just vibing to the music. Come back to Portland Phish!
, attached to 1996-07-11

Review by spreaditround

spreaditround PHISH, THURSDAY 07/11/1996 SHEPHERD'S BUSH EMPIRE London, England SET 1: Runaway Jim: Standard. Cavern: Cool placement. > Reba[1] Page goes minor chord in this one for a bit, it’s cool! Trey builds a ton of tension at the end and climaxes this version very well. Another review states this is essentially a peak less version. Really? Listen again. Tons of big peaks. Would recommend! I Didn't Know: Trey when introducing Fishman “Her Royal Highness” Sparkle: Standard. Stash: Wow! This Stash gets there and then some! Two awesome peaks with tons of tension to support. Whew! Would recommend. Scent of a Mule: Page destroys his baby grand and blows Trey out of the water. Trey stops playing apparently to sit and watch Page go off. LOL. Once Trey comes back in he gets a very cool sustained note that has a Vibration of Life vibe to it. It’s sick! All the while Fish is killing it. I am not a SOAMule fan, but this one is great. Would recommend. Sample in a Jar: Trey starts to go into Tela, thinks better of it and launches into Sample. Not a fan of that closing the set. SET 2: Harry Hood: Nicely jammed but there is no peak to speak of. > Bouncing Around the Room: Oof. > Also Sprach Zarathustra: Standard. > Maze: Great Page/Trey interplay. Trey does a great job ramping up the tension going into the climax but he cannot quite peak this one hard enough for this version to be considered noteworthy. The Lizards: Standard. Hold Your Head Up > Terrapin > Hold Your Head Up: Crazy vac solo. You Enjoy Myself: Average, maybe slightly above average. Never found that extra gear. Hello My Baby[2] Can’t really hear this on Relisten, it was not amplified. ENCORE: A Day in the Life: No brainer to be played in this slot at this venue. Summary: Surprisingly good show but first set is way better than the second. 3.8/5. Replay Value: Reba, Stash, Scent of a Mule, [1] No whistling. [2] Without amplification. Reba did not have the whistling ending. Hello My Baby was performed without amplification.
, attached to 1995-07-03

Review by spreaditround

spreaditround PHISH, MONDAY 07/03/1995 SUMMERSTAGE AT SUGARBUSH NORTH Fayston, VT SET 1: My Friend, My Friend[1] Intro is a bit sloppy (Trey) > Poor Heart: Standard. > Run Like an Antelope: Standard. Loving Cup: Cool placement. Sparkle: Standard. > It's Ice: Standard. If I Could,: While relistening I couldn’t figure out what the big cheer was for (right around the flipping backwards through the doors and through the windows line. Turns out, somebody through an inflatable moose on stage which elicited the loud reaction from those in attendance. Maze: Standard. Strange Design: Standard. Free: Standard. > Cavern: Standard. SET 2: Timber (Jerry the Mule) Huge bust out. What a way to set the stage for a great second set. > David Bowie: There is some filler in this section before they get to the JBG stuff, just lots of herky jerky nonsense that is just not very pleasing to the ears. But around the late 13 minute mark, the Bathtub Gin tease that arises from this is exceptional and from there Phish achieves lift off and segues effortlessly into JBG. -> Johnny B. Goode: They do not rip the solo like they usually do, instead they take it back into Bowie. -> David Bowie: This leaves us with ten minutes left in this monster when they go back into Bowie. 95% of it is just wicked and extremely intense. It’s unbelievably good. The way Trey incorporates JBG into the composed finale is so sick. Easy all timer and would highly recommend! AC/DC Bag: Nice jam to this one, out of the ordinary for this time frame. > The Lizards[2] Trey can’t remember the lyrics, the teleprompter jab from Fish is epic. They abandon this, ha ha > Big Black Furry Creature from Mars: Sounds crazy enough on tape. Based on the reviews I read of the antics on stage, sounds like it would have been quite a spectacle. A Day in the Life: Standard. > Possum: Standard. The Squirming Coil: Perfect way to close the set. ENCORE: Simple: Could not have picked a better tune to close out the summer tour. Amazing Grace: Awesome. Wonder who caught Page’s pitch pipe? Summary: The playing in set one just seems tight, surprising because they are playing their backyard and it’s the last show of the tour. On paper, it looks great but it’s a paper tiger. Set two rips though even with the Lizards debacle! That Bowie is epic, an all timer for sure. 3.9/5. Replay Value: David Bowie [1] Trey using his microphone stand as a slide. [2] Aborted. My Friend featured Trey using his microphone stand as a slide. During If I Could, a large inflatable moose was tossed around the crowd. It landed in perfect sitting position, facing the audience, on Page’s side of the stage. The Bowie intro contained Timber teases and lyrics. Bowie later contained God of Thunder (Kiss) and Bathtub Gin teases before segueing into Johnny B. Goode and Johnny B. Goode teases from Trey at the end of Bowie. Possum also contained Bathtub Gin and Johnny B. Goode teases. Lizards was aborted after Trey lost track of the lyrics. Fish teased him about needing a teleprompter and Trey started up Big Black Furry Creature from Mars. Plenty of stage antics preceded Amazing Grace; Page threw the pitch pipe into the crowd and Trey pretended to throw Fish’s goggles and, eventually, Fish himself. Trey also picked up a Hacky Sack from the stage and impressed the crowd with his athleticism. Timber returned for its first performance since December 30, 1992 (260 shows) and it was the first complete version since December 1989. JAM CHART VERSIONS Run Like an Antelope, David Bowie, Johnny B. Goode, David Bowie, AC/DC Bag TEASES Timber (Jerry), God of Thunder, Bathtub Gin, and Johnny B. Goode teases (with lyrics) in David Bowie, Bathtub Gin and Johnny B. Goode teases in Possum
, attached to 1995-07-02

Review by spreaditround

spreaditround PHISH, SUNDAY 07/02/1995 SUMMERSTAGE AT SUGARBUSH NORTH Fayston, VT SET 1: Sample in a Jar: Standard. > Divided Sky: Trey is impressive throughout, a real barnburner! Gumbo: Standard. The Curtain: Standard. > Julius: Standard. Camel Walk: Huge bust out! Reba[1] Very average I Didn't Know: Standard. Rift: Standard. While My Guitar Gently Weeps: Before this Trey chides the freeloaders that snuck in and urged them to donate to the King Street Youth Center. SET 2: Runaway Jim: Goes Type II right after the 9 minute mark. Things stay mostly dissonant and rather chaotic for the rest of this jam. It’s not for me unfortunately. But the segue into MP is extremely good. -> Makisupa Policeman: Trey “Apex” Anyone know what that was all about? Heady jam. The last 45 seconds or so are dissonant chaos. -> Scent of a Mule: Gut punch going into this. Tweezer: Hard charging and straight ahead, no real nuance to this one really -> Ha Ha Ha: Standard. > Sleeping Monkey: Standard. Acoustic Army: Standard. Slave to the Traffic Light: Average at best. ENCORE: Halley's Comet: Standard. > Tweezer Reprise: Standard. Summary: Not much meat on the bone. I know everyone remembers these shows fondly that attended, but this show falls flat unfortunately. 3/5. Replay Value: Divided Sky [1] No whistling. This was a benefit show for the King Street Youth Center. The band brought back Camel Walk, which hadn’t been played since February 24, 1989 (762 shows). Reba did not have the whistling ending and Trey announced during Makisupa that this was "4:20... Dank." JAM CHART VERSIONS Divided Sky, Runaway Jim, Makisupa Policeman, Tweezer
, attached to 1997-07-21

Review by dr_strangelove

dr_strangelove Hello America, we learned some stuff in Europe. What an opening statement to one of the most epic runs in Phish history. Check out the whole show, but definitely the Theme jam! Highlights: [b]1) [u]Ghost[/u]:[/b] Can you imagine hearing this for the first time and being like, "what is this neat little new song"? Sure, the Irish had already heard, but I'm willing to bet tapes didn't cross the pond that quickly back in the day. Anyways, might as well debut '97 Phish proper with some funk! The funk party eventually morphs into the zany dualism of toon town smiley sun to killer evil sun from mario bros. 3. Mike's bouncing bassline and Fishman's snappy drumming keeps us happy while Trey's cat gurgle guitar tone drives the dissonant dualism. Page can't decide how to keep everyone happy and opts to sprinkle chaotic baby grand cheeriness before settling into electric plunko mode. The balance of funk and adventure is chef's kiss. Great energy to cue up a well-placed and played Dogs Stole Things 2) [u]Piper[/u]: The frenetic buildup on this version is notable [b]3) [u]Bathtub Gin[/u]:[/b] I feel like a hero has ascended and we are watching the sunset on a forever good day. Hosey feel good vibes, pure electric energy. Page is giddy, Mike is assured bop, Fishman is kinetic, Trey is riffing like a man clawing his way through the jungle vines to that golden sunset vista over the waterfall on bliss island. Then, as the sun sets on this hosey bliss, the James Brown funk sauce is poured on the jam to close out. Slick finish to one hell of an opening statement for Summer '97 USA [b]4) [u]Wolfman's -> Magilla[/u]:[/b] The Wolfman's jam is a slinky, sneaky little funk romp, with Mike and Fishman creating spacious rhythms for Trey's deep slinky ton. The jam lasts just long enough to make the THRILLING sneaky, slink transition to Magilla a SunnyD Delight! The Magilla is playful and spry, played with the cohesion of a band that is ready to double down on their first set statement. 5) [u]David Bowie[/u]: I love when the band plays around with the hi-hat intro to Bowie. Mike has Nightmare on Elm Street vibes while Trey is adding great atmospherics as usual before riffing on an extended Birdland tease that grows more sinister with each repetition. The rest of the Bowie is pretty standard, but solidly executed. Slow cooker tension building with auto-fire releases. [b]6) [u]Theme[/u]:[/b] Funk peppereed with some sweet sax-o-ma-phone?? Damn yes. LeRoi meshes with the band so well on this jam, kudos. The best part is, this jam gets way out there! Mike and Page are the trailblazers, developing a wall of sound din that leaves the funk behind and brings the venue to the the nether regions of outerspace. Really fun and adventurous time
, attached to 2024-05-19

Review by SWANSON

SWANSON What a great show! After a strong Toronto show the night before, this show took TAB to even higher heights. A great mix of PHISH classics, Trey's covid songs and his new material. Mtelus is an older theatre with quite a small stage but has a great vibe to it. It was so hot they were passing out free water. The crowd seemed to be a great mix of Canucks, Quebecois and US. Well played show from start to finish, really missed Tony, but Dezron has added another dimension and I loved seeing how much he seemed to be enjoying the show and his interactions with Trey. Trey seemed in better voice for Toronto and Montreal than the earlier shows (and Sphere). So happy to get the (slow/funky) Llama. Great back to back of new songs Demons and Monsters - I sense a theme there. All Pretending is also a welcome addition. What's Going Through Your Mind has to be my favourite of the new songs - I'm predicting it will be huge with PHISH. Trey acknowledged that he hadn't been in Quebec in quite a while considering it neighbours Vermont. Hopefully it won't be long before TAB or PHISH plays in La Belle Province again. "Fee" would have been a perfect cap to the whole show but inspite of many shouts from the crowd Trey looked a bit sheepish and instead finished with a strong "Wave of Hope" - which was a damn good finish to a great night! A bientot!
, attached to 1995-07-01

Review by spreaditround

spreaditround PHISH, SATURDAY 07/01/1995 GREAT WOODS CENTER FOR THE PERFORMING ARTS Mansfield, MA SET 1: Ya Mar: Nicely jammed. Llama: Standard. If I Could[1] Check out the first minute of Trey messing around with the original guitar intro. The jam in this one while not technically perfect, has a ton of heart. Would recommend. > All Things Reconsidered: It's Ice[2] The jam in this one is off the wall with Mike on the electric drill and Fish on vac > Prince Caspian: Standard. > Split Open and Melt: Great version! Even the experienced psychonauts in attendance could have been intimidated by this chaos infused beast. Would recommend. Bouncing Around the Room: Standard. > Chalk Dust Torture: Standard. SET 2: Wilson: Standard. > Maze: Look out below, Trey really works this one over. It’s an easy all timer and highly recommended. Theme From the Bottom: Standard. Uncle Pen: Not a fan of the placement. Stash[3] Right out of the gate this one is very intense and driven. Initial peak in the early 12’s is epic and face melting. Then, they drag you back into the pit of despair for another drubbing. Eventually, they get into a spot that sounds like Trey is playing that klezmer stuff the way he does in SOAMule. It goes on in this vein for a good stretch then fizzles into a gorgeous solo from Page on the baby grand setting up a beautiful segue into Strange Design. This Stash is super sick. But what holds it back from being an all timer is the fact that it doesn’t have a proper ending with a second peak. Still, would recommend. > Strange Design: Standard. Acoustic Army: Standard. Harry Hood: The beginning of this jam is absolutely sublime, especially with Page’s leads on the baby grand – doesn’t get any better. This is what 3.0 Phish is sorely missing – be patient! Breathe! This is not a sprint to the peak! The slow burn through eventual cathartic release at the peak is quintessential Phish. Outstanding version, would recommend! Suzy Greenberg: Standard. ENCORE: Funky Bitch: Fun teases. Summary: Great show, big fan. Highlights all over the place! 4.5/5 Replay Value: If I Could, Split Open and Melt, Maze, Stash, Harry Hood [1] Included the variation with a preceding Trey guitar solo. [2] Fish on vacuum. [3] Unfinished. If I Could included the variation with a preceding Trey guitar solo. The jam in It’s Ice featured Fish on vacuum. Stash was unfinished. Suzy included Sunshine of Your Love and Smoke on the Water teases. Funky Bitch was dedicated to the tour-heads as an always requested but never played song. Portions of this show were used in Mike Gordon’s 1997 short film Goodwood; the entire gig was simulcast live on Boston’s WBCN 104.1 FM. JAM CHART VERSIONS Ya Mar, If I Could, It's Ice, Split Open and Melt, Maze, Stash, Harry Hood TEASES Sunshine of Your Love and Smoke on the Water teases in Suzy Greenberg
, attached to 1995-06-30

Review by spreaditround

spreaditround PHISH, FRIDAY 06/30/1995 GREAT WOODS CENTER FOR THE PERFORMING ARTS Mansfield, MA Soundcheck: Dog Log SET 1: AC/DC Bag: Great opener. > Scent of a Mule: Apparently Trey played his guitar with his teeth and Page on the keys played with his face and feet. Horn: Standard. Taste: Last one before they reworked it and it became Fog that Surrounds. The Wedge: Standard. The Lizards: Standard. Mound: Standard. Fee[1] Standard -> Run Like an Antelope[2] Great closer, tons of energy and a bit extended. Suck the deer shit from the side of this hole, lol. SET 2: Also Sprach Zarathustra: Seems slower than usual. > Possum: This one is very fun, nice and long. > Ha Ha Ha: Standard. > The Man Who Stepped Into Yesterday > Avenu Malkenu: Standard. > Mike's Song: Short first jam. The first couple minutes of the second jam are hard charging and ominous. But by the 8 minute mark this is going in an interesting, spacy sort of direction. By the 9 minute mark the pace has picked up considerably but it’s not entirely ear pleasing, sort of dissonant and minor chord type stuff. From here it alternates through that dissonance and then they pick up the pace and then back into the hole again. This is not for the meek and timid. Love it or hate it, no in between. The last 3 minutes or so are in outer space, very Floyd esque with heavy effects. Super trippy. Would recommend! > Contact: Standard. > Weekapaug Groove: Smoking jam that turns into a funky breakdown. This finally turns into a big crowd clap along with the band egging them on. Great version, would recommend. Amazing Grace: Standard. The Squirming Coil: Standard. ENCORE: Hold Your Head Up > Cracklin' Rosie > Hold Your Head Up: Standard. Golgi Apparatus: Standard. Summary: Another solid, yet unspectacular show. I think the fact that this show was a FM SBD that was widely circulated has lent itself to higher ratings than perhaps it deserves. Second set is where it’s at for sure. 3.8/5. Replay Value: Mike’s Song, Weekapaug Groove [1] Trey sang verses through megaphone. [2] Lyric changed to "Suck the deer shit from the side of this hole." This show featured a visually spectacular Mule, which featured Trey playing guitar with his teeth and Page playing keyboards with his face and feet. Trey sang the verses of Fee through a megaphone. During Antelope, Trey substituted “Suck the deer shit from the side of this hole” for the “high gear of your soul” lyric. Possum included a Dave's Energy Guide tease. Weekapaug included a Divided Sky tease from Trey. Fish introduced Rosie as being about “a lonely man singing to his inflatable love doll.” Parts of this show were used in Mike Gordon’s 1997 short film Goodwood. JAM CHART VERSIONS Mike's Song, Weekapaug Groove TEASES Dave's Energy Guide tease in Possum, Divided Sky tease in Weekapaug Groove
, attached to 2020-01-24

Review by serpent_deflector

serpent_deflector Really fun show that’s available on LivePhish. I made the 10 hour trip to see the show with a friend, after seeing the previous night in nearby Cincinnati (also fun and included the requisite Cincy Mad Dog band sit in). The St. Louis show checked a lot of boxes though, with some Phish staples and some of my favorite Mike tunes, like Ether, Marissa and Peel, which is the song I most wanted to hear and hadn’t yet seen Mike play. Again, this show is available on LP and I recommend checking out Peel in particular, as the extended jam has a warm, blissful and somewhat tropical feel. Nice interplay between Mike, Robert & Scott.
, attached to 1995-06-29

Review by spreaditround

spreaditround PHISH, THURSDAY 06/29/1995 JONES BEACH AMPHITHEATER Wantagh, NY SET 1: Runaway Jim: Great way to open this show. Tons of energy and more fun with Cannonball. > Taste: This one has some extra mustard. The Horse > Silent in the Morning: Standard. Divided Sky: Very long, annoying pause. Good version though. Cavern: Standard. > Rift: Standard. > Simple: Standard. > Split Open and Melt: If you like your eggs scrambled, you will want to give this one a go. It has mind melting capabilities. Would recommend. Carolina: SET 2: Free: Cool space jam tacked on to the end. -> David Bowie: Hard charger! It sounds like they are going to sneak into Llama’s backdoor around 18 and a half but it never happens. Trey continues to strum out the intro for a good while. Pretty cool! This is a very long version but it has very little filler. Mostly awesome throughout. Highly recommended! Strange Design: Much needed breather after that egg scrambling Bowie. You Enjoy Myself: Average composed and jam section but the B&D really is out of control. Vocal jam is hard core too. Acoustic Army: Standard. A Day in the Life: Standard. ENCORE: Theme From the Bottom: Standard. Summary: Solid show, pretty much on the same level as the night before with one huge jam, another big highlight in Melt and a strong supporting cast. 3.8/5. Replay Value: Split Open and Melt, David Bowie Runaway Jim contained a Cannonball tease. JAM CHART VERSIONS Split Open and Melt, David Bowie, You Enjoy Myself TEASES Cannonball tease in Runaway Jim
, attached to 1995-06-28

Review by spreaditround

spreaditround PHISH, WEDNESDAY 06/28/1995 JONES BEACH AMPHITHEATER Wantagh, NY Soundcheck: Sweet Home Alabama, Jam, Ginseng Sullivan, Red River Valley Jam, Dog Log (slow) SET 1: Axilla (Part II) Standard > Foam: Standard. Fast Enough for You: Standard. Reba[1] Standard. Punch You in the Eye: Standard. Stash: Standard. Fluffhead: Standard. > Chalk Dust Torture: Standard. SET 2: Sample in a Jar: Standard. Poor Heart: Standard. > Tweezer: The Cannonball tease is barely there at 7:46. Choppy and dissonant up until this goes into DEG. -> Dave's Energy Guide: Starts at about 19:10 and runs through about 20:45. Lots of tension building and very intense. -> Tweezer: Out of DEG this one has been built into a tense monster. Super intense. Once this gets into the late 20’s they latch onto a catchy hard rock theme and eventually play around with a Cannonball jam, it’s very fun. I would recommend this Tweezer, it’s not for everyone as there are large chunks that will test your patience and scare you half to death. > Gumbo: Standard. > Sparkle: Standard. The ending is a little out of sync in parts. > Suzy Greenberg: Has some extra mustard, might be worth a listen. Harry Hood: Lots of noodling in the beginning of the jam. Patient too. Has a beautiful peak, then a sustained note then that old school traditional peak. Great version, would recommend. Tweezer Reprise: Standard. ENCORE: Sweet Adeline: Standard. While My Guitar Gently Weeps: Standard. Summary: Tweezer, Harry Hood. Replay Value: Good first set and a monster jam in the second with a great closer. 3.8/5. [1] No whistling. Ha Ha Ha was teased before the start of the first set. Reba did not have the whistling ending. Dave's Energy Guide was played for the first time since March 8, 1991 (481 shows). The second Tweezer included a Cannonball jam with quotes from Trey. JAM CHART VERSIONS Foam, Tweezer, Dave's Energy Guide, Tweezer TEASES Ha Ha Ha tease, Cannonball jam with lyrics in Tweezer
, attached to 2004-06-26

Review by blombekr

blombekr I'm sorry, but this is my one and only chance to say this: 20 years later, I'm still upside down. Thank you. First show, this review written 20 years to the day after the fact. The First Moment Of IT is still as seared into my brain now as it was when it happened. The summer going into college, I was getting over mono, liked the song Wilson and not much else, but good new friends of mine said you gotta check out Phish and they're quitting anyways so give it a shot. I was a Dead snob. But I'd already loved Alpine from a good handful of DMB shows, so sure. Phish felt like the more dangerous thing to do. Fast forward through the first set, which felt cool, fun, different, appreciated Access Me (without knowing it going in) as feeling non-traditional and obvious as an opener, basically the footing underneath me was pleasantly shifty from the start. I was just happy to be there with. my buds. Boogie On is groovy, it's really dark outside now, and then: GHOST. IT, I learned during Ghost, is the feeling where mind, body (the face in particular) and soul are forcibly sucked from what you identify as "you" and melded solidly with the world created by the music. The world I most humbly found myself inside of during Ghost was unsettling and grooving, like we were in a factory of sorts and the four of them were experimenting with various kinds of machinery, pushing buttons that made me feel all sorts of different things, all pretenses of showmanship or performance or fronts vanished, nothing between me, them, and the strange world we were all experiencing unfolding together. It was alive and breathing and weird and awesome in a pure and profound way that I hadn't experienced before with anything in my life. Eventually Trey hit upon that "duh-duh-daa" lick that the rest of them rallied around to pull us out of the abyss, and they found their way into Free. I liked Free, but it wasn't THAT. I liked the rest of the show, but it wasn't THAT. I spent the rest of the show wondering why they didn't take us back THERE again, and stay there. I don't wonder that anymore, because I'm wise enough now to know that to get THERE is only partly their doing, its mine too. I've gotten better at allowing myself to be taken there, and this subtle shift in mindset has allowed me to experience IT during moments I'd find unremarkable if I weren't at the concert: say, the Dicks 2019 Bug or the Alpine 2019 Caspian (in addition to plenty jams I do find remarkable). Surrender to the flow, don't roll your eyes or gloss over it, actually do it and IT will happen, easy to do but easy to forget. IT is a wonderful thing, and it is a fact of life that if you allow yourself to, you can experience it while walking your dog or doing the dishes (also while on psychedelics; I'd had weed and alcohol at this show, btw, hadn't taken psychedelics yet). But mindfulness, you know. There still hasn't been a time quite like during that Ghost. But there have been countless times since that I've felt many indescribably awesome things at the many Phish shows I've seen, and I'm grateful.
, attached to 1992-07-25

Review by stgsince88

stgsince88 I had just graduated from Johnson State 2 months before, where I saw my 1st show 3/11/88. I moved to Stowe to be a ski bum for a few years and this was first show I had seen in a while because 91 they went EVERYWHERE! Opening for Santana yes please! What made this especially amazing was a dear fellow grad just happened to get a job as Northern Field Director for the Green Mtn Club which takes care of the Long trail. He lived at Barnes camp https://www.greenmountainclub.org/barnes-camp-visitor-center/ which is at the resort just a short walk from the Spruce Peak side of Stowe so we got to hang out there all day partying and watching Stowe be overrun with like minded people! That alone was epic to me! I remember getting lost in the moment and hearing the beginning of Jim. Boy did I run like an antelope to get there! It had been an all day party so by the time I recall hearing YEM, I was wandering around way up on the hill just having the best time oblivious to everything around me, I was young and dumb. But I remember when I suddenly heard the influence of Santana within a phish song I knew well, that got my attention quickly, It started with the percussion and that Carlos came in. And made my way back down to the hill to watch in Amazement! It was like padawan Trey working with his Jedi Master Carlos. After being mesmerized for the next 20 minutes, my only memory is being so blown away that I really didn't care about watching Santana and hung out in the beer garden talking about what was just my favorite Phish experience ever!
, attached to 1991-05-17

Review by thelot

thelot Decent audience recording for this show. The Campus Club acoustics could be better but what can you do. Chalk Dust kicks things off. During the jam the PA blows out. The recording cuts out and fades back in with Drums into the first Mr. PC in two and a half years. Carl Gerhard joins the band, foreshadowing what was to come. Cool Spider-Man theme tease. Trey also takes a really nice solo Mr. PC. Well played Reba. Solid Stash. Mike’s has a short but sweet second jam. Weekapaug is hypnotic! Good stuff! Instead of closing out the first half with ‘paug, they bring Carl Gerhard out again for a tasty version of A-Train to close out the set. Set 2 kicks off with a fantastic Possum. Great version of Fluffhead with the arrival section segueing into a Happy Birthday to Page singalong. Carls Gerhard adds his talents to well played versions of Magilla and Cavern. A solid Hood follows. Fish treats Providence to the first Bike of the year. Another fun BBFCFM with a mid song Happy Birthday to Page band/audience singalong. The drop back into BBFCFM to close out the set is hilarious. Lawn Boy with Carl “Gears” Gerhard is just perfect. Great show!
, attached to 1987-08-21

Review by dr_strangelove

dr_strangelove Up to this point in the available recording of early Phish, this show has always stood out to me as a true gem. This is partly because this may be the first show with a complete and fairly decent recording available (might want to fact check that one). Also, the three set, outdoor energy shines through giving it a festival sound. And if that wasn't enough, there is plenty of banter (Marley!), Phish goofiness ("House Mouse Rap"!), and virtuoso jamming going on to keep any Phish fan entertained. Excellent show that honestly deserves a full listen (esp. Set III), but regardless here are the highlights: 1) [u]Harry Hood[/u]: Gorgeous version, I think the sound of this recording really helps the tone of Trey's guitar shine, and the mix on Page/Mike/Fishman give the tune that untouchable classic vibe. Pure essence d'eau 2) [u]The Curtain With[/u]: The band really stretches out into the ether of stellar dust for this jam. Unfettered hose swirling improvisational delicious goo. 3) [u]Light Up Or Leave Me Alone[/u]: The whole band gets choatic on this jam, Trey screeching in non-stop psychosis and Mike's mud thud pounding through the mix. Thrilling momentum [b]4) [u]Flat Fee[/u]:[/b] Being the first performance of this song that is captured on tape, this jazzy little track deserves a call out. Fun, forgotten instrumental. Bring it back in the rotation! [b]5) [u]Skin It Back> Low Rider> Back Porch Boogie Blues> The Sloth[/u]: [/b]The Skin It Back jam is a prime example of this early Phish era at its best. The band is so committed and locked in, the energy is always a little bit like a mad man at the wheel, more evident by the fact that the jam literally morphs from energetic bombast to an unwieldy sense of chaos. Towards the devolvement of this adreno-jam, Trey is squealing and screaming to try to stay in key while Mike jauntily skips to a whimsical bass line in his own little microcosm of the chaos. Its a moment I love because of how unselfconscious it is, even if it isn't as refined as the band will one day become. Why are they playing Low Rider now? Tack on Back Porch and the Sloth, and its a wild 30 minutes where this lightning spark of a new band is gaining in its chops and embracing the communal spirit of live music 6) BBFCM: Subtleties in the way this song is played reveal what era of Phish any particular version originates from. I'm a fan of all of them, but these early incarnations just hit different. Trey seems amused with its humorous debut, and we learn that the song may actually be the mind child of Melanie Safka... ;) [b]7) [u]McGrupp->Stir It Up[/u]: [/b]This McGrupp is wild! And equally as thrilling is the transition into the Stir It Up jam, lead by Mike's insistent bassline cutting through the crazy heady rush of Trey's insistent guitar antics at the end of McGrupp. Phenomenal. The Stir It Up instrumental jam is just pleasant heady rasta dance time. [b]8) [u]Makisupa Policeman -> David Bowie[/u]: [/b]Trey's bars may need some work, but the 'Mouse House Rap' is the essence of Phish humor and what I've come to love about Phish. The only thing to expect is the unexpected! The jam itself is kind of a trip and definitely up my alley. Eerie droning tones and weird sounds from Page's electric keyboard permeate the space all over the steady Makisupa reggae beat being variated by Mike and Fish. This dark ambient jam drones like a sick war plane engine sinking in slow-mo until the Bowie riff rises fluidly and meat chunk Mike takes a prominent spotlight. The ensuing jam continues a similar vibe to the Makisupa jam; free form and uninhibited spacey jamming with a cool Tom Sawyer tease. The jam ends with the beginnings of heavy metal riffing before transitioning to an appropriately placed Sanity
, attached to 1993-03-08

Review by n00b100

n00b100 One of the more interesting selections of the official LivePhish catalog, not necessarily because it's an all-time great show, but because apparently no audience tape exists and Shapiro decided to release it (in the pandemic year of 2020, no less) to plug that gap and make available one of the few shows nobody outside the venue that night had heard. And it's not bad, all told - it's not quite at the level of the best of May or August 1993, but it's a charming good time in the way 1993 Phish tends to be a charming good time, I greatly enjoyed the lunar eclipse talk -> How High The Moon -> Mockingbird narration in Set 1, Bowie and Stash bring that skin-crawling early-90s tension you just don't get from modern-day Phish, and MFMF -> Kung > YEM offers up a nice slice of The Weirdness that early Phish trucked in. If you haven't heard 1993 Phish before, I'd direct you to 8/13 and 5/8 first, but this should absolutely be a stop on your adventure into early-90s Phish, and the sound quality is fabulous. My kingdom for an It's Ice like this one in 2024!
, attached to 2010-06-19

Review by toddmanout

toddmanout June 19th, 2010 was the first of a pair of Phish concerts at the Saratoga Performing Arts Center, also known as SPAC. (By some sort of force of habit my finger typed an “e” at the end of that last little transmission and I must say it had never occurred to me until now that SPAC was the word “space” without an “e”. How is it that nobody has taken advantage of this yet? To my knowledge the town does not have a drinking establishment called the SPAC Bar, the area surrounding Saratoga Springs is somehow not known as “outer SPAC”, no business called no Storage SPAC…I think we can all be thankful that I missed my calling.) I just asked m’lady where we had stayed for this run and she wasn’t sure either. Funny, this was coming off of a pair of shows in Hartford that we both remember quite well so you’d think our memories would come a little easier but alas, I guess I’ve been to SPAC too many times to keep it all straight. A guy could have worse problems. We stayed at one of two places for certain, either the cheap little strip motel just steps outside of Saratoga State Park (which holds the venue) and right next to a delicious barbecue joint or in the…one of those generic but nice places halfway between the town and the park…maybe the Hilton Garden Inn? Anyway, the sketchy cheap motel is generally my favourite place to stay in town (the house/hotel with the big social front porch runs a close second), so for the sake of pleasant nostalgia let’s say we stayed at the cheap strip motel this time. Let’s even go further and say that this was the time that I’d brought along my mandolin and I spent most of my spare time sitting in a half-round plastic chair in front of my room strumming and making friends with all the other people who spent most of their spare time sitting in half-round plastic chairs in front of their rooms, which was basically everyone. And all the while the aroma of delicious barbecue wafted through the air. I tell you, it was just this side of heaven. But let’s get to the show, shall we? It was definitely one for the ages. Get this: the band opened(!) the first set with [i]Tweezer Reprise[/i], completing a mini-gag that had begun at the previous show, which they had ended by playing [i]Reprise[/i] twice in-a-row. They’d played it twice to make up for not playing it at the concert the night before that (when they play [i]Tweezer[/i] in a show – as they did then – they pretty much always play [i]Tweezer Reprise[/i] later in the same show, naturally). It had been an inside joke in Hartford and it was an even bigger inside joke here at SPAC but with Phish the whole crowd is generally on the inside. It was genuinely pretty funny – I was laughing out loud – not to mention a downright raging way to open a show. And a raging show it remained, picking up from [i]Reprise[/i] with the ever-rockin’ [i]Chalkdust Torture[/i]. There was also a [i]Suzy Greenberg[/i] in there somewhere, and a [i]Sample[/i], a[i] Bowie[/i], and a [i]Fluffhead[/i] too. When the second song of the encore came I was pretty sure that [i]Character Zero[/i] was going to be the final air-guitaring of the night but no, Trey had one more rock and roll chuckle waiting. [i]Tweezer Reprise [/i]closer. Hilarious, and truly awesome; I’m talking 20,000 people screaming and jumping up and down with both fists in the air. I wonder if Trey thought up such a funny little joke right on the spot? Now, if you’ll excuse me, I have a “SPAC…the final frontier” t-shirt to design. http://www.toddmanout.com
, attached to 1990-01-29

Review by woody69

woody69 This was my first show, pretty much all I remember is Phish was supposed to play Sutters Mill in Syracuse, I was an SU student, but the bar canceled the show to do a party for the basketball team. Needless to say we were pissed and piled in a car and drove through the snow to Ithaca. The Haunt was small and pretty cool I knew nothing about the band at the time. They did swear never to play Syracuse again at this show but obviously relented eventually.
, attached to 2021-06-23

Review by rjmasterson

rjmasterson This was my first time seeing Trey solo acoustically. Though it would prove to be the case that we weren't totally out of the woods yet, this was my first concert in over a year and a half due to COVID. When Trey sang "I feel the feeling I forgot," it felt like the entire theatre was on one wavelength: we [i]all[/i] felt that. Incredibly powerful "re-entry" to live music.
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