Thursday 07/26/2018 by Icculus

BGCA2 RECAP: 6.5/10

IT’s not every day Phish offers a free webcast of a show to their fans. Their motives are unknown, but it’s possible they decided to thank their fans for their outpouring of love and support for the minority victims of violence at the Gorge over the weekend. It’s rare to see violence at Phish shows, at least in my experience of them (which admittedly only goes back THIRTY YEARS). And it’s unfortunate that such an extreme, vicious, attack was committed not against the drunk frat-hat who’d just vomited on your girlfriend, but rather fans simply enjoying themselves and the music like the rest of us. We’re also a homogeneous fan base; it’s heartbreaking to see such grotesque, racist assaults, when I'm certain the vast majority of us welcome greater diversity at shows.

© 2018 Scott Marks
© 2018 Scott Marks

In any event, on to the recap of BGCA2. I'd planned to offer you separate Noob, Vet, and JadedVet takes, since when I’ve done so a few times before, many of you were offended, but I don’t have the stomach right now for pandering to various audiences. I cannot pretend that my experience of Phish’s music in 2018 is even vaguely akin to what it was in 1989 or 1995 or 1998 or 2004 or 2009. Whether you first started seeing Phish recently or decades ago, we’ll see eye-to-eye on some things and not others about last night’s music, and your mileage should, and likely does or will, vary.

A “Roggae” opener? It’d been almost twenty years (8/2/98), so I’m curious what Trey was thinking. A signal perhaps that tonight would be less barn-burning and more barn-painting? I’ve always loved this song, so I was very happy to get it and not the six-minute “Sample” I'd cynically predicted. And although Trey at times appeared to be searching for the right tone, and I’m not particularly keen about his use of the pitch shifter either in this version or on the tour so far, his soloing was nevertheless adept. It helped foster a serene vibe in the room, as did Mike’s lead, melodic bass-work; a mellow beginning to the evening to be sure, and a stark contrast to the thrilling “46 Days” opener on Tuesday night.

I’m such a sucker for “Tube,” have always loved this song. It begins a bit on the sloppy side, as Trey sings well, but otherwise smears poop over the opening measures. The jam is short, tight and fierce, with Page, Mike and Fish accompanying Trey’s funktastic, groovilicious deployment of the mu-tron (tru-tron?) envelope filter. I’d have been a lot more happy had this funk gone on for another TEN PLUS MINUTES, but it’s still a WIN when it’s this nasty for six minutes.

“NICU” was fine, its highlight being when Trey kinda sounded like he was aping Bruce Springsteen (in homage more than parody) in yelling PLAY IT LEO, PLAY IT FOR US. I also have a special affinity for this song, as I penned an adorable letter to Phish in early 1994 begging, among other things, for “NICU” to be brought back, and played more frequently, because it’s so awesome. Mike sent me a postcard in response (he routinely responded to fan-mail back then), cryptically implying that the request would be taken under advisement, iirc. (They’d played it quite a lot in the first five months of 1992 but then inexplicably dropped it from the rotation. Thankfully, they brought it back in June 1994, and I got my first one at the Mann, after seeing Mike in the lot preshow, and thanking him for bringing it back.)

At this point in the recap, you may be wondering if I’m going to discuss every song performed last night in detail, because you don’t have time to read or even skim all this shit. The answer is: HELL NO. “Runaway Jim,” “Horse” and “Silent” were, like “NICU,” fine. Trey appeared to want to keep the “Jim” jam focused and steady and centered from its very start, though (“Type I” in other words), and this version was fun but nevertheless perfunctory as a result. And although “Horse” was well played by Trey, “Silent” was largely flubby until the closing minute or two, when Trey sounded like he had rehearsed it, as he played it well. Sigh.

Next came the new and upbeat Mike tune, “Keepin’ It Real,” notable in particular because Trey can play it (unlike, say, “Sugar Shack,” or “Waking Up Dead”). It reminded me of a host of 1970’s classic rock tunes, played by bands like Little Feat and Traffic and Grand Funk Railroad, or even Pigpen-era Grateful Dead (think “Mr. Charlie” or even “Lovelight”). Don’t be surprised if one day they highlight a set or show with a monstrous version of this tune.

Driver” was undoubtedly performed in recognition of the huge “Driver” sign hanging off the loge directly across the floor from the stage, easily visible by the band. I don’t know whether or not Trey or the band knew that the request was likely made in honor and memory of Ryan Hoherd (Ryan’s brother Pete recapped BGCA1; he and the dot net community lobbied for Phish to play “Driver” in Ryan’s honor back in 2013), but I’m glad the fans behind the sign got it, of course, even if I wished their request for a “Slow Llama”--which was on another giant sign hanging off the loge straight out from the stage both nights--had also been accepted.

Never been a fan of “Saw It Again,” but appreciate how silly it is. This is easily the most magnificent version in Phish history, however, with everyone throwing-down in a sublimely riveting, soulful fashion. Just kidding. “Ocelot” is a song I usually don’t want to hear, but this version had an inspired, strikingly atypical style of jam. At one point I thought they might even segue into “Come Together.” Trey employs the mu-tron or tru-tron (or whatever) envelope filter and the accompaniment by Mike, Fish and Page is BUTTAH. Really dug this version, it’s likely going on the jam chart; the Tahoe version is already there, but this one’s much sicker, as I hear it. Will 2018 be THE YEAR OF OCELOT?

© 2018 Phish (Rene Huemer)
© 2018 Phish (Rene Huemer)

First set was lengthy, but unfortunately didn’t conclude as well as one may have predicted it would in light of “Ocelot's” depth. “Waking Up Dead,” a Mike song with some tricky guitar lines, was an interesting call. I really like the song, but as with “Sugar Shack,” I’d prefer Phish not play this if Trey’s just going to fart through it. Does a disservice to the quality of the song for its guitar lines to be executed so unprofessionally. Trey can obviously master this killer song, he just needs to rehearse it. Mike, Page and Fish tried to salvage the version to be sure, but yikes. “BDTNL” and “More” were good-enough versions to close the first set, and in fact, Trey’s mellifluous soloing in “BDTNL” in particular made it easy for me to forgive his dreadful performance in “Waking Up Dead.”

You’ve probably already heard about the second set. Though relatively short at around an hour, there was quite a lot of diverse, and at times captivating, improvisation, particularly out of the set-opening “Set Your Soul Free.” Instead of listening to me wax philosophic about the merits of the set’s improv, you should just listen to the set for yourself if you've not yet heard it, and skip the rest of this recap. The highlights in a set like this? Why I still listen to every note this band plays, and why I try to get to every show I can, even though, these days, I’m more often vibrating with angst and gas, than love and light.

Simply put: “SYSF” was a bold second set opener, given that its debut was not even a week ago, but the band delivered. I had low expectations at its start, of course, but they were jettisoned high into the stratosphere, and then countless light years into space, over the expanse of this 20+ minute behemoth. Trey hinted at “Crosseyed and Painless” quite a bit in the jam (though never fully quoted the melody), and at times employed the echoplex similar to Gilmour in “Run Like Hell.” As you already may have noticed, I’m a sucker for the envelope filter guitar effect, as a huge fan of ‘77 Jerry in particular.

Thought for sure “Caspian” was next, but no, for some reason Trey opted for “Twist,” which they’d just performed on Sunday at the Gorge. Huh. This version was pretty good, though, meandering a bit here and there, and arguably not as engaging a version as at the Gorge, but enjoyable nonetheless. And then another surprise with “Makisupa,” a song that’s made me giggle for thirty years. You’ve likely heard far more compelling versions of it before, but I’d much rather get it than another sloppy “Golgi” at this point (or a ballad that ought never to be performed in a second set).

Though it began roughly (Trey) and sans its intro, “Scents” had an enthralling jam that began softly like “Harry Hood” (Trey could have easily launched into the “Linus and Lucy” theme had the spirit moved him). And as exciting and powerful as BGCA1’s “Carini” is (the jam of the tour so far), this jam raged so mightily I thought it had the potential to unseat it, but no. It appeared to be heading to some gorgeous places, but surprisingly hit a wall, and dissolved into an unusual “What’s the Use?.” Why was "WTU?" unusual? Because after a few minutes, it went silent; there was essentially a “silent section” a la “Divided Sky,” with many wondering if Trey was even going to continue playing the song. Enjoyed this version quite a lot, and believe it was played quite well, with Trey channeling his inner Gilmour.

© 2018 Phish (Rene Huemer)
© 2018 Phish (Rene Huemer)

And like the “WTU?” before it, “Wedge” was executed brilliantly. The set-closing “Possum” that followed contained some extremely dissonant, mind-shriveling noise to be sure, but overall I loved its tension-and-release improvisation, and found it to be an excellent set-closer (especially since I'd feared a “Zero”). And the “Lizards” encore? While I’m sure it lulled at least some couch tour denizens to sleep, it brought tears to my eyes, as they played it so well.

Overall I thought this show was an easy 6.5/10 on the Scott Jordan Concert Review Poll scale (with 5/10 = average-great show), competitive with Gorge3 as an all-around “above average-great” show (among the top shows this year to date), even though the BGCA1 “Carini” (don’t miss this video) is still the jam to beat. Phish isn’t yet at the level of consistency they attained during summer tour ‘17, particularly throughout the BD shows, but there’s every reason to be confident that at times this summer (as they already have) Phish will improvise at their highest level. $0.02.

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Comments

, comment by TheBradley
TheBradley Excellent review! It followed very closely to my thoughts of the show.
, comment by GOODTIMESBADTIMES
GOODTIMESBADTIMES That review made me smile.
, comment by UseTheSchwartz
UseTheSchwartz “And it’s unfortunate that such an extreme, vicious, attack was committed not against the drunk frat-hat who’d just vomited on your girlfriend, but rather fans simply enjoying themselves and the music like the rest of us.”

So violence is OK as long as it’s against someone you don’t like. Cool.
, comment by FunkyCFunkyDo
FunkyCFunkyDo Good review, Charlie. Couldn’t agree more you your interpretation of set 2. Mrs Funky and I were jaws-on-the-FLOORED by how fluid and dynamic that set was.

Also, most importantly, thank you so much for your consideration of Ryan’s Driver. It is living proof, especially in light of what has happened in the periphery of this tour, that Phish fans are amazing, selfless, caring people who are capable of the most beautiful acts and actions. We are surrounded by those people, and there is a good chance you are one of them, show that to your neighbors at your next show. Create a positive environment, starting with yourself. Others will notice, be thankful, and reciprocate, I promise you that.
, comment by Piper72
Piper72 Great review!! Worth the read just for the line "I'm more often vibrating with angst and gas, than love and light".
, comment by hdorne
hdorne This performance of “Waking Up Dead” was on par with the Coventry “Glide” as one of the most embarrassing moments of this band’s career. Flubs are one thing, but that was a disaster. It didn’t sound like “Keepin’ it Real” was rehearsed well, either. You’d think you’d want to make a good first impression with a debut.

Second set was pretty good, but the first set really soured me on this show. I don’t expect first sets to wow me like second sets in terms of exploration, but at least give enough of a shit to practice your songs before taking people’s money for them to listen to it. This performance was lazy and unprofessional.
, comment by grupp92
grupp92 Gotta comment on this observation:"“Waking Up Dead,” a Mike song with some tricky guitar lines, was an interesting call. I really like the song, but as with “Sugar Shack,” I’d prefer Phish not play this if Trey’s just going to fart through it. Does a disservice to the quality of the song for its guitar lines to be executed so unprofessionally. Trey can obviously master this killer song, he just needs to rehearse it. Mike, Page and Fish tried to salvage the version to be sure, but yikes. "
Like Icculus the reviewer, I try to understand why Trey writes out and arranges scores for symphonies, writes songs and helps mount Broadway musicals, learns entire albums to cover for musical costumes, keeps Zappa tunes fresh in his mind - and "shits music" to quote FIsh, but won't go to the trouble of learning his part when Mike writes a tune. Murawski can play the tunes that come out of Mike's brain, breathing life into the music and rocking out pretty hard - so it can be done. Why doesn't Trey put in the time and the brain power to elevate songs by Mike that are not "Mike's Song"??
I have watched Trey verbally berate Fishman onstage when he flubbed "Colonel Forbin " at Red Rocks in 1996, telling him in front of 9500 people that he "needs to rehearse" - and yet when Mike throws his tune "IDEA" into the set at Portsmouth in 2010, or "Waking Up Dead" last night, and any number of times "Sugar Shack " gets called - Trey fumbles through like he just got roofied. Which sucks for fans, kills the flow of the set, and ought to be an insult for Mike. I understand Trey's gifts of music, his endless curiosity and dedication to his effects pedals, his toys, his ambition to keep making great music. But help your brother out and learn a little bit about Mike's sense of music - he's a little off, a bit out there perhaps - but you made him learn the good (Guyute) and mediocre (Time Turns Elastic) stuff that vaults out of your musical mind - so show us all the courtesy of stepping up and learning how Mike's songs go!
, comment by hdorne
hdorne @grupp92 said:
Gotta comment on this observation:"“Waking Up Dead,” a Mike song with some tricky guitar lines, was an interesting call. I really like the song, but as with “Sugar Shack,” I’d prefer Phish not play this if Trey’s just going to fart through it. Does a disservice to the quality of the song for its guitar lines to be executed so unprofessionally. Trey can obviously master this killer song, he just needs to rehearse it. Mike, Page and Fish tried to salvage the version to be sure, but yikes. "
Like Icculus the reviewer, I try to understand why Trey writes out and arranges scores for symphonies, writes songs and helps mount Broadway musicals, learns entire albums to cover for musical costumes, keeps Zappa tunes fresh in his mind - and "shits music" to quote FIsh, but won't go to the trouble of learning his part when Mike writes a tune. Murawski can play the tunes that come out of Mike's brain, breathing life into the music and rocking out pretty hard - so it can be done. Why doesn't Trey put in the time and the brain power to elevate songs by Mike that are not "Mike's Song"??
I have watched Trey verbally berate Fishman onstage when he flubbed "Colonel Forbin " at Red Rocks in 1996, telling him in front of 9500 people that he "needs to rehearse" - and yet when Mike throws his tune "IDEA" into the set at Portsmouth in 2010, or "Waking Up Dead" last night, and any number of times "Sugar Shack " gets called - Trey fumbles through like he just got roofied. Which sucks for fans, kills the flow of the set, and ought to be an insult for Mike. I understand Trey's gifts of music, his endless curiosity and dedication to his effects pedals, his toys, his ambition to keep making great music. But help your brother out and learn a little bit about Mike's sense of music - he's a little off, a bit out there perhaps - but you made him learn the good (Guyute) and mediocre (Time Turns Elastic) stuff that vaults out of your musical mind - so show us all the courtesy of stepping up and learning how Mike's songs go!
Very well put!
, comment by Nomidwestlove
Nomidwestlove Angst and gas!
, comment by gootch350
gootch350 Carini was only the third best jam of that night
, comment by LilJimmy
LilJimmy Why are people pushing this racial violence by nazis at the gorge narrative? From what I gather those 2 incidents at the gorge involved unrelated people in different areas of the venue, neither victim could identify who attacked them. There was a guy at the Gorge with a swastika tattoo who was photographed at some point before the shows , apparently that was all it took for this hyperbole. As of yesterday "No suspects have been identified. We’re exploring all possibilities but have developed no links. The persons who were involved with the nitrous (including the one seen on social media with the swastika tattoo) were identified and questioned by deputies but not arrested. None of those persons can be linked to the assaults. We’re still asking concert goers to let us know if they witnessed either of the assaults and can describe the suspects."

Nitrous is thought to be involved as well, the very few eyewitnesses have said that it was a guy who was seen selling gas, some online even saying that an attempted stealing of a tank was involved. These are rumors and should be treated as such.
The real story is that 2 people were attacked, we don't know why, or who by.

Why and what do you all want Phish to say about it? "Hey we heard there was some violence, we don't know the whole story but we just want to say don't do that... be nice..." ?

These 2 incidents of violence at the Gorge are disgusting, but to make that entire weekend about those two incidents is even more disgusting. I was there for 4 days and have been going to the Gorge for over 15 years, as always I was/am happy I went and had an amazing time at one of the most beautiful venues in the country.
, comment by FiveBranch
FiveBranch First set lacked personality. Ocelot excluding though, which was a little fur legged herald for the beautiful creature that I personally found to crawl out of the bay for the second set. From first note to last, is slithered with amphibious psychedelia and I would love to hear more sets embody this sort of animated wholeness. Each song selection intuitively followed the previous (did you catch Page’s grin when Trey decided upon the perfectly placed What’s the Use?), there was consistent tone to all of the improvisation, but enough variance and extending arch to keep it interesting (oh how Scents and Subtle Sounds glistened….), and the final result was sixty minutes of music that swept me away into a stylized world of wondrous phantasma. Looking forward to a return!
, comment by jaosnlikesphun
jaosnlikesphun @grupp92 said:
Gotta comment on this observation:"“Waking Up Dead,” a Mike song with some tricky guitar lines, was an interesting call. I really like the song, but as with “Sugar Shack,” I’d prefer Phish not play this if Trey’s just going to fart through it. Does a disservice to the quality of the song for its guitar lines to be executed so unprofessionally. Trey can obviously master this killer song, he just needs to rehearse it. Mike, Page and Fish tried to salvage the version to be sure, but yikes. "
Like Icculus the reviewer, I try to understand why Trey writes out and arranges scores for symphonies, writes songs and helps mount Broadway musicals, learns entire albums to cover for musical costumes, keeps Zappa tunes fresh in his mind - and "shits music" to quote FIsh, but won't go to the trouble of learning his part when Mike writes a tune. Murawski can play the tunes that come out of Mike's brain, breathing life into the music and rocking out pretty hard - so it can be done. Why doesn't Trey put in the time and the brain power to elevate songs by Mike that are not "Mike's Song"??
I have watched Trey verbally berate Fishman onstage when he flubbed "Colonel Forbin " at Red Rocks in 1996, telling him in front of 9500 people that he "needs to rehearse" - and yet when Mike throws his tune "IDEA" into the set at Portsmouth in 2010, or "Waking Up Dead" last night, and any number of times "Sugar Shack " gets called - Trey fumbles through like he just got roofied. Which sucks for fans, kills the flow of the set, and ought to be an insult for Mike. I understand Trey's gifts of music, his endless curiosity and dedication to his effects pedals, his toys, his ambition to keep making great music. But help your brother out and learn a little bit about Mike's sense of music - he's a little off, a bit out there perhaps - but you made him learn the good (Guyute) and mediocre (Time Turns Elastic) stuff that vaults out of your musical mind - so show us all the courtesy of stepping up and learning how Mike's songs go!
Agreed. #MikeSide
, comment by tmwsiy
tmwsiy @LilJimmy said:
....some online even saying that an attempted stealing of a tank was involved.
You honestly sound like Trump. "Many people say...." "People are saying..."

Why not come out straight away and say that you read that rumor or PT because that is the only cesspool where that narrative is mentioned.

It seems clear now that these two victims are unrelated and don't know each other. Let's not besmirch the integrity of the victims here please.
, comment by RunawayJim4180
RunawayJim4180 The main takeaway for me (a NH native living in LA) is how locked in the SF crowd was during the show. That silent moment in "What's the Use" was punctuated by a respectful silence from the crowd...no chatter, no drunken "YEAHHH" nonsense, just deference to the flow. Beautiful stuff!

Now only if the LA crowd would oblige in a similar fashion ;)
, comment by PhunkyBallOfTits
PhunkyBallOfTits @LilJimmy said:
Why are people pushing this racial violence by nazis at the gorge narrative? From what I gather those 2 incidents at the gorge involved unrelated people in different areas of the venue, neither victim could identify who attacked them. There was a guy at the Gorge with a swastika tattoo who was photographed at some point before the shows , apparently that was all it took for this hyperbole. As of yesterday "No suspects have been identified. We’re exploring all possibilities but have developed no links. The persons who were involved with the nitrous (including the one seen on social media with the swastika tattoo) were identified and questioned by deputies but not arrested. None of those persons can be linked to the assaults. We’re still asking concert goers to let us know if they witnessed either of the assaults and can describe the suspects."
I've never seen people with swastika tattoos selling gas at any show, and then they're on the scene and 2 malicious attacks occur. One person witnessed them with headsets on selling gas and communicating with each other. 2 people of color were attacked almost simultaneously on separate sides of the venue, in the same manner with rocks. It's not farfetched to think that the attacks were orchestrated. Seems like it's either a crazy coincidence or maybe like it could actually be them. Just sayin...
, comment by wombat6889
wombat6889 Great Review. I like when people can be honest and not take the musical feces they give us and call it caviar all the time. Because it is not. Trey's playing lately is just boring, and yes sloppy. Take a break from the 50 pedals and effects and maybe just work at playing the guitar again. Tired of hearing the same dark slow bullshit day in day out. I'll probably just sell my 3 sets of allstate floor tix instead of going. The music they make right now is not inspiring or moving whatsoever. Not to mention songs like more, rise up/come together, soul planet, etc are just terrible songs. The ocean is love? No, the ocean is dying due to human beings and their lack of respect for everything. Trey needs to pulsate his love and light back to his fingers and fretboard and get some precision back. Just my 2 cents :)
, comment by jsauce
jsauce I haven't listened to the show yet, but I do agree that sometimes they just phone it in. It's not like no one's listening, dudes. Maybe they just figure we're going to go no matter what, in which case the quote from bittersweet motel is finally right on target. You vote with your pocketbook, as they say. The first night of gorge was great, the second so-so. It's getting harder and harder to justify forking out the cash and the travel expenses to get unrehearsed BS.

@hdorne said:
This performance of “Waking Up Dead” was on par with the Coventry “Glide” as one of the most embarrassing moments of this band’s career. Flubs are one thing, but that was a disaster. It didn’t sound like “Keepin’ it Real” was rehearsed well, either. You’d think you’d want to make a good first impression with a debut.

Second set was pretty good, but the first set really soured me on this show. I don’t expect first sets to wow me like second sets in terms of exploration, but at least give enough of a shit to practice your songs before taking people’s money for them to listen to it. This performance was lazy and unprofessional.
, comment by ProfessorDude
ProfessorDude I thought that this was a fair review, and I appreciated Icculus's frankness in discussing what he took to be the weaker, as well as the stronger, aspects of the show as he experienced them. I want to dissent on just one point, however. The idea that the band, or its management, made the stream freely available in response to the fans who denounced the violence at the Gorge, is just laughably naive. Phish has a history of freebies going back to Amy's Farm and coming all the way down to the present with Live Bait releases and the occasion free webcast. I'd personally like to see the band make a public statement about the attacks on people of color at the Gorge, but that free webcast wasn't it; wasn't meant to be it; and shouldn't be taken as it.
, comment by LilJimmy
LilJimmy @tmwsiy Either way those are the rumors (Actually found on a website called reddit but apparently also on PT) and like I said in my very next next sentence "they should be treated as such". The point is we don't know, and that it would be just as illogical to automatically assume that it was a tank stealing incident.
I stated that the victims were unrelated and didn't know each other.
, comment by Fluffyfluffyhead
Fluffyfluffyhead Great review as always. You always deliver the facts. Thank you.
, comment by nesta
nesta Yikes, broheem! I cant play any of it, so im pretty much in awe anywayz.
, comment by OrangeSox
OrangeSox Enjoyable read as always @Icculus! I am personally thankful for your first paragraph, proud we are not just brushing that situation under the rug around here. You nailed that with playful tact. It is worth repeating that we are one big spirit family, and that attack was against all of us that have come to Phish to find our place in the world.

I would love to have read the Jaded Vet take on this show... I feel like that SYF would have put a crack in even the crustiest old heart, new songs be damned. But, that Waking Up Dead should put Trey in the doghouse! @grupp92 tells it like it is right here, and I completely agree. Trey, for the love of Gamehendge, take Mike's music seriously. He's providing a nice counterpoint to your approach, and his songs are worth learning to play well, as his solo shows prove again and again.

Finally, I just wanna share the love for Carini from N1. People are increasingly ready throw stones at anything they can lump in with "bliss" jams, but that Carini pummeled me right in the soft spot. I'd be embarrassed to admit how many times i listened before N2.
, comment by kipmat
kipmat @grupp92 said:
Murawski can play the tunes that come out of Mike's brain, breathing life into the music and rocking out pretty hard - so it can be done. Why doesn't Trey put in the time and the brain power to elevate songs by Mike that are not "Mike's Song"??
I generally agree with your point, but I think you answered your own question before you asked it - Scott Murawski was the guitarist for whom Mike composed these songs. The other aspect you didn't mention is that - gasp! - Trey's skills are eroding with age, and just can't play like he used to back in the 90s. I don't like it, but I can only accept it. :-)
, comment by kitnkaboodle
kitnkaboodle "Trey's skills are eroding with age, and just can't play like he used to back in the 90s"

What nonsense. His solos are still blistering, he just can't be bothered practice these songs before charging $80 per ticket and insulting Mike in the process. His skills are fine.
, comment by kitnkaboodle
kitnkaboodle @hdorne said:
This performance of “Waking Up Dead” was on par with the Coventry “Glide” as one of the most embarrassing moments of this band’s career. Flubs are one thing, but that was a disaster. It didn’t sound like “Keepin’ it Real” was rehearsed well, either. You’d think you’d want to make a good first impression with a debut.

Second set was pretty good, but the first set really soured me on this show. I don’t expect first sets to wow me like second sets in terms of exploration, but at least give enough of a shit to practice your songs before taking people’s money for them to listen to it. This performance was lazy and unprofessional.
My thoughts exactly.
, comment by kipmat
kipmat @kitnkaboodle said:
What nonsense. His solos are still blistering, he just can't be bothered practice these songs before charging $80 per ticket and insulting Mike in the process. His skills are fine.
If you’re correct, then Trey is better off playing his own songs rather than those written by Mike? Have a good time on TAB tour ;-)
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