Set 1: Buried Alive > Ghost, Scent of a Mule, Sample in a Jar, Reba, 46 Days, Big Black Furry Creature from Mars, Lawn Boy, Saw It Again > Tube, Wolfman's Brother
Set 2: The Haunted House, The Very Long Fuse, The Dogs, Timber, Your Pet Cat, Shipwreck, The Unsafe Bridge, The Chinese Water Torture, The Birds, Martian Monster
Set 3: Punch You In the Eye > Golden Age > Tweezer -> Heavy Things, Guyute, Sand -> Tweezer Reprise
Encore: Is This What You Wanted, Frankenstein
Notes: The backdrop on the stage at the start of the show was a large gate adorned with a "P." During Lawn Boy, Page introduced Mike as "Michael Gordleone" and Fishman took a drum solo. Trey teased Saw It Again during Tube and San-Ho-Zay during Wolfman's. The musical costume was a set of original, mostly instrumental music played with the sound effects and narration of the 1964 Disneyland album Chilling, Thrilling Sounds of the Haunted House. Prior to the start of Set II, the stage was cleared of all band equipment, and a graveyard set was brought out. At the start of the set, smoke filled the stage, and zombies appeared behind the gate. When the gate opened, a large haunted house with the band inside was brought to the front of the stage. The sound effects and narration were played on the PA, while an undead narrator would emerge from a crypt inscribed with "ESTHER" prior to each song for the introduction. At the end of The Fuse, the sides of the house came down while sounds of an explosion were heard, and the band was revealed inside, dressed in white tuxedoes and with zombie face paint. Several zombies came to the front of the stage and danced during Martian Monster. At the conclusion of the set, the band members came down from the Haunted House riser, slowly walked to the front of the stage, and took bows, along with the entire cast of zombies. All songs during the second set were debuts, with the titles taken from the first ten tracks of Chilling, Thrilling Sounds of the Haunted House. Is This What You Wanted (Leonard Cohen) was a Phish debut. Page performed Frankenstein on keytar, which was played for the first time since July 1, 2012 (100 shows).
Phish hit the stage for their third night at the Bill Graham Civic Arena about the same time World Series MVP Madison Bumgarner strode to the mound for the last of his mostly flawless twenty-one innings pitched. Though it took the band a little longer, both parties ended the night the same way, earning a save (to go along with two previous wins) on the strength of another solid performance and some late game heroics when the pressure got turned up.
Copyright Phish: From The Road
A few thoughts from last night, with the help of LMo.
Tuesday’s Phish gig at the intimate confines of the Bill Graham was another winner that flowed with a perfect harmony. The band's energy and song choices felt synchronized with audience reception and desires, satiating a relaxed and considerate mid-week crowd that was kind and attentive to listening. So, a riddle: how do you make a JadedVet™ dance? Simple! Play a first set that flows like a second set! Extra bonus trivia: did you know that Tuesday’s show was the 25th anniversary of David Steinberg’s first Phish show? Think about that… a quarter century of Phish fandom. Pre-show also included a packed City Hall plaza watching the Giants and Royals battle it out for the Word Series on the big (BIG) screen. Good times!
LivePhish.com has announced a new service, LivePhish+, which will allow
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gives you unlimited access to the entire LivePhish catalog, including the
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[For this recap we'd like to welcome Kristen Goess from @2chix1fightbell –PZ]
Last time I had been to Chula Vista was fall 2000 for Phish’s last west coast fall tour. The year before that is still my favorite “Boogie On” to date. Returning to this venue brought back a lot of memories, mostly good, some bad like a terrible sunburn I got after falling asleep in the middle of a dirt field when I was 20. Driving back to that venue was exciting. The venue itself was a full house and a bit more crowded than I had thought. I wound up with a ticket just to the right of soundboard.
[For this recap we'd like to welcome guest blogger @n00b100 - SP]
After last year's decidedly fun Hollywood Bowl show, which was capped off with a nigh-legendary “Harry Hood,” I was chomping at the bit to get to another show. I was actually excited to hear that Phish's LA area show this year would be in the Forum (home of the Lakers and Kings for many years), because as cool and beautiful a venue as the Hollywood Bowl is, I've always been told by my longer-tenured Phish friends (i.e. all of them) that indoors Phish is a much different experience. So were they correct? We shall see...
Photo by @stim_buck
What a roller-coaster ride Fall 2014 has been so far! As many of you noted in your comments to my Eugene precap, the tour opener was (NOT) all about my high expectations and I completely assumed the role of Sisyphus pushing that particular boulder to the top of my stack of preconceived notions for the always portentous first night. Unlike the band on such evenings, I was not a bag of nerves, I was at home at the Matt Knight Arena in the warm embrace of friends old and new. As expected, and much like that exhilarating rush of the first plummet over the edge of the log flume, the Eugene show was fantastic, made a big splash, and got the seat of my pants wet. No, they didn’t play everything I had forecasted, and I didn’t in truth expect them to do that. I expected a great show and that is exactly what we got. Couldn’t be happier with the song selection and still can’t get “Plasma” out of my head.
Photo by @ebyron
Gordon Biersch Brewery Restaurant on Paradise Road in Las Vegas will be raising funds to benefit The Mockingbird Foundation, the non-profit whose volunteers help run this site, from October 30 through November 2, about two miles from the MGM Grand where Phish is playing three shows on 10/31, 11/1 and 11/2. Gordon Biersch has brewed a special beer dubbed the "Dubbel Sample in a Jar," which is a "complex, malty ale with hints of spice and licorice, and a balancing hoppiness on the finish," that will be served in a mason jar with the Gordon Biersch and Mockingbird Foundation logos on it.
Walk the narrow streets of Amsterdam, and it is hard to travel very far before seeing some tribute to Bob Marley
. Given the obvious admiration members of Phish have demonstrated toward Bob Marley it was no great surprise for them to debut a Marley cover during their second ever visit to Amsterdam. “Soul Shakedown Party” opened Phish’s appearance at Amsterdam’s historic Paradiso
. After one more appearance on 2/20/97
in Milan, Italy, the song then went back into mothballs, gone and seemingly forgotten before even one performance on American soil....
Before we get into the play-by-play of Tuesday night’s show, a quick editorial comment. You can say what you want about factors that would drive attendance at these shows down: a smaller fan base on the West Coast, a Tuesday night gig, and the difficulties of getting through Los Angeles traffic for a 6pm start. Phish should be able to fill a 4,500 seat venue, regardless. Instead, under-face tickets were said to be plentiful, and as of this writing you can score great seats for tonight’s “sold-out performance” on Ticketmaster. Of course I’m not breaking any news here, but the culture of ticket speculation is obviously out of hand and keeping away fans who would otherwise attend if the process were more straightforward. But enough of that. On with the Phish.
What a beautiful venue! From my seat on the couch (well, recliner) 2,500 miles away, the Santa Barbara Bowl looked warm and intimate, and I would have loved to have been there to score some of those last minute seats. On top of a smoldering orange sunset and the beckoning wonder of the Pacific Ocean, the band continues to play with a joyful synergy that makes the current era one of my favorites in Phish history. For those of you fortunate enough to have been there last night, my meager words will doubtless be but a distorted reflection of the experience. But I’m going to write them anyway.
© Phish From the Road
by David “Zzyzx” Steinberg
Part 1: A Brief History of Being a Phish Fan in Seattle
In the early 90s, I was living in southern New Mexico attending graduate school. The conservative town was a bad fit for me, so I was looking for an escape. The chilly mist of the Pacific Northwest seemed to be about as far of an escape from the fiery Mesilla Valley desert, so cars were loaded, apartments were found, and jobs were located. If there was one thing I was worried about, it was not the lack of Phish. The year before I moved, Phish played two northwest runs. 1995 had one in October. We were able to give thanks in 1996 with a Tofurkey Eve Key Arena show. No, we weren’t receiving the dozens of shows that a New Yorker gets, but it wasn’t bad at all for being tucked away in the northwest corner of the country.
The summer 1997 Europe tour
was the spawning ground of the Phishy funk, which was the mind-eating great white shark that ate the remainder of the 90s. During 1997, “Ghost” epitomized the constantly evolving psychotronic-aquadisco sound of the next millennium that appears to have arrived a few years early (or is it 20 years too late?). The ultrasound of the then unborn “Ghost” can be heard in the segue from “Wolfman’s Brother
” to “Jesus Just Left Chicago
” on the album Slip, Stitch, and Pass
The pubescent faces of many prairies of the American west are inflicted with a curious pimple-like geomorphic feature called Mima Mounds
. The origin of these mounds, which are typically about seven feet high and several dozen feet across, is a hotly contested issue. Explanations for their existence range from the burrows of giant prehistoric pocket gophers to seismically coalesced piles of loose surface sediments. These mounds are fairly uniform in size and shape and few if any are markedly different from their pimply peers. The same can be said for the Phish song “Mound,” though any relationship between the song and the Mima Mound is purely coincidental. “Mound” was written by Mike Gordon as a brain-freeing exercise. The result of this exercise is arguably the most poetic of his compositions, telling the tale of an old man suffering the grand rewind of his life as he faces death and his own burial mound....
Trey's band will play a show at the Brooklyn Bowl on August 17 that
will be taped by PBS for the series, "Front and
Center." Tickets go on sale on August 8 at 10:00 a.m.
eastern. For more information, go