I’ve quite deservedly earned the reputation of someone who complains a lot about the lack of Phish shows in Oregon. Going beyond my typical “Phish last played Oregon in 1999” whine, allow me to provide you some perspective as to why exactly this fact is so particularly unfathomable whilst pre-capping the band’s triumphant return to the Beaver State and their first annual visit to the Matthew Knight Arena. You read that right… this is a PRECAP of the Eugene show.

Because there are a limited number of us in the Pacific Northwest, there is no official webcast that will allow one of my east coast colleagues to do a couch tour recap, and there is a high likelihood that I will be unable to go to the show tonight, rage Eugene afterwards, drive to Seattle for the next show at the Key Arena, AND write a recap… I am going to provide a forecast for tonight’s gig based on a historical analysis of what came before. We can discuss your displeasure for this approach and/or how chillingly accurate (I am not crazy) my prognostication was in the comments below. But first… let’s get back to that whole perspective on the lack of Phish in the Pacific Northwest thing I mentioned above.

Matthew Knight Arena

The Grateful Dead last played in Eugene, Oregon on 6/19/94, performing their last show of a three night stand at Autzen Stadium. Inexplicably, the last time Phish played in Tracktown USA was a month earlier in the Silva Concert Hall at the Hult Center on 5/19/94. Let that sink in… the Grateful Dead… featuring Jerry Garcia on guitar… played in this Merry Prankster Mecca more recently than Phish. WTF? Having listened to all five of the previous Eugene shows in preparation for pre-capping tonight’s show I have to ask why? Why Phish WHY? Sure… there were subsequent shows in Salem and Portland as recently as 1999… but still… that’s 15 years without a Phish show in Oregon. Are you kidding me?

Prior to that seemingly final Hult Center show, Eugene had been enjoying a fairly regular return engagement with the Phish. One which previously had included one show each at Woodmen of the World Hall (4/4/91) and the University of Oregon’s EMU Ballroom (10/10/91) and two performances at the Hilton Ballroom (4/22/92 and 3/30/93). If the string of shows was a relay race, the Matthew Knight Arena show tonight is going to be the anchorman… a really slow anchorman who dropped the baton numerous times during his lap around the track and took forever to come back. But nevermind all that… let’s delve deeper into the past before we get to the prognostication. To understand where we ended up we have to go back from whence we came.

WOW Hall

The 4/4/91 WOW Hall show (capacity about 400) is best known for the “I Dream of Jean Jeannie” version of “David Bowie,” the intro for which, in addition to containing the aforementioned “Jeannie” theme song tease also has a clear through the wormhole puff of “Gotta Jibboo”... I shit you not. The “Bowie” jam is clearly the ferocious vortex that was required to suck the “Jibboo” smoke that far into the past. Go back and check it out and tell me I’m wrong… and then listen to the solid first set “YEM” while you are there. This show also features a first set “Colonel Forbin’s” > “Mockingbird,” a second set Fishman “Love You” long time, and a double encore each bearing two songs.

Six months and six days later (10/10/91), Phish doubled down (I’m noticing a trend) and through the sponsorship of Associated Students of the University of Oregon (ASUO) came back to play the EMU Ballroom (capacity about 800) and delivered a tight high energy affair that is really exemplified by an insane “Brother” and sublime “Reba” combo to open a solid second set that also features a great high energy “Antelope” and closes with a raging “Mike’s Groove.” Tack on a “Squirming Coil” with a tail of “Fire” encore and you really can’t complain, comrade.

EMU Ballroom, University of Oregon

Six months and twelve (double six) days later (4/22/92), the boys were back in town for U of O’s Earth Week celebration and the first of their two performances at the Hilton Ballroom (capacity about 1,400). An extended “Wilson” featuring an explanation of “The Secret Language Instructions” with Fishman on trombone is the centerpiece of a second set that also includes another glorious “YEM,” a “Cold as Ice” > “Cracklin’ Rosie” > “Cold as Ice” and the ever elusive WEST COAST “HARPUA!” complete with an invitation to Fishman’s after show party in his Hilton hotel room (623… factorially speaking). Anybody have any stories they want to share about that scene?

The following spring (3/30/93) Phish returned for their second engagement party at the Hilton Ballroom. To get a good grip on this show go directly to the first set “Stash” to hear an angry “Timber (Jerry)” jam morph into a delicate “Can’t You Hear Me Knocking” tease from Page. The second set is well constructed and a non-stop good time. The “Tweezer” is all about the chairman of the boards and some heavy metal funk before devolving into a “Lifeboy” breather to prepare for the “Psycho Killer Mike’s Groove” (dedicated to Mike… by Mike) that was going to comprise the meat of the set. This one also included Fishman’s take on “If I Only Had a Brain” and a “Big Ball Jam” for good measure.

Hilton Ballroom

Which brings us back to 5/19/94 and the Hult Center (capacity 2,448… another double double?), the band’s most recent visit to Eugene prior to this evening’s return. This one tears out of the gate with a streaking “Halley’s Comet” that crashes quite abruptly into the fifth consecutive “Llama” to be played in Eugene. Yup… every Eugene show to date has had one taboot, taboot. For the second Eugene show in a row… the first set is dominated by a sick “Stash” and the second set is built around a “Mike’s Groove” centerpiece. The “Theme to I Love Lucy” which appears in “Weekapaug,” “Big Ball Jam,” and “Harry Hood” completes the loop on television show teases that was initiated in the WOW Hall “Bowie” and the show concludes with a four song encore (more “Echoes” of 4/4/91) that includes another version of “Fire.” That’s “Fuego” in Spanish.

Silva Concert Hall at The Hult Center

Having safely returned back to the future we are now prepared to construct our great expectations for this evening in the form of some probable highlights of tonight’s show (see below). Taking heed of the great philosopher Carlos Santana’s words ”Those who cannot remember the pasta are condemned to reheat it” and “Only the Dead have seen the end of Weir” and based entirely on historical trends for Phish shows in Eugene, Oregon we can be absolutely sure of what should come to pass this evening. Phish just can’t help being Phish...and certain places attract certain songs like moths to a flame.

1. “Lllama” has been played at every Eugene show to date. Why break the streak now?
2. There will of course be a healthy selection of “Fuego” tunes...but considering the numerological recurrences of the past “555” is a lock.
3. The first set will feature another above average great performance of “Stash” that will include a rare opening frame Type II jam. That jam will be hotly debated for the “Dark Star” tease that it will be alleged to contain.
4. The second set will include an above average great performance of “Mike’s Groove” with multiple Simpson’s (goodnight Springton… there will be no encore) secret language cues, some humorous banter (are those things real?), and a cover of Pink Floyd’s “Careful with that Axe Eugene” somewhere in the mix.
5. There will be a Fishman song… it should be “Bike” for what it’s worth.
6. There will be an acappella song… fingers crossed for “The Birdwatcher” or “Free Bird!”
7. The other numbers that are already in the Eugene 50% club and therefore highly likely to be played include: “Suzy Greenberg,” “Golgi Apparatus,” “Poor Heart,” “Cavern,” “Divided Sky,” “Runaway Jim,” “The Horse” > “Silent in the Morning,” and “Sparkle.”
8. The songs that will join the club when they are performed this evening include: “All Things Reconsidered,” “Big Ball Jam,” “Fire,” “Foam,” “Glide,” “Guelah Papyrus,” “HYHU,” “My Friend My Friend,” “My Sweet One,” “Reba,” “Rift,” “Antelope,” “The Landlady,” “The Oh Kee Pah Ceremony,” “The Squirming Coil,” and “YEM.”
9. The encore will be a cover of the Lead Belly song “Goodnight Irene” played in the style of Eric Clapton’s cover of the tune with a lyric change to “Goodnight Eugene!”

I know what you are thinking. “All Things Reconsidered” even “The Landlady” doing “The Big Ball Jam” thinks that last one is a stretch. But hear me out. This year marks the 50th anniversary of prankster patron saint Ken Kesey’s gyppo logger master work Sometimes a Great Notion. The book about the lumberjacking Stamper family of Wakonda, Oregon takes it’s title from Leadbelly’s “Goodnight Irene” lyrics:

Sometimes I lives in the country,
Sometimes I lives in the town,
Sometimes I take a great notion,
To jump into the river an’ drown.

Which of course evokes visions of the similar rhyme scheme in the ever elusive, I’m talking the last one was at the E Center on 11/2/98 and we all know what happened there, WEST COAST “HARPUA”... wherein the Phish from Vermont will finally come back to your town Eugene...a nd help you party down. “Twenty Years Later”... it’s still upside down.

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With a great burden weighing on our hearts, we would like to share that our community lost two beautiful people when Larry and Denise Bressler were slain in their Pasadena, CA, home yesterday. While the circumstances are gruesome and not entirely known, we do know that Larry and Denise had taken in a family member who had fallen on hard times and was trying to right his course. This kind of generosity and kindness surprised no one who knew them, but it cost them an unthinkable price.

Larry was a chef and a teacher. As the General Manager of Chefs Center in Pasadena, he helped young chefs and restaurateurs reach their dreams. While many of us struggle to find even one true passion, let alone turn that passion into a life's work, Larry had fully developed two of them in his 50 years: food and music. He mused often about the similarities between the harmonies of flavor and the harmonies of sound. His talent and his boundless enthusiasm earned him the honor of cooking for many professional musicians, and that was his favorite thing to do in the whole wide world. If you've played at High Sierra Music Festival, chances are you've savored Larry's cooking backstage – quite possibly with Larry sitting beside you, asking about you, your bandmates, and where your tour would take you next.

Larry's commitment to personal growth was an inspiration to so many. He was a fixture at the Wharf Rats table, the Phellowship, and more, and coached countless people to sobriety over the years. After losing 180 pounds in his own heroic battle with food addiction, he had a brand new life stretched out before him full of health, possibilities, friends, music – and, of course, his beloved Denise (who had a pure singing voice whose power seemed almost impossible, coming as it did from a woman of her modest stature).

I was lucky enough to be Chef Larry's humble student, if informally, in both cooking and in life. He cooked beside me Saturday afternoon, pulling my ass out of the proverbial fire more than once, and refusing to leave until the job was done even though I'd made him and Denise terribly late for Tom Petty. After the show, they came back and had a plate. He wanted to talk about Phish and the upcoming shows here. We had no idea we were saying goodbye.

Though their Facebook walls are technicolor outpourings of love and despair from coast to coast and beyond, it is impossible to express how deeply this cuts, and for so many. This loss and this inexplicable absence will be profoundly felt and displayed out there this Fall, but there is nothing Larry and Denise would want more than for their friends to dance the pain away. Please do not underestimate the value of an understanding hand on a shoulder, or a held glance, or a smile over these next few weeks. We sure could use it about now.

Farewell, good friends. We love you, always.

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With the announcement of Phish's return to Miami for this year's NYE run -- which will mark the fourth time they have celebrated the New Year in the Sunshine State (third time in Miami) -- we thought we'd ask you about your favorite Florida Phish show. While there are some obvious front runners (one brought to mind by the recent leak of a certain video . . . ), there are other contenders that shouldn't be hastily overlooked. So share with us your thoughts. Participate. Rank.

Phishing Poll, Vol. 12: Best Florida Show

Below, please find a representative song or jam from each night to help you with your ranking.

2/22/1993, "Guelah Papyrus"
2/23/1993, "Paul and Silas"
2/25/1993, "HYHU > If I Only Had a Brain > HYHU"
2/26/1993, "Divided Sky"
2/27/1993, "The Curtain"
8/2/1993, "La Grange"
8/3/1993, "The Lizards"
4/28/1994, "Run Like an Antelope"
4/29/1994, "Reba"
4/30/1994, "Possum"
10/20/1994, "Glide"
10/21/1994, "Foreplay > Long Time"
10/22/1994, "Fluffhead"
10/23/1994, "You Enjoy Myself > The Vibration of Life > You Enjoy Myself"
11/12/1995, "Slave to the Traffic Light"
11/14/1995, "Stash"
11/15/1995, "Theme from the Bottom"
11/16/1995, "Timber (Jerry)"
10/29/1996. "Mike's Song"
11/2/1996, "Crosseyed and Painless"
11/3/1996, "Tweezer"
12/30/1999, "Light Up or Leave Me Alone"
12/31/1999, "Roses Are Free"
12/28/2003, "Frankie Says"
12/29/2003, "Piper"
12/30/2003, "P-Funk Medley"
12/31/2003, "Stash"
12/28/2009, "Harry Hood"
12/29/2009, "Gotta Jiboo"
12/30/2009, "Back On the Train"
12/31/2009, "Blue Moon"

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[Editor's Note: The staff here at phish.net was batting around the abundant merits of this summer's marquee jams, and thought we'd share our thoughts with you. Click through and read about the Randall's "Chalk Dust," the Dick's "Simple," and lots, lots more. This overview is not meant to be comprehensive; if your favorite jam isn't listed, it wasn't a slight. By all means please feel free to discuss your favorites in the comments. These jams are meticulously and painstakingly ranked... by date, ascending. -CB]

“Harry Hood” – 7/1/14, Mansfield, MA (Parker Harrington)
Tour openers are what Christmas mornings used to be for me as a kid: Tons of anticipation that builds, and builds. Regardless of what gifts Santa left under the tree, you were always around family and loved ones and the day provided fantastic memories. I’ve seen several dozen Phish tour openers over the years and they’ve been packed with epic jams, monster versions of classics, top shelf moments of the entire tour and plenty of Phish debuts. Of course, a shift in style or a glimpse into the future is often evident after long breaks and the advent of a new tour as well.

Walking into Great Woods, in Mansfield, MA on July 1st it was fun thinking about all the shows I had seen there as well as trying to guess what type of opener it would be? Shaking off the rust is always part of it but I think, that too, is part of the fun. But would there be more debuts? With the Fuego tunes looming for heavy rotation, that was unlikely. So I was indeed hoping for a tour highlight or two and a masterful take on a Phish classic staple. The only question left in my mind was just which song would it be?

The answer would not be revealed until deep into the second set in an intense, powerful, engaging and thoroughly magnificent “Harry Hood” that left jaws dropped to the ground and the feeling that indeed, “IT” can happen at any time. Phish littered the country over the summer with a seemingly endless supply of stellar “Hoods.” Yet of all the epic versions, Mansfield remains to many fans, me included, as the best “Hood” of the summer.

This near nineteen-minute monster – while not the longest of all the summer “Hoods” (but right up there) – packs a punch from the opening notes. A slow and steady crescendo builds confidently and consciously to the mid-point without a wasted note but having already covered tons of musical ground. Shifting effortlessly from a reggae infused feeling to deep spacey tones to wide open and carefree rock bliss, Phish had already provided a thrilling ride and the powerful, cathartic peak was still off in the horizon. Seemingly every venue and every stop of summer 2014 had at least one signature & marquee jam. Mansfield was no exception and this “Harry Hood” was most certainly a welcome omen for the tour to come.

“Fuego” – 7/4/14, Saratoga Springs, NY (John Demeter)
At their best – and often even at their medium-est – Phish plays the essence of their environment, or of the environment, conjuring the natural elements. Watery and fluid, light and airy, thunderous and grounding, or straight fire? On the 238th birthday of the United States, Phish opened set two with the title track of their new album and selected “All of the Above,” blithely transcending the cultural occasion and opting instead to drop some geologic history on us.

The composed section of “Fuego” fades after six minutes, and Trey leads with some tasty if not particularly noteworthy licks, using part of the vocal melody of the song to stretch out. Around 9:00, he recedes and plays a few trills, changing direction, with Page mimicking, the four members clearly listening intently and reacting. Fishman is a one-man band throughout, and a watery effect bubbles up near 10:00. For the next three minutes the jam dissolves to air, with spacious 4-way improvisation, grounded to earth by the delicate thunder of the drums, oriented once again by a faint reference to the vocal melody.

Around 13:40, magma begins to pool under Mike, and rises through in the form of a simple ascending progression, thick and heavy. The piece is not going to float off to the ether at this point; tangible mass has coalesced. Fish gravitates to the rhythm, Trey repeats a simple complementary riff. The next three minutes are magic. Or science. Or evolution. Or simply music. Trey subtly adjusts tone at the end of his repetitive rhythmic riff – the introduction of a highly reactive element that results in the volcano erupting right around 17:00, lava roiling to the surface. Not an explosion, no 4th of July fireworks, but absolutely molten, celebrating the universe for about two eternal minutes, drenched in white-hot earth gravy.

The peak – simple, elegant, and organic, yet so decisive it sounds composed – could be the kid brother (or perhaps the wise old uncle) of the Camden ‘99 “Chalk Dust” or Nassau ‘03 “Tweezer.” After yet another faint reference to the “Fuego” melody, the thing simmers down, all energy naturally expended, no effort or need to push any further. Lingering thumps from Mike and Fish solidify the ground underneath us, cooling to form a bedrock for the remaining phenomenal set of music.

“Chalk Dust Torture” – 7/13/14, New York, NY (Dan Purcell)
It starts with a lurch, like a 30-year-old Econoline full of vintage gear allowing itself a quick sputter before springing to life at a low idle. It ends 28 minutes later in an unrecognizable wash of color and texture before the drop into a remarkable version of “Light.” If summer 2014 were the Eurovision Song Contest, with points awarded on aggregate results, “Chalk Dust Torture” either would have been outright champeen or narrow bridesmaid to “Harry Hood,” and the glorious Randall’s Island “Chalk Dust” was, in my opinion at least, the jam of the tour.

The band’s deliberate tempo was a far cry from the traditional hyperspeed show-opening or first-set-closing “Chalk Dust.” One has to assume they were inviting themselves to jam; it’s easier to take a good look around when you’re not at a dead run out of the gate. Here, once the second chorus is over, there’s not much hesitation. Camped out on the grand, Page wants to move away from orthodox “Chalk Dust” blues-rock and explore the sunny pastures of the key of D major, so he tinkles away with his nimble right hand until he finally draws the band into a gorgeous two-chord progression that surges to a peak hot enough to anchor any second set. This is not even ten minutes in.

Penalize this jam if you must for hitting its crowd-pleasing peak at the beginning and not the end, but the ensuing twenty minutes don’t contain a dull moment. First there’s a modulation to a minor key and things get funkier; Trey even toys with the by-now-familiar three-chords-then-a-rest Tahoe “Tweezer” jam. Any attempts by the crowd to “Woo!” are buried under Page’s Rhodes and Jon Fishman doing any motherfucking thing he feels. As happened so often this summer, Page and Fish won’t let the jam go, rising and falling together. With so much energy and drive coming from the rhythm section, Trey is free to pick his spots: more chords and rhythm comping than blitzkrieg soloing, focused on adding subtle harmonic colors and small detours from the already-brilliant groove. I know you’ve all heard this jam a hundred times, but you could listen to it a hundred more and not hit bottom.

“Wombat” – 7/18/14, Chicago, IL (Tim Wade)
The Chicago “Wombat” isn’t what I would necessarily call a “great” jam, in that I think it would have a hard time making many Top 10 Improv lists from the tour. But it’s definitely got a spot on the summer 2014 highlight reel.

Bursting from an atypically subdued “Halley’s” outro, the first notes of “Wombat” are greeted with a huge cheer. Fishman’s vocals in this version are straight ridiculous and have Trey cracking up through most of the song. The jam starts with staccato plucking from Trey and typically tasty funk breakdowns. A syncopated, melodic section marks the first departure from typical “Wombat” territory, but that drops right back into the funk groove. At about 4:45 Trey finds a phrase to hook on to, is quickly followed by Page and then Mike, and the jam becomes dreamy and, in short order, fully type-II. After floating for a time, the music coalesces into a proud strut: The March of the Wombat. An enormous Cactus bomb punctuates this section, pushing Page to the Hammond. After much fluttering and warbling from both guitar and organ, the tempo slowly increases to a gallop. Page takes over on piano for a few minutes of celebration, and the jam culminates in a bit of distortion before Trey slams into “Chalk Dust.”

There is no getting around one glaring fact about “Wombat”: The song is plain silly. It employs an SAT vocabulary word in “crepuscular,” rhymes “centrifuge” with “Baton Rouge,” gives us the memorable slogan “cuddly but deadly” and came pre-packaged with an inside joke about Abe Vigoda. Not to mention it’s about an animal which has cubed-shaped feces and uses its thick, tough posterior for defense. When you add to that a deeply infectious funk groove and the preposterous rap stylings of Jon Fishman, you have a song that is truly Phishy. After all, this is band whose menagerie has included bazooka-toting llamas, knife-wielding pigs and more dogs than you can shake a stick at. But “Wombat” is more than just the goofiest song on Fuego. The song is immensely, almost impossibly, FUN!!

The Chicago “Wombat” represents a milestone, both for being the first version to break from its type-I burrow, and only the second track from Fuego to delve into type-II improv. Hopefully even those who roll their eyes and declare that they absolutely did not have to have that will be placated by the added potential of this song opening the door to jaw-dropping improvisation. We haven’t seen it yet, but 7/18/14 showed definitively that “Wombat” can be a jam vehicle. So either bring it forward, people, or leave it behind.

“The Wedge” -> “Ghost” – 7/20/14, Chicago, IL (Marty Acaster)
“The Wedge” is one of a handful of Phish songs that I believe would be welcomed by most attendees of any given show. It has lyrics that evoke both the aquatic tone and connection to the Earth that pervades the thematic construct the band has engineered, and the epic drives through some of the more beautiful parts of the North American continent that we can enjoy between tour stops. It reminds us that it is the journey through life – not the final destination – that is the real prize. However, beyond the location of the show, a random tease, or a rare guest appearance, no individual performance of “The Wedge” really stood out above any other. It is as utilitarian a song as the stonecutter’s tool for which it is named. Its role is to cleave the space that separates one chunk of rock from another.

Though initially unassuming and seemingly just another song to replace “I Am Hydrogen” in that evening’s “Mike’s Groove," the Northerly Island performance would become the most exploratory version of “The Wedge” Phish has played to date. It wasn’t even a particularly pleasing “average-great” performance of the song proper at first, and perhaps therein lies the key to the magic that ensued. The band seems to wobble unsteadily towards a sloppy and tired resolution of the song. However, reminiscent of any one of those moments during the Tahoe “Tweezer” when you thought the end had arrived… the band played on.

First keyed by Page and gradually building into a full band funky groove that hints of “Revival” and Siket Disco Dead jam space; the journey ultimately culminates in a glorious ride through “Paradise City” blasting “Roll with the Changes” on the car stereo. In other words, what is undoubtedly “the best” (read as most exploratory) Phish performance of “The Wedge,” was actually a subtle nod to Amfibian’s cover version of the song included on The Mockingbird Foundation’s Sharin’ in the Groove album. The SITG album version itself is undoubtedly dwarfed by the 45-minute long monster that was reportedly laid down during Amfibian’s recording session at Fireproof Studios in Brooklyn. Outtakes reel anybody? “The Wedge” returns to its expected conclusion and “Ghost” materializes from the cloud of shock and awe that hung over the island.

The composed portion of “Ghost” is equally nondescript and they miss the drop as is the norm these days, but the jam segment just tears right out of the gate. As stated in the jamming table, I described this “Ghost” thusly - Swirling Samurai with a Sawzall wields the power blade on a scintillating space disco mirror ball. What I mean by that is that I heard shades of “My Woman from Tokyo” as a precursor to a thrilling foray through a high energy heavy metal dance groove that reminded me a great deal of Oysterhead’s “Wield the Spade” being played by machine elves on performance enhancing drugs. Taken together, the meat of this particular “Mike’s Groove” sandwich was well marinated and particularly flavorful. Would eat it again.

“Carini” -> “Ghost” – 7/26/14, Columbia, MD (Dan Mielcarz)
After a solid first set with a stand out “Roggae," the band ferociously launches into the dark riff of “Carini" to start the second set. Slight vocal mix-up in the third verse, made up for by a terrifying scream by Fishman during the “people all were screaming when they saw the lump” line. Trey immediately launches into a ripping solo typical of “Carini," but about five minutes in Page moves to the Rhodes and things take a decidedly chill turn. Trey hits on some melodic lines backed by an ever evolving beat from Fish, all layered on top of some walking bass from Mike. For a song that starts off so angry, this gets very pretty very quickly. Page gets back to the baby grand, the tempo increases and Trey starts to fill a little more space with more rock and roll style riffs. Almost as soon as it begins, this section ends, heading into a more groove-oriented section, Trey playing more rhythmically, with Page on organ and Fish laying down a funky beat. This quickly changes into a thrilling rave-up section with some heavier chords and effects from Trey.

The band hits on a rhythmic theme and “Carini" comes to a close with a lighting fast key change into the opening notes of “Ghost.” It’s truly amazing how many places that “Carini” goes in such a short time. At the show, some folks were feeling like the jam ended prematurely, but on a deeper listen there is a lot to hear in those thirteen minutes, and the segue is just plain cool. As if they can’t get to the jam fast enough, the composed section of “Ghost” ends and takes a turn into a small spacey Animals-era Floyd section. This builds into a more classic rock feel with Trey hitting upon a riff that is similar to Judas Priests’ “Living After Midnight.”

But this is a friendly major-key riff that morphs and builds and climbs to a triumphant peak. During the show I compared it to the peak of the Great Went “Bathtub Gin.” On a relisten it isn’t quite that level, but it is in that same genre of Phish jams that I am unable to listen to without getting a big shit-eating grin on my face. Following the peak, the jam takes another turn, with Trey hitting his delay effects, Page on clav and Mike and Fish backing with a darker feel. This outro jam devolves and tumbles down until Trey launches into the opening riff of “Steam."

While largely overshadowed by the next night’s “Tweezerfest.” this “Carini” -> ”Ghost” combo from contains some truly fantastic playing, and is arguably more exploratory than anything from the 7/27/14 show. It stands as one example of many from the 2014 summer tour, demonstrating the band’s current ability to instantly turn the switch from composed tune to incredible improvisation with minimal noodling. Check it out!

“Tweezer” et al – 7/27/14, Columbia, MD (Charlie Dirksen)
If you’ve somehow managed not to hear the second set of MPP2, what are you waiting for? Are you concerned it might not hold-up to the hype, or at least not compete with the merits of the second sets of 2/20/93 Roxy, 5/7/94 Bomb Factory, 7/13/94 Big Birch, and 10/30/10 Boardwalk Hall, each of which involve “Tweezer” to varying degrees? Just like each of these sets, MPP2 is absolutely worth your time to hear, repeatedly.

A “Wilson” opener is often a good omen for the set if not the entire show (see for example 12/6/96 or 10/30/98 Vegas, 12/30/99 Cypress, 11/2/13 AC). “Tweezer” follows, and it isn’t long into the composed opening section before Trey repeats a “Back on the Train”-like riff, and Fish teases “Back on the Train,” which probably helped inspire Trey to return to a variation on the same riff as the “Tweezer” jam segment started, prompting Fish to begin playing “BOTT” again. Trey then modulates the key and begins playing and singing “BOTT,” singing a few verses before launching back into “Tweezer.”

This second “Tweezer” doesn’t last too long before “BOTT” kicks back in for another few verses, and then yes, “Tweezer” appears yet again. It’s this third “Tweezer” segment that contains some dazzling type II improv, as well as a jam for a spell that’s very “Manteca”-like. Of course, this set was just getting started at this point.

“Tweezer” makes several more appearances during it, getting sandwiched by “Free” while also sandwiching “Simple.” Surprisingly, “DwD” follows “Slave,” and there’s also a notably unusual jam out of “NICU” for a few minutes before the set concludes with a hilariously-absurd, must-hear performance by Fish of “Jennifer Dances” (with vacuum) and “I Been Around.” Watching the band slow-walk offstage while finishing “I Been Around” is, like this wonderful set, among the many highlights of 2014.

“Meatstick” – 7/30/14, Portsmouth, VA (Phillip Zerbo)
“Variety is the spice of life” may be a cliché, but it definitely applies to Phish. Even the most beloved Phish songs, played in more or less the same way, year after year, can lead to a rut. Just like people, songs don’t have to change who they are, dress up in some sexy outfit, or deny their essence in order to keep the audience on our toes. As an audience member, you never want to be too comfortable heading off to grab a beverage and hit the can; if it is true that we come to Phish shows in part because “it is never the same show twice” and “you never know what’s going to happen” then those things need to be actually true, right? “IT” is not always about hitting home runs. A few well placed singles and doubles – a little afternoon delight – something that kicks the spark that makes you realize why you seek “IT” in the first place.

So it is with the Portsmouth “Meatstick.” By the five minute mark we’ve wrapped up the dance, and in dozens of similar spots Trey would already be on to the next idea, ready to shift gears. But the funk is too thick, Page riding high and bouncy over the thick, indestructible backbone of Mike and Fish, with Trey content to take a shift bringing up the rear with flowing supportive rhythms. Chris Kuroda knows a moment as well as anyone and seizes upon the energy with cascading waves of visual bubbles that grew to compass not just the stage but the entire venue awning as a surround-sight psychedelic canvass. By 7:30, the “Meatstick” is fully consumed and we are engaged in type-II exploration. The jam doesn’t go that far out, the peak is perhaps a little muted… but none of that matters because the band grabbed a moment, they saw the hole and they hit it.

Phish played to the moment, reminding even the most jaded among us to stay on our toes, because you really don’t know what will happen next. No, the jam out of this “Meatstick” isn’t a top-x jam – it is may be the third or fourth best jam in the first four songs of the set that also witnessed versions of “Fuego,” “Jibboo” and “Piper” that all were among the best of summer for each respective song. Taken together as a package, the first 45+ minutes of the Portsmouth2 second set is among my favorite segments of the past summer.

“Simple” – 8/29/14, Commerce, CO (Chris Bertolet)
From the first notes, it is obvious that the band is blatantly jazzed to be playing this song: each of them simply stampedes out of the gates and gallops off for glory. And while it isn’t the year’s first noteworthy “Simple” – the version a few weeks earlier at Oak Mountain featured some majestic riffage and a blazing meteorite streaking across the Alabama sky to underscore the Universe’s approval, taboot – the Dick’s “Simple” ultimately proves to be the finest version in quite a few years, and an easy contender for jam of the summer.

Fishman relished his tip-of-the-spear role in many of this summer’s finest jams, kicking down doors and compelling his bandmates to follow him through. But this “Simple” is a different beast. Here, Fish is content to establish a blank canvas of open space and steady meter, and let his mates paint over it.

Each of them take a turn with the palette and brush. Everybody follows the familiar path for a short while until the 6:40 mark, when Mike strips out the Bb and C to introduce a patient and blissful meditation on the tonic F. Classic Phish here: breaking a harmonic conversation down to the most basic and bare to create infinite possibility. Around the nine minute mark, Trey introduces some syrupy, sultry blues riffs that keep matters earthbound a while longer, tugging on the reins a spell before Cutting The Fuck Loose and propelling the band through a set of incendiary peaks and crashing modal waves. Fifteen minutes in there is a full-band ebb, and Page pivots to his clav, proposing a funkier vector. By eighteen minutes, things get unlawfully raunchy as Trey’s guitar lines strongly suggest Bowie’s “Fame” – then Mike drops out for a few measures to build tension, eliciting huge cheers from the Colorado crowd when he re-enters the mix. Then, the afterglow.

Having listened to this several thousand times, it’s possible that I might be exaggerating when I say this is the funkiest thing Phish has played since 1997, but I really don’t think I am. Start to finish, this “Simple” is a devastatingly entertaining performance that you could drop on just about any non-fan you’ve struggled to convince. Or just put it on a loop and make it the soundtrack to your most awesome life. It’s that good.

“Mike’s Song” – 8/31/14 Commerce, CO (Chris Glushko)
Let me start by saying the Dick’s “Mike’s Song” is far from my favorite jam from the summer. That award goes to the Dick’s “Simple” with the Randall’s “Chalk Dust” nipping at its heels. I’d venture to say that the Dick’s “Mike’s” doesn’t even make my top 30 jams from summer. Hell, it’s not even in my top three jams from 8/31/14! With that said, you’re probably asking why I chose to write about it. The answer it quite simple – it has the potential to be the most important jam to come out of summer 2014.

From 1993 through 2000, “Mike’s Song” was one of the most deadly jam weapons in Phish’s arsenal. To discover some of the finest versions, check out the jamming chart. When the band came back in 2002 from the first hiatus, “Mike’s Song” lost its mojo. The band stretched out a few versions – see Cincinnati 2/21/03 – but none even came remotely close to the level of play from previous years. Then, when Phish returned to the stage in 2009 after a five-year “retirement,” they placed a renewed focus on playing their songs right. For “Mike’s Song,” this meant a return to the song’s form from the early 90s. What it also meant was not much room to open up the song – leaving us with versions that although fiery, felt very routine.

Five years later and we still have not had a “Mike’s Song” that deviated far from form… until Dick’s. In just over nine minutes, Phish played the best “Mike’s Song” of the last five years, and maybe even the best “Mike’s” since 2000. But more important, they delivered hope that “Mike’s” can one day return to greatness for every fan that’s crossed their fingers and said a little prayer at the start of a ‘09-’14 “Mike’s,” hoping that just maybe it might be the one the breaks the mold. The mold has now been broken. Let’s hope this is just a preview of great things to come in the fall.

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[Editor’s Note: We’d like to welcome guest blogger Satoshi Sakuraba - DH.]

I went to see Phish's 2014 summer tour in America from July 2nd to July 14th. I saw eight shows in two weeks at SPAC, The Mann, and Randall's Island. It was my longest trip in America so far, and the shows were very exciting. I liked SPAC3, Mann2, and Randalls3 because Phish seemed so focused. Also, I met a lot of my friends and hung out with them. I was happy to meet them.

SPAC – July 3
This is my favorite venue because the lot is the best, I'd been there two times before. I stayed at Phanart Pete's place in Albany, NY. I was surprised they opened with "Farmhouse." Actually, I didn't remember the show because I drunk a little moonshine in the parking lot and I had heavy jet lag. I passed out during the last part of the first set. I took an energy pill when they began the second set. It was so good. "Bathtub Gin," "Limb By Limb" and “Winterqueen” were the most impressive tunes. "Winterqueen" had an extremely beautiful melody. As you know it was composed by Trey and Tom Marshall. I went with Phanart Pete and Phootdoc to Putnam Den after the show, and enjoyed drinking, dancing, and eating pizza.

SPAC – July 4
My 3rd July 4th show, Happy Birthday America!! I tried to sing "The Star Spangled Banner." "555" was powerful. "Reba" was rhythmical, I danced. I felt that phans love for the band. One of my favorite tunes, "The Squirming Coil," was perfect as set closer. I was impressed with Page's solo. Beautiful. If Fish had not shouted his part it'd have been very good. Thanks Fish, I love you. It was a perfect first set after “Moma," I didn't like “Moma." I felt "Fuego" (20min) would transform this tour when I heard it.

SPAC – July 5
Pete, Scott, John, and I went to Dinosaur BBQ in Troy for lunch before the show. They opened with "Crowd Control." It was a good opener. "My Friend, My Friend" was beautiful, but Trey didn't play it well. It's okay, Trey! I was excited to hear "Foam" and "Divided Sky." I listened to "Wading in the Velvet Sea" and “David Bowie” carefully. The band concentrated well. They played "David Bowie" perfectly. The second set was so great. I can't describe how good those tunes were. "Carini," "Waves," "Wingsuit," "Piper," "Fluffhead," " Slave to the Traffic Light," and "You Enjoy Myself" were perfect.

I felt so HAPPY to hear “YEM” at SPAC, I love that venue.

The Mann – July 8
They played "Fuego" for about 26 minutes in the second set and it was amazing. I was impressed with just "Fuego" this night. It had a long jam, I thought there were some stories in the long jam. They did not just play, they made a story. "Tweezer" > "Ghost" > "2001" > "Harry Hood," and "Tweezer Reprise." I was blown away by them. I went to a post-show with Pete in downtown and met so many friends.

The Mann – July 9
Pete, Scott and I went to Dalessandro's and had hoagies for lunch. We met Stu and Erica there. They are my good friends. I didn't think my balls would fly this night, but it happened during the second set. They opened with "Chalk Dust Torture." "Wingsuit" was the most impressive tune this night. I was a little baked and tweeted some weird shit. The second set was amazing. It was exciting as SPAC3.

Off Day
Pete, Scott, and I went to Federal Donuts. It was my first experience. I ate four donuts. It was too much. I usually have one or two donuts in Japan. American stomachs are much bigger than Japanese I think. After that Pete and I drove to New Jersey.

Randall's Island July 11, 12, 13
Randall's Island was a very beautiful venue, so I couldn't believe that I was in NYC. The moon floated in the sky. My American friends drove me there from New Jersey. Most of the people brought their own chairs, picnic sheets, and their children played there. It was typical peaceful day. It was good!

I thought Phish played well at Randall's. "Steam" > "DwD" > "Golden Age" > "Limb By Limb" were great in the second set on July 11th. "Carini," "Ghost" > "Wingsuit" and the encore, "Joy" and "First Tube," were great on July 12th, too. Personally, July 13th was the best. The first set and second set were amazing. They played a 28-minute "Chalk Dust." Also "Tweezer," "Wading in the Velvet Sea," and “Slave to the Traffic Light” were perfect. I'd already lost my balls at The Mann before. I was baked during the show. I wanted to stay there as long as possible.

In my opinion SPAC3 was the best night this trip. "Carini," "Waves," and "Wingsuit" > "Piper" > "Fluffhead." Speechless. I've seen Phish 47 times in five years. Seeing Phish was my main purpose. I also wanted to meet my friends and make new friends. Many phans were so nice to me, even though I'd never met them before.

I completely forgot to say, even though I'm living in Japan near Tokyo, that it was not easy to go to America. To go to see Phish in America I needed to take a vacation for more than seven days. Maybe most Japanese phans have a problem, but I think going to see Phish in America is worth it for us. If Phish plays in Japan again, it'll be worth it. I don't know how many phans there are in Japan. Are there about 2,000 or 3,000?? I wasn't there, but Phish sold out a 3,000-seat venue in Japan. I think there aren't a lot of phans in Japan. Most of venues don't allow smoking inside, and they don't have a parking lot, so vendors can't sell stuff. And can't sell food.

I don't know who wants to go to Japan from America. If they come to Japan again, Japanese organizers will bring the venues of less than 5,000. I'd like to see Phish at a small venue in Japan, if they came back again to Japan someday. Tickets will probably 8,000yen each night (about $80 or $100.) Maybe.

One of my friends go to see Phish every tour. Other friends go there once every other year. Most Japanese phans go to America just for Phish, they spend a lot of money and time. I do too. I was happy to hear rumors that Phish would play again in Japan. It was just rumor. But I was excited when I heard that rumors. A lot of Japanese phans have been waiting for them since 2000.

Japanese Phans Love Phish!

I'll continue my trip looking for my balls.

To all my friends, all phans, and Phish: Thank you very much.

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With 39 days to wait for a new Phish show to be played, come waste your time with the 184th edition of Phish.Net's Mystery Jam Monday. The winner will receive an MP3 download courtesy of our friends at LivePhish.com / Nugs.Net. To win, be the first person to identify the song and date of the mystery jam clip. Each person gets one guess per day, with the second “day” starting after I post the hint. A hint will be posted on Tuesday if necessary, with the answer to follow on Wednesday. Good luck!

We're surprised to see how many tickets are still available for shows later this month featuring Trey and varous orchestras, performing pieces from his 30-year career as well as a brand new composition (for electric guitar and orchestra) that he's created just for this tour!

Consider the Hollywood Bowl show, Friday September 26th, featuring the Los Angeles Philharmonic conducted by Scott Dunn. Even if, somehow, the show itself (not to mention the venue) weren't compelling enough, consider the opening act: Richard Reed Parry (Arcade Fire), Bryce Dessner (The National), and the yMusic ensemble, performing selections from new release Music for Heart and Breath.

While tickets up front top $400, rear sections start at only $18 (!) - and while you won't see the bassoonist's fingers from the back, the sound is great. At that price, the music, venue, weather, and ticket availability make for a great family night - so, the Lemurians are coming kids-in-tow. If you are as well, let's aim for a Phish.net family gathering picnic outside pre-show?

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The Mimi Fishman Foundation has announced a new on-line charity auction in conjunction with Phish’s WaterWheel Foundation. Bidding has already begun on ticket/cd packages for every show on the fall tour, as well as a Las Vegas package which includes ticket to all three shows, overnight accommodations at the MGM Grand, and a bunch of other goodies. The proceeds of the auction, which closes September 18h, will benefit the organizations hosted at the WaterWheel table at each venue during the tour.

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You may have heard about the Philosophy School of Phish, which is directed by Professor Stephanie Jenkins, Ph.D., an assistant professor in the School of History, Philosophy, and Religion at Oregon State University. She is also co-director of the Phronesis Lab for Engaged Ethics, which concerns communicating with each other about ethical questions and issues in a pragmatic, active, and civil way, in order to foster greater experience and understanding of the human condition. See, e.g., this article from April 2014 about Dr. Jenkins’s work with high school students regarding whether whites owe blacks reparations for slavery.

Dr. Jenkins also recently invited Dr. Ellis Godard, Ph.D., the executive director of The Mockingbird Foundation and an associate professor of sociology at California State University Northridge, to answer questions from her students, and he did so in a post in July to this blog.

I asked Dr. Jenkins and a few of her students about the “Phishlosophy” course, and how it went.

Dr. Jenkins answered my questions as follows:

How did the course go?

From my perspective, the course was fantastic! This was a class that I’ve daydreamed about for years, but I never thought it would happen. I’m thrilled it came to life in this way, honored to have been a part of it, and grateful to those whose support made it possible. Obviously, there’s always room for improvement, but we had a successful start.

How many enrolled students were there, and where were they from (if you know)?

There were 15 students enrolled in the course. I really enjoyed the size. It was large enough to generate a lively conversation with different perspectives, yet small enough to get to know individual students. In addition to students from Oregon, there were students from across the country, including Illinois, Washington, and New Hampshire.

How many of them did you meet face-to-face and when/where?

I met three enrolled students in person at SPAC, Chicago, and MPP. I also had the opportunity to meet many philosophy majors and professors, as well as scholars from other fields, throughout the summer.

What are your favorite aspects of how the course went?

In no particular order:

1. MPP2’s magic: During the set break, I struck up a conversation with the phan sitting next to me, only to discover that he was taking the class! After this improbable meeting, we were gifted with an equally surprising Tweezerfest and Jennifer Dances!
2. Student emails: I always try to make my assignments engaging, but it can be hard- especially in courses that meet general education requirements- to make homework fun. This summer, I received regular messages from students telling me how much they enjoyed the assignments and a few even said they looked forward to writing their essays each week!
3. The Phish.net threads: One of my goals for the course was to create opportunities for interested phans to participate in the on-going philosophical dialogue, even if they weren’t enrolled in the course. Thank you to Phish.net, forum participants, and especially Dr. Ellis Godard (aka @Lemuria) for making the event possible and generating an interesting series of posts about Phish, music, and community. I still smile every time I think about @Lemuria’s comment, “I'm pretty sure that this is the first time Phish.net has ever had homework.”

What did you learn (from your students or otherwise)?

I learn from every course I teach through students’ questions and assignments, rereading the material, and the unpredictable back-and-forth of philosophical dialogue. It’s hard to summarize these findings, because they consist of ideas for future research and pedagogical strategies. The students introduced me to new perspectives, shows, case studies, and examples that will help with these future endeavors.

My favorite philosopher, Michael Foucault, wrote with the goal of creating “experience books.” He wrote to transform himself. What, after all, is the point of writing a book, if you’re the same person you were before you started, after it is finished? And, hopefully, readers of his books become different through their encounter with the text. This course affirmed my goal to create an experience classroom.

I can lecture to you about Nietzsche’s discussion of music in The Birth of Tragedy, but you’ll probably forget the content fairly quickly. If I pair the reading with a concert and you take Nietzsche’s conceptual tools with you, you’ll be able to test those ideas for yourself and apply them to a concrete situation. That’s the kind of learning that sticks.

What will you change about the course?

A few of the changes I plan on making include:

1. Content update: Some of the course content is specific to the 2014 Summer Tour, so I will update or modify those sections of the course.
2. Schedule change: The course ran during Oregon State University’s summer session 3, which is 8 weeks long, instead of our usual 10-week terms. Next time, I will opt for a full quarter over the accelerated session, which means some of the content will need to be reorganized to account for the slower pace.
3. Formalizing “Hangouts”: In addition to required assignments, students were able to participate in “Google Hangouts” with guest speakers, including authors of some of our readings. I interviewed the guests using questions generated by the class. Students were able to participate in the Hangouts themselves or watch the recordings at their convenience. This is the first time I have used this Google feature with a class, so it was a bit of an experiment. The feedback was overwhelmingly positive, so I will incorporate “Hangouts” more in future sessions of the course. Some of the Hangouts are publicly available and can be accessed at philosophyschoolofphish.com.

Will you be teaching the course again, and what are the details of when you'll be teaching it again, e.g., how can one enroll?

I will definitely teach the course again, most likely next summer. Once the course is officially on the course schedule, I will announce the details via my website and Twitter (@scjenkins).

For now, potential students can watch the course announcement video, check out the syllabus (subject to change), and find additional resources (including the Google Hangouts) on the course website.

Really cannot thank you enough, Dr. Jenkins, for this information, and for the idea of this course and your work in pragmatic philosophy! As you know, I also touched-base briefly with some of your students, and here is what they had to say.

How did you learn about the class?

[Michael Mason:] I heard about the class via a Google news alert for Phish-related news. Since I got my B.A. in philosophy and religious studies, I was instantly interested.

[Christopher Prinos:] I first learned about this class through a press release that hit my inbox via JamBase. Within 20 minutes I found out what I had to do to enroll in OSU's e-campus, and had filed the $20 application. Before I knew it I was enrolled and officially part of the course. I really had no idea what I was in for. I have a pretty demanding work schedule and this class hit me at a time when I was getting ready to start a stretch of Summer tour, 4th of July vacation, and a number of work-related trips. I dove right in and worked hard to stay on top of my work in the class, but, that said, I quickly found myself behind on a few assignments. After week three I had resigned myself to the fact that I was going to withdraw because I didn't think I could dedicate the time that the class, in my opinion, deserved. Thankfully, Stephanie worked with me and convinced me to stay in the class and I'm happy to say it was one of the highlights of my year. It was an AMAZING, fun, and rewarding experience for a 37-year-old Phish fan.

What did you like most about the School of Phish course?

[Michael Mason:] I most enjoyed getting to read other students' thoughts about Phish and philosophy; particularly the students who had not heard of Phish.

[Christopher Prinos:] I loved how Stephanie organized the course into weekly "themes." It was really very easy to roll week-to-week knowing you were focused on a particular topic -- whether it be aesthetics, the sublime, or community. The "structure" of the class was very well done.

Stephanie also blended classical and modern texts in a way that kept each week interesting. At times, reading some of the classical work from philosophers like Kant and Tolstoy was difficult, but it actually got me to approach reading in a more deliberate way -- something I hadn't been used to since my last trip to college.

The live hangouts with characters like Jesse Jarnow, Professor DeChaine, Dr. Ellis Godard, and Dr. Jeanette Bicknell (our text book author) were great. The Jarnow session was especially memorable, as his enthusiasm and perspective were infectious.

I also got to learn how college works TODAY. The whole concept of Blackboard, online discussions, and filing work electronically was really interesting. As someone who graduated in 1998, it was really amazing to see how things have changed.

The class and our coursework was in my head constantly throughout the 8 weeks. The class was in the middle of summer tour, so I would always be telling my friends what we were doing this week, etc., and sometimes I'd even share some of the readings with them. I remember whipping-out some of my Week One reading assignments late night after SPAC night one. I thought it was great that I was able to showcase what Stephanie was doing to a host of other people -- both phans and non-phans alike.

I also loved the fact that we were able to integrate field studies and actually meet our classmates. I met another student at MPP2 and ran into Stephanie at SPAC, Chicago and Merriweather. I feel like the class, in addition to offering a great experience, introduced me to some new friends I'll have forever.

What did you learn about Phish, or your appreciation of Phish, and/or Philosophy, in taking this class?

[Michael Mason:] In examining my own thoughts and feelings about phish during the course, I realized that the experience of the event itself is of the highest value. I recognize that a lot of fans enjoy recording the event and analyzing and critiquing the performance and keeping track of how many shows they've seen; and prior to the course, I was a bit envious and felt a little left out that I couldn't really get into it. After the thoughtful consideration of the course, I feel a degree of validation of my more existential focus.

[Christopher Prinos:] I learned / confirmed that, for me, Phish is truly about music, community, and experience. I also learned that even if you don't like Phish per se (like some of the students in our class), you really can't ignore the fact that the band and its fans have something special going on. As far as Philosophy is concerned, I learned a lot about looking at perspectives from all angles. I constantly found myself formulating my own opinions only to change them, and often change them again. I think the class did a great job of making you think at every turn with material that was fun, engaging, and -- of course -- Phishy.

Thanks very much to Dr. Jenkins, Michael Mason and Christopher Prinos for your time and effort on this piece! -charlie

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Last night Phish closed their fourth consecutive Labor Day run at Dick's Sporting Goods Park outside of Denver. In that relatively short period of time, the band has done more than just play twelve mostly above average shows at the otherwise soulless soccer stadium; they've created a new tradition. New Years Eve and Halloween will likely always be the two most hallowed days on the Phish calendar, but pencil in the Dick's run right below those. Fans are on notice, if they weren't already, that this isn't just another three-show run. Miss these shows at your peril, because it's no longer coincidence that Phish delivers outstanding shows at Dick's.

After two great shows to open the run, we knew we were going to be pouring from the proverbial gravy boat all night. Even a run of the mill show couldn't really tarnish either the run or the Dick's legacy, but the band made it clear with a cleanly played "Curtain With" opener, that there would be no need to entertain those possibilities. It's always good times when the boys take the stage looking for fun and a playful "Wombat" declared those intentions. Straight forward versions of "Kill Devil Falls," "Bouncing" and "Poor Heart" continued to show the band in good form, even if they didn't offer groundbreaking improvisation. "ASIHTOS" (aka "Assy Toes") provided the first, albeit brief, glimpse of deep improv. "Lawn Boy" let everyone catch their breath before jumping right back into the deep end with a stellar "Wolfman's Brother." Rather than proceed directly to the swampy funk peak as many versions tend to do, this "Wolfman's" took its time, hitting several slinky grooves along the way. Don't miss this one.

Photo © Andrea Nusinov

The Fuego combo of "Waiting All Night" and "Winterqueen" followed at which point many probably figured "Funky Bitch" would close the set. Phish had other ideas, though, and threw a quick "Tube" at us before closing the set with "Possum." Cooked low and slow, this "Possum" had a little extra mustard in the sauce as it finished off the best first set of the run on a high note.

As the Dick's run becomes a Labor Day tradition, Phish continues to build several traditions within the tradition. The most obvious is, of course, the first night spelling sets. Less obvious, but more rewarding, is the annual running of the Dick's "Chalk Dust Torture." Phish played standout versions of the song in the second sets of both the 2012 and 2013 runs and would do so again in 2014 (for the third consecutive year, on 8/31). Unlike the prior two years, type-II renditions of "CDT" have become expected over the course of 2014. But that doesn't make them any less appreciated, and this was certainly a keeper. Fish drove the band to deep space and back in this version. As the band returned from the beyond into a soaring jam, it appeared we might be heading from the land of "very good" into "great." Alas, just as Mike seemed to be starting up the third phase of the jam, Trey opted for what turned out to be a fairly standard "Twist." "The Wedge" followed and, while it, too, stuck to the script, this was a hot version.

At this point, everyone knew we were due for the "Tweezer" and the band did not disappoint. "Tweezer" methodically built to a rock peak vaguely reminiscent of the Dick's "Light," before melting into a "Sand" that would serve as the high point of the evening. Trey took immediate control of "Sand. " At the show it sure seemed like he led everyone back into "Tweezer," but, on reflection, it was probably just a tease. Whether the rest of the jam is "Tweezer" or "Sand" may be up for debate, but what is not is that this was pure insanity -- a jam from another dimension and the reason so many of us continue to travel so far to see as many shows as we can. A brief but fiery "Piper" kept the energy up before "Joy" provided the sole breather of the set.

Any thoughts that Phish would be ending the Sunday festivities on the early side were thrown to the wind when they started up "Mike's" just before 11:30 local time. There are three things I will take away from the 2014 Dick's run. The first is the "Simple" from night one that is, in my estimation, the single best jam of 2014. The second is the "Tweezer" -> "Sand" segment I just described. But in terms of pure elation, I'm not sure either of those moments will top being reunited with an old friend. "Mike's Song" has come in for its share of criticism in the 3.0 era as being too by-the-numbers. Grass roots campaigns to bring back the fabled "second jam" have been brought to band members' attention on at least two occasions. Those pleas have gone unanswered and we didn't get the second jam last night either. But what we did get was a truly unique and inspired reading of "Mike's Song" for the first time in nearly fifteen years. Deep into the gravy boat at this point, the band launched into "Sneaking Sally" in the traditional "Hydrogen" spot (as "Hydrogen" still has yet to make an appearance in 2014). "Weekapaug" served as the exclamation point to the deceptively jammy ten-song second set.

"Loving Cup" (rather than "Lushington") and "Tweezer Reprise" closed the book on Dick's 2014, as the band made their presumed midnight curfew with mere seconds to spare. As the house lights came on to chants of "We love Dick's," what we should have been chanting was "FOUR MORE YEARS!!!!!" See everyone next September 4th.

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[We’d like to welcome guest blogger Tanya Sperry for today’s recap - PZ]

Saturday night is the sweet spot of Phish’s 3-day Labor Day weekend run at Dick’s. With Friday’s anticipation out of the way and Monday’s post-weekend let down in the distant future, we were primed to enjoy some middle show bliss. Plus, it was one of those beautiful Denver Saturdays whose giant blue skies mocked sleeping in and inspired at least some hang time in the sun, if not a hike in the foothills or a stroll to a farmer’s market.

Photo by Andy Man, © Phish, Phish From the Road

There were gems in the first three songs that held possibility: a rare “Free” opener accompanied by gentle rain, Page’s re-invocation of John Paul Jones early in the “Moma,” and that hint of exploration in “Halley’s.” Together, they offered promise that tonight’s show could develop in any direction. As the set progressed from “Stealing Time” to “555,” “Rift” and “Sample,” an anthemic spirit was established. Fitting for a sold out, 26,000 capacity Saturday show, it was not surprising that Trey took the reigns. The set was mostly fueled by speedy acumen and arena rock with the exception of the juxtaposition of contemplative relationship songs “Devotion to a Dream” & “Yarmouth Road” (humorously resolved by “Sparkle”). Thank you, “Wingsuit,” for transporting us back to sweeter pastures and gliding gently into “Bowie.” A botched “Cavern” ended the set on a “Saturday Night Special note.

Photo © Phish, Phish From the Road

A hearty “Down with Disease” laced with “Fuego” melted lusciously into “What’s the Use?” And then “Carini” > “Light” > “Fuego” harnessed the rock energy, producing mellifluous improvisation that, in contrast to the playful, funk-infused Friday “Simple,” stayed rooted in rock and roll. The “Carini” jam, although less lengthy than some of its monster 2013 predecessors, featured an ascension from dark to light which, for me, was tonight’s co-highlight along with “Slave.”

Photo © Phish, Phish From the Road

“Light” brought us to the land of rhythmic goo, which led to a brief foray into the fading territory of woo (thankfully, this brief assault does not sully the recording), before landing at the inevitable “Fuego.”

I loved tonight’s “Slave” because it defied the night’s expectations. In the context of a Saturday night rock show, we got a tender, gentle “Slave” whose patient, thoughtful quiet section gave rise to a decisive, cleanly-resolved peak.

Photo © Phish, Phish From the Road

Another Dick’s “Meatstick” (they just can’t help themselves) and a rare “Bold as Love” girded us with the range of emotions explored tonight.

Tonight’s triple (or quadruple) encore featured the return of “The Horse,” foreshadowed in an obvious way by the event t-shirt and more subtly by some quiet “Call to the Post” noodling at the beginning of the second set. The band feigned a walk off, but thankfully stayed to play a giggly “Silent in the Morning,” after which Trey explained, “We used to do stupid stuff like that so much” in reference to the Horseless Silents and then an almost Silent-less Horse, which reminded him of the 1989 gag song, “In a Hole.” “Fluffhead” perfectly concluded the encore.

Photo @ Andrea Nusinov

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Our usually devoted recap team on site is still in recovery mode from the fun last night at Dick's. We'll be providing your regular recap coverage in a more reflective mode, when time allows us to give last night's show the proper treatment it deserves. In the interim, we invite you to catch up on the gig over at our friends at JamBase, and enjoy some photos from the gig. Whether watching at home or here on site, we wish everyone a great show tonight!

Photo © Paul Citone

Photo © Paul Citone

Photo © Paul Citone

Photo © Paul Citone

Photo © Paul Citone

Photo © Phish, Phish From the Road

Photo © Phish, Phish From the Road

Photo © Phish, Phish From the Road

Photo © Andrea Nusinov

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