“Look, man I've got certain information alright? Certain things have come to light, and uh, ya know, has it ever occurred to you, that uh, instead of uh, you know running around, uh uh, blaming me, given the nature of all this new shit, you know it, it it, this could be a uh, a lot more uh, uh, uh, uh, complex, I mean it's not just, it might not be, just such a simple, uh--you know?”

I had been asking for Phish to play in Bend for five years. Finally it has happened… to great effect. During the weeks that preceded the two Phish shows at the Les Schwab Amphitheater, several things were prevalent in the news. The region was embroiled in a sweltering and seemingly interminable heat wave. Due to a well-written but inarguably stale (to a geologist) piece in The New Yorker, the impending destruction of the Pacific Northwest by a massive megathrust earthquake and the accompanying tsunami it will spawn finally became a point of concern for everybody. Recreational cannabis is now legal. The New Horizons probe was beaming back our first high resolution views of the ice mountains and hydrocarbon lakes on Pluto. El Chapo is once again on the loose and threatening current Republican Presidential candidate front-runner El Donald with assassination. A robot passed a self-awareness test shortly after another had killed a man. Trey was playing guitar with the Grateful Dead. In other words… new shit was coming to light… and things were getting deliciously weird.

Photos by @tweeprise

Expect the unexpected is my early take on this summer tour. Only one show down and already three new songs had been played. Night two had to settle into a more familiar place, right? A patient, thoughtfully communicative “Stash” to open the show suggested that might be the case. The Phish debut of the Mike Gordon/Scott Murawski penned “How Many People Are You?” which followed destroyed that notion immediately. Imagine “Alabama Getaway” being played by Tom Petty and the Heartbreakers. What a tight fucking groooooooove. Hair follicles still tingling. I am hearing the Chilling, Thrilling Sounds of the Haunted House all over this one. Fishman is a beast. The question of the previous night was back... “What is going ON? Is this another new song?”

A pretty pleasing “Winterqueen” provided a cerebral massage that allowed me to ponder what else may be coming this evening. Trey and Page extol the virtues of The Teaches of Peaches and we get right back into fucking the pain away for real. A burning question for a decade or so has been, what the hell happened to the second jam in “Mike’s Song” anyway? The Phish debut of Page McConnell’s “Heavy Rotation” finally provided the answer. At this point, this show was starting to feel a lot like the 2/26/03 Worcester Centrum gig that featured a side project debut from every band member. Unexpectedly awesome.

Photo by Dave Vann © Phish 2015

Whatever Trey did to prepare for the Fare Thee Well gigs is really on display in “Back on the Train”... so many notes, great tone, a walk down the “Streets of Cairo” thrown in for good measure. Loving every moment of this. Did I mention Fishman is just crushing the beats? The Phish debut of Trey’s “Scabbard” artfully weaves threads of “Reba” with strains of “Fluffhead” and “Harry Hood” jams before decaying into a gorgeous outro that actually caused tears of joy to well up from somewhere deep within.

The manic haze of the “Maze” which followed caused that brief moment of sensitivity to run screaming, hair ablaze with a few strong “How Many People Are You?” teases along the way. Hot stuff. Exceedingly tight. But wait… there’s more. The fourth new Phish song, “Mercury” is a lyrical exploration of Mercury the planet, the messenger god, the element, and the pigment adorning the tomb of a Mayan queen beneath a limestone block pyramid at Palenque. A Marimba Lumina bridge transports us into an unbreakable safety net with a “Tweezer” cum “Help On the Way” outro jam and you have another winner. Awesome “Possum.”

Photo by Dave Vann © Phish 2015

The second set was a thematic construct based off the Cascadia Subduction Zone fears that had permeated the regional consciousness earlier in the month. A soaring “A Song I Heard the Ocean Sing” coupled with an invigorating splash through shimmering “Waves” was feeding me images of earthquakes and tsunami and the future cataclysm awaiting the Pacific Northwest. Rather than dwell on the potential horror of such an occurrence, I was carried aloft by the music and realized I was standing in a place that would be completely safe from that future moment of doom. The “Waves” outro jam veers into ambient space with some deep texture and augurs the next flight via “Wingsuit.” Another passionate rendition. Perfect placement. Killer skies. Get after it Trey! Third quarter very mellow and cerebral. Deep thoughts achieved.

Photo by Dave Vann © Phish 2015

The back to back combo of “Farmhouse” and “Simple” made my wife very happy. But who can blame her? A soulful and sweet embrace followed by some deep dark dirty grime. I stomped a hole in the ground during “First Tube” which despite a few clams was searing in its intensity. A “Bathtub Gin” encore? When was the last time that happened? Over nineteen years ago (7/12/96 Melkweg, 643 shows ago). The day I told my boss in Reading, Pennsylvania that I had decided to move to Oregon and set in motion the long incredible chain of events that had lead to the exact moment I was experiencing in real life. This was a true family affair. Thanks to all of you who participated both here and at home. Team Acaster shall remain perpetually mind blown by everything. Happy to be heading south. See you at Shoreline.

Phish Summer 2015 – Setlists & Recaps
07/21/15 Setlist – Recap – Bend 1
07/22/15 Setlist – Recap – Bend 2
07/24/15 Setlist – Recap, Recap2 – Shoreline
07/25/15 Setlist – Recap – LA Forum
07/28/15 Setlist – Recap – Austin
07/29/15 Setlist – Recap – Grand Prarie
07/31/15 Setlist – Recap – Atlanta 1
08/01/15 Setlist – Recap – Atlanta 2
08/02/15 Setlist – Recap – Tuscaloosa
08/04/15 Setlist – Recap – Nashville
08/05/15 Setlist – Recap – Kansas City
08/07/15 Setlist – Recap – Blossom
08/08/15 Setlist – Recap – Alpine 1
08/09/15 Setlist – Recap – Apline 2
08/11/15 Setlist – Recap – Mann 1
08/12/15 Setlist – Recap – Mann 2
08/14/15 Setlist – Recap – Raleigh
08/15/15 Setlist – Recap – Merriweather 1
08/16/15 Setlist – Recap – Merriweather 2
08/21/15 Setlist – Recap – Magnaball 1
08/22/15 Setlist – Recap – Magnaball 2
08/23/15 Setlist – Recap – Magnaball 3
09/04/15 Setlist – Recap – Dick's 1
09/05/15 Setlist – Recap – Dick's 2
09/06/15 Setlist – Recap – Dick's 3

Official Bend Poster • 18x24 Limited Edition of 700 • By Jackson Tupper

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Heading into my fourth consecutive summer tour opener, I feel like I've been to enough of these launchpad shows to learn what to expect: nothing, just enjoy the moment. As tours progress and the band gets tighter and more oiled simultaneously, the shows tend to get better; it's been almost seven months since the band walked off the stage in Miami after a successful run of shows. Since then, Trey famously performed as sideman for another band of lore, and Mike had a well-received tour with his revamped touring ensemble. In any case, there's a certain excitement in the air when these guys walk out on stage for the first time in a while. The fans of course add to that energy, but you can also see it on the faces of Mike, Page, Fish and Trey when they plug in and get set to hit that first note of summer. Enjoy the friends and fans who travelled from afar to see the boys from Vermont, and chances are, Phish will offer up a surprise or two that you hadn't anticipated.

Bend is a hip, smallish city located on the eastern slope of the Cascade Mountains in central Oregon. The cool/crunchy downtown reminds me of Burlington, VT in some ways, and there's tons to do in the area. The Les Schwab Amphitheater is small by Phish’s standards with a capacity of 8,000 and offers the appeal of both a picturesque Western setting and relatively intimate size.

7/21/15 Setlist • Live Phish Official Sounboard Download

Once inside the venue it was easy to get situated just about anywhere you wanted. Because of a local noise ordinance which takes effect at 10:00 PM, Phish took the stage far earlier than customary, at 6:24 PM. Since sunset in Bend occurred at 8:41, CK5 had a less noticeable role with the lights during the first set and into the early part of the second. But cleverly, he pointed his digital LEDs out at the audience during the daylight portion, which added some interesting color to the foreground. Crystal clear skies were on order, and a warm but not hot temperature of about 81F° prevailed as the band hit the stage.

Photo @brianfeller

The first set featured a healthy dose of funk-infused songs, including “Sand,” “555,” “Tube,” and “Wolfman's Brother.” “Sand” arriving in the number two slot after the crowd pleasing “Sample” opener took many by surprise, but the surprise was welcome, and the whole place was immediately bopping to the crescendo-oriented groove. Interspersed with the funkier songs were a variety songs from the Phish canon, including the debut of the Trey/Tom Marshall original, “Blaze On.” The crowd seemed to laugh a lot during the lyrical portion of the song, and at first, it seemed a bit sing-song-like. But once the jam portion began, this new number suggested some great potential for future improvisation. None of the songs from the first set had noteworthy jams. On the other hand, the band sounded well rehearsed, and the playing was spot on with the exception of “Horn” which seemed to give Trey some troubles. But he made up for it in spades, and he gets my vote for the MVP of Bend I. Clearly, his efforts with the Grateful Dead are paying dividends now with Phish. Following another crescendo-oriented jam in “Wolfman's,” the band departed for set break at 7:37.

Photo © Phish From the Road

When Phish retook the stage at 8:11, the sun was mostly down and the temperature had dropped to a comfortable 73F°. The second set would prove to be similar in many ways to the first. While there were no major jams of note, the playing was excellent, there was an abundance of funk, and the band debuted two more songs. “Fuego” seemed like it had the most potential to stretch out for a ride, but instead the band decided to transition to another new song, “Shade.” While this song seems to have a bit of a ballad quality that some fans viewed as an opportunity to hit the restrooms, I thought Trey's solo was excellent, and another example of the benefit of his work for the GD50 shows.

Photo © Phish From the Road

From there the band launched into another debut, “No Men In No Man's Land.” This song is great, perhaps the song highlight of the show, combining funk with a quick tempo and great syncopated play. It's a bit like “Tube,” but features more interplay between Trey and Page, and the dance-till-you-drop jam section lasted much longer than your garden variety “Tube.” Coupled with a solid “Weekapaug,” which was followed by Stevie Wonder's “Boogie On Reggae Woman,” as well as a benign “Ghost” at the beginning of the set, the funky theme was on display throughout the evening. A predictably rousing “Chalk Dust Torture” had the crowds pumping fists as the band left the stage for a brief encore break. Returning to the stage, the band closed the night with a strong “Theme,” and once again Trey's musicianship was excellent.

Photos © Phish From the Road

My takeaway from this show is twofold: First, Phish is absolutely not a nostalgia act, riding on a tsunami of songs written thirty or more years ago. Seven of the songs performed were either brand new, or are very recent. That they are continuing to write and play new music is a sign to me that these guys still mean business. And while the big improvisational jams were not a factor in tonight's show, at least a couple of the new songs seem to have great potential. The second is that this band is playing very well for the first show of the summer. With the exception of one hiccup in “Horn,” Trey sounded terrific all night, and both Mike and Page were their usual exemplary selves. The jams will come. But this was a great showing in terms of competent, cohesive playing. Meanwhile, a mix of funky dance-along songs and spirited peaking jams kept the crowd happy and engaged. And finally, for an east coaster seeing his first west coast show, Bend is a pretty damn sweet place to see a Phish concert in mid summer!

You can feel good about Mount Hood. Photo © Mike Gordon

Phish Summer 2015 – Setlists & Recaps
07/21/15 Setlist – Recap – Bend 1
07/22/15 Setlist – Recap – Bend 2
07/24/15 Setlist – Recap, Recap2 – Shoreline
07/25/15 Setlist – Recap – LA Forum
07/28/15 Setlist – Recap – Austin
07/29/15 Setlist – Recap – Grand Prarie
07/31/15 Setlist – Recap – Atlanta 1
08/01/15 Setlist – Recap – Atlanta 2
08/02/15 Setlist – Recap – Tuscaloosa
08/04/15 Setlist – Recap – Nashville
08/05/15 Setlist – Recap – Kansas City
08/07/15 Setlist – Recap – Blossom
08/08/15 Setlist – Recap – Alpine 1
08/09/15 Setlist – Recap – Apline 2
08/11/15 Setlist – Recap – Mann 1
08/12/15 Setlist – Recap – Mann 2
08/14/15 Setlist – Recap – Raleigh
08/15/15 Setlist – Recap – Merriweather 1
08/16/15 Setlist – Recap – Merriweather 2
08/21/15 Setlist – Recap – Magnaball 1
08/22/15 Setlist – Recap – Magnaball 2
08/23/15 Setlist – Recap – Magnaball 3
09/04/15 Setlist – Recap – Dick's 1
09/05/15 Setlist – Recap – Dick's 2
09/06/15 Setlist – Recap – Dick's 3

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Happy Summer Tour Eve, and welcome to the 192th 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!

Answer: With his sixth win, @PersnicketyJim joins @mcgrupp81 and @ucpete on the precipice of emeritus-hood, identifying the 12/5/99 Taste.

The folks at LivePhish have released Live Bait Volume 11 as a free download, featuring tracks from previous shows from cities Phish will perform on the 2015 summer tour that begins next week. The collection includes the following:

- "Prince Caspian" > "Light" from 2012-09-01 at Dick's Sporting Goods Park - Commerce City, CO
- "Runaway Jim" from 1997-07-31 at Shoreline Amphitheatre - Mountain View, CA
- "Tweezer" from 1996-12-01 at Pauley Pavilion – University of California Los Angeles, Los Angeles, CA
- "You Enjoy Myself" from 1995-10-14 at Austin Music Hall – Austin, TX – with Medeski Martin & Wood and Dominic Placco
- "Stash" > "I Didn't Know" from 1995-06-15 at Lakewood Amphitheatre – Atlanta, GA
- "Mike's Song" > "I Am Hydrogen" > "Weekapaug Groove" from 1991-11-08 at Ivory Tusk – Tuscaloosa, AL
- "Bathtub Gin" > "The Vibration of Life" from 1996-11-19 at Municipal Auditorium – Kansas City, MO
- "Halley's Comet" from 2000-09-18 at Blossom Music Center – Cuyahoga Falls, OH
- "Reba" from 1997-08-09 at Alpine Valley Music Theatre – East Troy, WI
- "Split Open and Melt" from 2000-06-25 at ALLTEL Pavilion at Walnut Creek – Raleigh, NC
- "Harry Hood" from 1998-08-08 Merriweather Post Pavilion – Columbia, MD
- "Storage Jam" > "Sleeping Monkey" from 2011-07-02 SuperBall IX – Watkins Glen International, Watkins Glen, NY

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The celebration of fifty years of the Grateful Dead came to a bittersweet conclusion on Sunday at Chicago’s Soldier Field, the last of five “Fare Thee Well” concerts billed as the final shows of this quintessentially American of institutions. During this abbreviated final run of shows – that some had labelled a nostalgia trip or worse, a “cash grab” – a band emerged that very closely approximated the spirit of the Grateful Dead. Not just in the authenticity provided by a lineup of its surviving members, but in the truest spirit of the band, producing music that – in, at times, brilliant flashes – transcended all the bullshit, and gave us the real thing.

Photo © @soldierfield

Before the first set began, the band gathered to offer bows to audience and a group hug before The Last Grateful Dead Show Ever. Constructing the final setlist must have been an enormously difficult task – one last shot at their enormous repertoire as a group. The celebration kicked off with a rousing “China Cat Sunflower” > “I Know You Rider” with Trey and Bruce trading verses on “China Cat” and Bobby taking lead vocals on “IKYR.” As was the case for large segments of this run, Trey shined throughout, weaving leads both delicate and powerful. They opted for a democratic approach with Bobby, Phil and Trey sharing Garcia’s signature “I wish I was a headlight, on a northbound train” line, and the fifteen-minute combo set a tone of celebration and earnest joy for the gig. “Estimated Prophet” added to this first set’s “second-set feel.” Approached with an almost funereal pace that saw Trey intently following Bobby’s lead to keep (the lack of) pace, the jam nevertheless gathered some steam toward the end.

“Built to Last” was offered seemingly not as self-congratulations, but as a nod to the enduring bond between the band and its fans. Bruce assumed the vocal duties, but it was Trey who would shine on this tune with confidently delivered lines that floated effortlessly and optimistically. “Samson and Delilah” rarely missed a Sunday show, and this version stayed true to the Dead’s history, even in the band’s heyday, of often sloppy performances. Phil’s “Mountains of the Moon” was a surprise call, given that it was never performed in a Dead show after 1969. “Mountains of the Moon” sent more than a few fans to the restroom and concessions, but that would have been a mistake; “Mountains” was brilliant, easily provided the jamming highlight of the first set, and one of the most patient, balanced, and engaging conversational passages of the entire run. The traditionally spirited “Throwing Stones” closed the set with an almost unrecognizably slow pace. At one point it seemed that Bobby had forgotten the song’s lyrics and we were heading for a “senior moment” but instead he delivered a modern day improvisation that “you can buy the whole goddamn government today!” We give you a hard time, but we love you, Bobby!

Photo © @languagestrange

The second set began with fireworks (literally) and then opened with their first big radio “hit” (and one of only two repeats from Santa Clara), “Truckin’.” “Cassidy” offered a good-bye from the band – “Faring thee well now / Let your life proceed by its own design / Nothing to tell now / Let the words be yours, I'm done with mine” – and also the jamming highlight of the second set, twelve blissful minutes that would have been notable show highlights in almost any Grateful Dead era. Trey took a crack at Garcia’s loved “Althea” that was compact but far from throw-away before yielding to the beloved “Terrapin Station.” Phil and Bobby traded vocal versus on this “Terrapin” that proved one of the only questionable decisions of the night, as the band was unable to find solid footing in the basic mechanics of the song.

After the final “Drums” -> “Space” segment – augmented by an array of psychedelic computer graphics on the venue’s massive video screen as well as on the webcast feed, in the event that stuff wasn’t already happening inside your head – Phil offered another moving testament to the collective love that all had gathered to celebrate with “Unbroken Chain.” Though born in the band’s prime and appearing on 1974’s From the Mars Hotel, “Unbroken Chain” almost never made it into the Dead's live repertoire, emerging only in the spring of 1995 just months before Garcia’s passing, also appearing in the Dead’s final Soldier Field performance on 7/9/95. They made it through the composed section mostly unscathed and validated the choice with an inspired if brief jam. Bobby then delivered a moving rendition of the final Garcia ballad performed by this band, “Days Between,” with the set predictably concluding with “Not Fade Away.” Trey, Bruce and Bobby shared vocals on the “Touch of Grey” encore that hilariously saw Bobby donning a “Let Trey Sing” t-shirt… never too late for one final joke. Never trust a prankster! A single encore would simply not suffice and the band returned one more time for a touching “Attics of My Life.”

Photo © @jayblakesberg

Especially given the unrelenting amount of shit given by many fans in the lead-up to the event's organizer, Pete Shapiro, for everything from ticket prices and distribution to the show’s venues, it should be said that these events were exceptionally well-run, professional, and fan friendly. The record-breaking crowds of 70k+ in attendance each day truly put the revamped Soldier Field facilities to the test, with bathroom and concession lines often challenging, and the biggest complaint being the congestion ordeal of exiting the venue on the routes back to civilization. But other than some of these difficulties inherent in any big event, those in attendance seemed no worse off from the experience (far from it!). The in-venue visuals by Candace Brightman and Paul Hoffman were spectacular, and the at-home production was also stellar, with virtually flawless delivery, outstanding production value, crystal clear and full sound, and magnificent halftime video montages by Justin Kreutzmann with original music by Neal Casal. There were a million things that could have gone wrong, but most everything went right; so kudos to everyone involved in putting together these historic events in a way that allowed fans to keep their focus where it belonged, on the stage.

Photo © @languagestrange

The band on that stage produced some truly inspired music. I’ll readily admit that I was skeptical from the outset – these guys don’t play together regularly, for reasons. The Grateful Dead was a democratic institution to a fault, and you don’t need to be a rock-and-roll hall famer to know that sometimes you just want to do your own thing, the way you want. Put those guys who are used to having things precisely their way back into that democratic cauldron… it doesn’t often work. To be honest, it hasn't worked all that well in the post-Jerry attempts to date. That they put aside those differences to gather as a group one last time was no surprise, as the incentives to do so were plentiful. That they did so and produced music of a quality that was deserving of the mantle of the band’s name, Grateful Dead – that surprised me. To Bobby, Phil, Mickey and Billy: thank you, for this weekend, and for the music that has been the soundtrack to my life since my first show in 1981. Bruce Hornsby and Jeff Chimenti also deserve the appreciation, respect, and thanks of fans for their contributions to this continuum of music known as the Grateful Dead.

Photo © @languagestrange

These shows were clearly not about Trey Anastasio. But we’re covering this on phish.net because of his involvement, so a few concluding words about his performace are in order. What a moment for him… as happy as I was to be listening to my favorite living musician playing with the band I grew up with, I was more happy for Trey. This obviously was far from the first time he’s had the opportunity to play these songs with members of the Dead, but to be able to attack the catalog so fully, to not only perform the songs but really lead the band through jam after jam, on the biggest of stages, it was a profound joy to witness. Grateful Dead music that is good requires a lead guitarist who can execute the compositions competently; Grateful Dead music that is great requires a lead guitarist that can converse as an equal, but also put the band on his shoulders and elevate the whole. Trey did both. Trey Anastasio didn’t need the validation of being able to fill the hardest hole to fill in all of rock and roll – and to gain the appreciation, respect and even love of the only rock audience more skeptical than Phish fans – to be known by many as the world’s greatest living rock musician. But it sure doesn’t hurt. The implications for Phish of this experience? Could be huge... simply huge.

Sayin’ thank you!… for a real good time!

–Phillip Zerbo

(Chicago1 Recap; Chicago2 Recap)

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Welcome to the 191th edition of Phish.Net's Mystery Jam Monday! Because last week's entry stumped the contestants, the winner will receive two MP3 downloads 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. May thee fare weller than last week!

Answer: First-time winner @stillwaitin wasted no time in quickly identifying the mystery jam. This week's clip was taken from the tail-end of the 10/6/00 Chalk Dust Torture, which features Trey's fellow Fare-Thee-Weller, Mr. Bob Weir.

Happy Fourth of July! Let’s get right to the action from Saturday’s Fare Thee Well gig from Chicago’s Soldier Field...

“Shakedown Street” kicked off the gig a little after 7:30 local time with Bobby taking the vocals, which he would do in whole or in part on no less than six traditionally “Jerry songs” this night. On paper this opener may look deceptively good – a fifteen minute “Shakedown” is usually cause for great excitement. The reality was something less than that headline grabber would indicate, as the song suffered from deficits of pace, direction and energy that made it a fan favorite in the Dead’s heyday. “Shakedown” wasn’t a total trainwreck, but it never found a long enough straight-away to gather momentum.

Photo @languagestrange

Garcia/Hunter’s 90’s-era optimistic anthemic “Liberty” was the first of several nods to the 4th of July holiday, again with Bobby at the vocal helm. Trey took his only solo lead vocal of the set with “Standing on the Moon.” This was a brilliant call for its placement in the first set, removing it from the shadow of the late-second set tear-jerking centerpiece role where Jerry wrote substantial chapters of his legacy. Trey acquitted himself well with a tender, convincing and respectful offering of the song, acknowledged with a hug from Phil at its conclusion.

The balance of the set settled into a familiar song-oriented approach of Bobby-driven cowboy and blues tunes typical of Grateful Dead first sets, with improvisation relegated to a supporting role. “Me & My Uncle,” “Tennessee Jed” (a rotation of Bobby, Bruce and Trey vocals), “Cumberland Blues” and “Little Red Rooster” filled out this Bobby-centric segment. Phil stepped up to the mic for “Friend of the Devil” that was notable for a Trey and Bruce tag team trade-off of solos that neither seemed to want to end. The 80-minute set was capped off by a ripping “Deal” (Trey and Bruce on vocals) that was the set's highlight, recapturing some of the spark that was more consistently evidenced in Friday’s show.

Photo @andreanusinov

“Bird Song” kicked off the second set with Phil taking vocals, and in short order it was clear that the second set would – in keeping with the Grateful Dead’s legacy that we’ve gathered to celebrate – be an entirely different beast from the first. The “Bird Song” jam returned to a formula that found so much success in the first Chicago show, with the band paving an improvisational runway for Trey’s lead to soar. Bruce and Trey again shared lead vocals for “The Golden Road (To Unlimited Devotion),” a song that has found a home in the Phil Lesh & Friends repertoire but precious few fans had ever seen the Grateful Dead perform live – or were even alive when it was performed – as it was only saw stage time during a brief stretch in 1967. Bobby Cheese led the “Golden Road” through a vocal breakdown, then Trey pulled the band through an awesome concluding jam that was decidedly Phish-y in nature.

Photo @andreanusinov

Bobby’s “Lost Sailor” > “Saint of Circumstance” combo got off to a humorous start when Mickey Hart – who has been a non-factor in the music outside of the “Drums” segments, casually gum-smacking through the proceedings with brush-stroked irrelevance – donned a sailor hat. Cute, Mickey. “Lost Sailor” was beautifully rendered overall with brilliant lead fills by Trey near the song’s conclusion and in the transition to (and jam within) “Saint of Circumstance.” Bruce offered an innovative vocal take on “West L.A. Fadeaway.” “West L.A” was an unexpected setlist call in this spot given its traditional first set role with Grateful Dead proper, but it worked surprisingly well, in no small part because it fits Trey’s low-down funky style to a T$.

Photo @jayblakesberg

In a spot that would suggest time for “Drums,” instead we were treated to “Foolish Heart” with Trey on vocals, his second take of the evening on a beloved Jerry tune from Built to Last. These were the moments – Trey in the lead with clutch emotional trigger songs – that inspired both great hopes and figgity concern leading up to these gigs. But only the most crusty and closed-minded could fail to stand and cheer this performance that balanced powerful leads, delicate finesse and sweet vocals for a major second set highlight.

“Drums” and a more involved “Space” than Friday set the stage for a “Stella Blue” that was well-received but never truly soared, with Bobby taking another questionable turn at the microphone and a jam that never quite found its footing. “One More Saturday Night” brought the set home, in this case for one last Saturday night, at least with this lineup. The holiday-appropriate “U.S. Blues” encore featured an innovative remote red-white-and-blue tie-dyed light show from the Empire State Building projected on the venue’s screens and to the home viewing audience (a “Tower Jam” reprise!). The celebration continued with a tremendous fireworks display set to John Philip Sousa’s “The Stars and Stripes Forever.”

Photo @andreanusinov

This show had a lot of win, but in much smaller packages spread throughout the night. The first set outside of “Standing On the Moon” and “Deal” was mostly a slog, a fitting celebration of fifty years of Grateful Dead music that often featured mostly uneventful first sets. The show got much better starting with “Deal” and through to the “Drums” portion of the second set, which has real replay value. But overall this was a performance that regressed to mean expectations of what many observers felt was this lineup’s ceiling – fun, mostly competent, but lacking in the excitement of improvisational excursions that had sparked such high hopes on Friday. On the plus side, this was still a great deal better than Santa Clara, and we have one more night to go. That’s right, Saturday Night!

Never miss a Sunday show… we’ll be back with more coverage tomorrow.

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Going into the Santa Clara shows last week, the Fare Thee Well lineup assembled to celebrate fifty years of the Grateful Dead was a blank slate upon which every fan could (and did, in abundance) project the story they wanted to see. This celebration was first and foremost about the profound and enduring history of the defining improvisational rock-and-roll band of our time. The question at hand was: was this going to be a pure nostalgia trip, where the music really didn’t matter? Or would the music stand on its own and honor that history in a meaningful way, in the present?

Photo by @andreanusinov

Those Santa Clara shows contained their fair share of musical enjoyment, and there were many positive moments that offered hope for Chicago. However, an honest assessment of those performances also revealed, at times, a band that suffered from wide discrepancies in preparation by individual members, an almost total lack of conversational cohesion, an absence and/or confusion about leadership roles, and an unsettling lack of ability to perform core elements of beloved songs. So as we approached the first of the final three shows by this ensemble, expectations of an amazing event remained high... while hopes for transcendent music were, let’s say, muted.

Then a funny thing happened between Santa Clara and Chicago – like the best athlete or manager, they made some critical halftime adjustments, and came out of the gates seemingly an entirely different band, one that much more closely approximated the one that we’ve assembled to celebrate.

Photo by @neddyo

“Box of Rain” bridged the twenty years since the Grateful Dead’s final performance on 7/9/95, when “Box” was the final song officially performed under that band name. It’s all a dream we dreamed, one afternoon long ago! Phil delivered the vocals with confidence and beaming pride, and we were off to a great start. An extremely slow intro jam paved the way for “Jack Straw,” with Phil sharing vocal duties with Bobby. Maintaining a tempo that was in the same ballpark of the songs as performed throughout their history was a challenge in Chicago, but by the end they had collectively pulled “Jack Straw” up by its bootstraps for a more than respectable version.

“Bertha” allowed Trey his first lead vocals of the night, and while nerves may have marred his opening line, his recovery was sweet and pure. A “Bertha” that works – or, for that matter, any performance of Grateful Dead music that works – depends on a confident lead guitarist who knows the material and can be assertive in that role. This “Bertha” showcases Trey ready, willing and able to carry that weight. “Passenger” saw Bobby in much more comfortable form than we saw during much of Santa Clara, delivering not just competent but confident vocals. Bruce Hornsby was offered a moment in “Passenger” to emerge from witness protection with a solo, a courtesy also offered to Jeff Chimenti, though both would be relegated to complementary – if often inaudible – roles for most of the gig.

Photo by @andreanusinov

“The Wheel” opened some delightful space, allowing Trey some breathing room, and for a few minutes it seemed like we were deep into a second set. “Crazy Fingers” is a difficult song to perform well even by ensembles with extensive practice, making this a somewhat bold tactical call. The band was more than up to the task, with Trey’s taking the lead vocal and finding a sweet spot despite his having never previously performed the song; Trey’s “I tried” ending vocal refrain was convincing and touching in its authenticity. “The Music Never Stopped” was a little sloppy but compensated by a collective soaring energy, Trey crushing the final solo and Bobby riffing on “never stop, never stop now!” Only a shade over an hour, but the set was totally entertaining end-to-end, rendering the issues and concerns from Santa Clara an unfortunate footnote. That was a great first set – no qualifications, not “for this lineup” or “for this era” – simply great.

A lengthy, hour-plus halftime ended a little after 9:30 local time with Phil and Bobby sharing lead vocals on “Mason’s Children”, though that was a mere prelude to “Scarlet Begonias!!” “Scarlet” was really the moment where the metaphorical keys to this ride we’re handed over to Trey – a ride that may have flipped the odometer a few times, but still has plenty left in the tank. The composed section of the song was bright, airy, hopeful, and gorgeous! This “Scarlet” extended to around fourteen minutes and crystallized so much of what Grateful Dead music does to inspire: starting with a balanced conversation, but allowing the lead guitar to shape that conversation and take flight, bringing not just the band but the audience along for a journey of adventure and discovery. An intricate yet simple web formed around Trey, who soared above yet never strayed too far from the conversation… nostalgia would have to step aside for this “Scarlet,” as this band’s magical story was witnessing a chapter in progress.

The “Fire on the Mountain” portion of the “Scarlet” -> “Fire” was somewhat less thrilling, with an abrupt transition rather than a patient melding of peanut butter and chocolate, though it did afford Bruce a turn at lead vocals. This “Fire” would be the weaker partner of the combo, but the afterglow of the “Scarlet” left few if any dissapointed. A ~twelve-minute (and seemingly rather early) “Drums” allowed room for Bill Kreutzmann and Mickey Hart to take the reigns, followed by a very short “Space.”

“New Potato Caboose” emerged from “Space” with Phil and Bobby sharing vocals, but as with the beginning of the set, this was simply the lob for the smash that would come with the “Playing In The Band.” History is replete with so many instances of “Playing” defying improvisational gravity over its 44-year life – forming the pillars of rock improv upon which an entire modern musical genre rests – that it’s almost hard to imagine the song breaking new ground in 2015. Almost, but not quite: this “Playing” has essentially four different jams, several of which were very un-”Dead”-like, proving old dogs can indeed learn new tricks. Afforded repeat opportunities to pull the plug and move on, someone would instead offer a new idea to continue the conversation. Alongside the “Scarlet,” this spectacular “Playing In the Band” formed this show’s must-hear highlights.

Photo by @neddyo

One of the themes that emerged among the “Playing” jams was “Let It Grow,” which was dusted off in earnest next. Bobby delivered the song’s vocals confidently, while Trey’s shined brightly with an increasing sense of ease in his share of leadership among the band and the crowd. For the set’s finale they went all-in, with “Help on the Way” > “Slipknot!” > “Franklin’s Tower.” Trey took the vocals on “Help” with an ease and confidence that almost demands performances in future contexts. The “Help” jam and transition to “Slipknot!” will not be lauded as examples of precision performances of these songs, but the energy was right there and filled the space of the biggest of stages. Phil took lead vocals on a “Franklin’s” that crossed the finish line for this set that exceeded all but the most unrealistically demanding expectations. A sweet and tender “Ripple” provided the encore.

Especially considering the baseline established in Santa Clara, this show was all win, and sets the balance of the weekend in an entirely more positive and hopeful light, musically, to go alongside the high spirits of gathering the tribe in such a high profile context. There has been a tremendous amount of energy devoted to the money and the tickets and the name of the band (that you can find… elsewhere), but when it comes to the music, we now appear to have an ensemble equal to the task of fulfilling dreams as a group one last time.

Are you excited? I’m excited! Have a great show... we’ll be back with more coverage tomorrow.

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Welcome to the 190th 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!

Hint (Posted 2015-06-30 10:10 am): As noted in previous MJMs, sometimes the mystery jam of the week is topical and sometimes it is not. This week's mystery jam is intentionally topical.

Answer (Posted 2015-07-01 10:20 am): It's a rare week when the Blog wins, but even more rare when the contestants aren't even close. This week's MJM was played in a small club in Vermont, but the date of the show may come as a shock you. The clip comes from the 4/11/04 Sand at the original Higher Ground in Winooski. While it features Trey, Mike, Page, and Fish, it comes from a Trey solo show -- or, just like the Fare Thee Well concerts, a Trey side project. The Blog wins its 13th MJM out of 190, and the contestants will play for two MP3 downloads in next week's MJM.

Last night, the surviving members of the Grateful Dead – Bob Weir, Phil Lesh, Mickey Hart, and Bill Kreutzmann (a.k.a. the “Core Four”) – along with part-time band member Bruce Hornsby, long time post-Dead band member Jeff Chimenti, and Phish’s own Trey Anastasio, descended on Levi’s Stadium for the first of five shows to celebrate the 50th anniversary of the Grateful Dead. The run-up to these historic shows was full of mixed emotions, from those of pure joy to those of total apathy or even disdain. When the gates opened in Santa Clara, CA, last night, most of these emotions had turned into anticipation and sheer excitement, as the energy of the crowd was palpable.

Despite the age of the band members, the stadium and the concert set-up were decidedly modern, with high-definition screens on each side of the stage, a “Steal Your Face” logo flanked by (what must have been) roses along the top, and another large screen on the north end of the stadium above the nose-bleeds, facing the band. The band took the stage a few minutes after 7:30 to a rousing applause from the near-capacity crowd, as many other fans streamed in from the lots, navigating some of the suboptimal set-ups from the event staff (e.g., minimal flow towards the general admission area).

The band was all smiles as they took the stage, with Trey in particular looking honored to share the stage with some of his favorite musicians. The band started off with a noodling improvised section that led into “Truckin’”, an appropriate sing-along that would allow the band to work through one of their “greatest hits” (#1 in Turlock County!) and get their sea legs. The music seemed well-rehearsed, though the mix seemed off, at least from where I was standing. “Truckin’” finished with a few bombs from Phil, and the sing-along portion of the show continued with “Uncle John’s Band”. Trey took a soulful melodic solo, Hornsby added some color on the ivories, and they took the outro for a little walk before ending the tune.

Phil took over on vocals for the older rarity, “Alligator”, with images of Pigpen fluttering around the edges of the big-screens. After what seemed like a lack of synchronization between band members, and some visible frustration from Bobby regarding his monitor levels, the jam picked up some steam about six minutes in, ultimately careening and segueing into “Cumberland Blues." Trey began to assert himself a bit more in “Cumberland," and Bill Walton appeared on the big screens to some applause, but there still seemed to be some hesitation from the band. “Born Crosseyed” > “Cream Puff War” continued with the “old school” Dead, while Trey showed the elder statesmen that he meant business, providing some clean vocals and slaying his first extended solo of the evening. The Trey-built momentum carried over into “Viola Lee Blues," the first set closer. Jeff played some Brent-style synth, and though the band fell out out of sync again during the first keys solo, Trey led them out of the fog into a peak and a big first climax. After another Walton sighting, Phil, Trey, and Bobby came together mid-stage to trade licks and take it down a notch before finishing the last verse. The playing morphed into a near-“Love Light” jam, Bruce hinted at “Fire on the Mountain," and then that’s when the crowd noticed there was a huge rainbow behind the stage!

For those who don’t know, this weekend is Gay Pride weekend in San Francisco, and with the recent Supreme Court ruling, a rainbow spontaneously forming over the stadium sent the locals into a frenzy. Though there are now questions about the authenticity of the rainbow, the band fed off the crowd, injecting some much-needed life into an up-and-down 63 minute first set. During the hour-long setbreak, there must have been some discussion about how to right the ship, as the second set made all the first set jitters and hiccups a distant memory.

Shortly before 9:40 PM, the band re-took the stage and began tuning and noodling around “Cryptical Envelopment," which started in earnest a minute later. Phil led the vocals, and the cameras and crowd zoomed in on Trey. The look on his face was that of laser-sharp focus, but his fingers were loose, flying all over the fretboard with utmost precision, as fireworks began blasting off behind the southwest end of the stadium. This is why we’re here. Trey wasn’t just channeling Jerry, he was leading the band with mellifluous melodies and taking the music to new heights. The crowd was locked in, and when Jeff launched some extraterrestrial effects, Trey, Phil, and Bobby huddled mid-stage again to signal their next transition: “Dark Star”.

As “Dark Star” began, another round of fireworks erupted outside the stadium. Phil, Bobby, and Trey traded the first three singing lines of the first verse before harmonizing beautifully, and when it came to a close, Trey resumed control of the stage. Not because of hubris, but rather because the rest of the band needed him to take charge. Jeff and Bobby provided more outer-space motifs as things grew increasingly dissonant 10 minutes into the jam, and in typical “Dark Star” fashion, the jam explored previously-unexplored territory, and transcended music as we know it. In fact, I jotted down “-> Space” in my setlist, though others may disagree. As the space collected and collapsed on itself, leaving Phil and the drummers in sparse territory, things began to pick back up again. I can only describe this next section as an ascending tension jam, and Trey picked up what the others were putting down and started letting his crazy fingers fly again. His melodious trilling put a huge smile on Phil’s face, as if to say “I knew this was the right guy for the job!”, and as the jam approached the 20 minute mark, the familiar “Dark Star” riff crept back in and led to the second verse. Trey sang the first line this time, followed by Phil, and Bobby was feeling so good that he belted out an extended third line before the final harmonies led to some vocal riffing on the “transitive nightfall of diamonds."

From the dust of “Dark Star,” Phil asserted himself just enough to hint to everyone that the darkness had gone, and it was time to celebrate as the opening lines of “St. Stephen” rang out in the air. The crowd went from spaced-out to boogying down in the blink of an eye, as Trey’s focus remained apparent as he nailed riff after riff, both in Jerry’s honor and in his own way. The band brought the boil down to a mere simmer before the second verse, and despite another minor technical glitch leading into the “Lady finger” portion of the tune, one could feel the anticipation building in the crowd and on the stage. Right before the should’ve-been-explosion, there was a slight hesitation, and the band missed the peak following “call it your own." At the time it was disappointing, but the band forged ahead. Trey and Phil traded licks as Bruce comped the two to build towards a peak to redeem the missed opportunity. Phil added his “walk up, walk down” riff to lead the band on another tangent through the jam, before a well-executed peak led to the final verse. The tune continued onward across the “William Tell Bridge," not played by the band since the late ‘60s (but played by later post-GD iterations), and Bobby channeled Jerry by forgetting some lyrics. More than an hour into the set, as 11 PM approached, “The Eleven” and “Turn On Your Love Light” continued the Live/Dead theme. Bobby’s vocals were markedly better for “Love Light” than they had been during the first set, paying appropriate homage to Pigpen. At this point, it was unclear whether the show was winding down; it was not.

“Drums” > “Space” was extended, tribal, and a complete juxtaposition between primitive sounds and the hyper-modern electronic instruments used to make them. “What’s Become of the Baby” featured Phil essentially chanting over the remnants of “Space," before the entire band joined musically to build “The Other One." Though relatively straightforward, there were some nuanced major mode musings in between verses to add a little flavor, and before the crowd could catch their collective breath, “Morning Dew” began. All I could think to myself was, “this is the Slave slot!”, and like many of the top-tier renditions of “Slave," Trey weaved melodies through the chord progression in a delicate and precise manner, while gradually intensifying the mood. By the end of “Dew," Trey had taken complete control of the tune and the set in the best way possible.

“Casey Jones” with Bruce on vocals provided a nice exclamation point on the set, and though Trey actually seemed to lose a bit of his intense precision during his last solo, we were all sent off into the mean streets of Santa Clara with smiles plastered on our faces. While many had viewed the Santa Clara shows as “warm-ups” for Chicago, that line of thinking was dismissed by last night’s second set. See you tonight! -Pete

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To begin with a cliché: It's the end of an era. The passing of the torch. We thought the Phil & Friends shows with Trey and Page at The Warfield in April of 1999 were the passing of the Jamband torch. It sure felt like it all these years. But suddenly the poster hanging on our music room wall doesn't seem important to me. I'm not feely antsy because I need two more autographs on it to complete all the players from that stunning run. It just doesn't seem like an important historical museum piece anymore. These two weekends will be the ones for the record books.

So why am I about to watch the webcast with just one guest? Sure, the wife is off at work. But no less than nine Deadhead and/or Phishhead friends declined to come by to get down, get funky. That's not unusual. We're all getting older. What is weird is that everyone responded that they "can't make it." Or they are going to another show. Not a one implied that they were watching the simulcast in their own shrine to electrifying, spine rattling music with a 300 watt per channel whirling nuclear turbine of a sound system (full disclosure, one of those friends is sure to watch, he just didn't say so).

The Grateful Dead is the band that started the genre we all know and love and have given countless hours of our lives to. Now they are celebrating a milestone, making an admission and putting aside their differences to do it five last times. When a great sports star retires, there is a whole season of furor leading to soaring television ratings in the star's last week. So why does this run seem to some like a collective "meh"? The vast majority of the online chatter seems to revolve around a mishandled event, lack of rehearsal and/or a cash grab by a supposedly fan-friendly promoter. But hey, when was it ever easy or cheap to see a well-played Grateful Dead concert in the last third of their career, unless you bummed around looking for miracles and hit a good night?

This weekend and next are important events in the history of Rock and Roll. The stage is primed, and leaked photos have it looking like a spectacle befitting an event of this magnitude. I for one am on the edge of my seat to see if they can pull it off. And so should we all. After all, us late Deadheads/early Phish fans are reaching that middle age where we tend to hearken back a little too much. We should enjoy the class reunion. And for the younger crowd, here's a chance to get a little of what once was. So let's reach out and take it!

Billy has said in his autobiography that fans used to take their cover of the Rolling Stones' "The Last Time" as a warning about the aging of the band, and Jerry's health in particular. I was not such a fan, and I was relieved to learn from Billy that it was simply a song they enjoyed playing. For all we know at this point, this will be the last time. So let's shake it up one more time. In a giant concrete stadium. With all our friends. With some of the Babe Ruth's of the jamming music world at bat. And with our favorite red-headed guitarist playing the part of the man who was at the center of it all for the first thirty years.

As Flounder says in Animal House: "Oh boy! IS THIS GREAT!!" Crank it up. See you in Chicago. -Phil

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This week at Phish.Net, we're counting down the twenty best shows of 1997, as decided by members of the Phish.Net team. We've finally made it to the end, but if you're just tuning in, you may want to start with the posts linked below. Now, without further ado, the top 5 shows of 1997 after the jump... [SP]

Previously:
Honorable Mentions
Shows 20-16
Shows 15-11
Shows 10-6

5. 12/30/97 Madison Square Garden, New York, NY (Dan Mielcarz)

There were some surprises when compiling this list; 12/30/97 scoring highly was not one of them. No matter who you ask, it is seen as an all-time classic. The “Sneaking Sally” opener is one of the all-time great bustouts (a 920 show gap) and not just played for novelty - there is a great little funk jam in there with a smooth segue into a absolutely ripping “Taste.” “Stash” is sneaky good - not the best of 97, but must hear nonetheless! A dark and broody meditation that ends in a very smooth chill-out. Trey shreds the hell out of his “Chalk Dust” solo, and “ADITL” closes out a fun first set.

"AC/DC Bag" -- 12/30/97 New York, NY

But of course, no one who talks about 12/30/97 talks about Set I. On the excellent LivePhish release of this show, you can hear Trey asking the others “Bag?” as he strums a couple licks. They agree, and kick off one of the greatest “AC/DC Bag”s ever. Starts slow and funky, with Page patiently leading the jam on clavinet. The tempo and volume slowly increases. As soon as Trey takes over though, the jam finds another gear. Trey lays down some porno-funk licks but quickly builds to a beautiful anthemic peak. The trip down the the mountain from the peak is just as thrilling, with Mike taking more of a lead. But Trey decides he isn’t quite done, and has a raging final solo that gives the whole band an opportunity to get a bit dark. The jam fades out and into a solid “McGrupp.” Now, if this jam, and the very good first set were all this show had, it would probably still be a top 20 1997 show. But this set just goes on FOREVER. An udderly hilarious “Harpua.” “Izabella”! And an amazing “Harry Hood.” The one misstep - and it is a big one that probably kept this show out of the top three - is the stunning call to segue from the aforementioned “Hood” into one of the worst songs in the Phish catalog, “My Soul.” Not that the segue wasn’t ably executed, but come on, “My Soul”? That’s the type of nitpick we had to make to rank these shows. Anyway, at the show all was forgiven, because they went on to play the best encore ever. Four songs, all amazing, playing until midnight just because they felt like it. It was loose and funky and fantastic, and a fitting capstone to a great year of Phish.

4. 11/23/97 Lawrence Joel Veterans Memorial Coliseum, Winston-Salem, NC (Jeremy D. Goodwin)

This was my pick for best show of the year. The second set is simply unimpeachable—almost an hour of uproarious hose. Some will complain that the improv doesn’t have enough variety, compared to the twists and turns of 11/21 II or 12/30 II. But how can you complain that the band simply gets it so right and then stays there? I hear this as a more “together” take on the rage jam from the 11/19 “Wolfman’s,” but this set is less face-melting and more focused. The segue in and out of the “Low Rider Jam” adds some extra spontaneity and uniqueness to an unparalleled set with no slow moments.

The first set has one of the better versions of “Stash” in the year (though it would be soundly eclipsed the next week in Worcester) a very nice, if not overly long “Twist,” a smoking “Black Eyed Katy” and a “Fluffhead.” But basically all the first set has to do is give you a keeper or two and not throw up all over itself in order to seal the show as the best show in one of the best years of Phish.

3. 11/22/97 Hampton Coliseum, Hampton, VA (Chris Glushko)

Among the most extreme Phish Nerds (myself included), 11/22/97 has historically been one of the most controversial shows to rank. Its proponents will call it a clear top 5 show of the year, citing the near-perfect setlist and brilliant “Halley’s.” Its opponents make the claim that it’s not even in the top two shows of the weekend. They say the “Mike’s Song” and “Weekapaug Groove” don’t stand out for 1997, and complain about the truncated versions of “Tweezer” and “Black-Eyed Katy.” For more than 17 years of my life, I fell into the latter category.

"Halley's Comet" -- 11/22/97 Hampton, VA

I’m here today to apologize to you, 11/22/97. I had you wrong all along. Instead of celebrating your near-perfect setlist, I used it as an excuse to think others overrated you. Instead of looking at the brilliance of the “Mike’s Song” through “Harry Hood” opening segment as a whole, I chose to break down and nitpick each piece. I refused to acknowledge that closing a first set with “Frankenstein” and “Izabella” likely set fire to the building. I would play your magnificent “Halley’s Comet” and note that it wasn’t as good as the previous night’s “AC/DC Bag.” Instead of looking at the perfect segue from “Tweezer” to “Black-Eyed Katy,” I complained the Tweezer was too short. I had a beautiful forest in front of me, but I couldn’t see it because I was searching for imperfections in each individual tree. 11/22/97, I’m sorry. I hope you can forgive me.

2. 12/6/97 The Palace of Auburn Hills, Auburn Hills, MI (Steve Paolini)

Most of the shows at the top of this list are fairly "balanced," offering highlights in both the first and second sets. This is not really one of those shows. The first set isn't bad per se; the competition is way too stiff up here to allow for that. It has a nice second song "Antelope," a cool segue from "Gin" into "Foam" and one of the better '97 versions of "Maze." But the first set isn't why we're here.

"Izabella -- 12/6/97 Auburn Hills, MI

We're here to celebrate probably the best full set Phish played in what many consider to be their best year. To start, the two minutes before the set-opening “Tweezer” begins make me jump out of my chair EVERY DAMN TIME I LISTEN TO IT. “Tweezer” starts off as vintage ‘97 cowfunk but moves through several themes before raging into “Izabella.” Rather than ending, “Izabella” transforms into perhaps the purest expression of the ‘97 cowfunk sound. When someone mentions cowfunk, this is the music I hear in my head. After a fun but too brief “Twist,” Page leads the band into the first-ever jammed out “Piper.” After 55 minutes of pure heat, we get a “Sleeping Monkey” breather before the “Tweeprise” exclamation point closes the set. Put it all together, and one need not employ any interpretive jiggery-pokery to see this is one of the top shows of the year. An unfortunate byproduct of the age of the MP3 is that I often opt for instant gratification rather than listening to full sets (or shows). But when I put on 12/6 II, more often than not, I play out the full set. I’m not necessarily proud of that fact, but it’s one of the best endorsements I can give this show.

1. 11/17/97 McNichols Arena, Denver, CO (Dan Purcell)

The race for the top spot was a runaway. There were a couple of heretics who hate “Jesus Just Left Chicago” too much to give this show its proper due, but most of us bowed to the inescapable. More distance separated this show in our rankings from our worthy, but very back-end heavy, runner-up than separated Detroit and the rest of the top six. It’s not hard to understand why. On the second of two nights in Denver, Monday evening in an old hockey arena soon to be replaced, Phish delivered possibly the best first set of their entire career, and almost certainly their finest first set to that date, highlighted by a “Ghost” that is arguably the finest ever and for most of us on the panel ranks with Atlanta and Radio City and very few others. It’s not even that long by the relevant standard, just 21 minutes, but that’s all the band needs to take you on a tour of 1997, showing you style after style. The set also has a “Tweezer” opener that starts slow and deliberate but lets loose the juice in the latter minutes, plus a happy, spiraling “Reba” to satisfy your jones for Trey’s labyrinthine compositional achievements.

Set two is not the best second set of the year, and is not close. So that’s an argument against it if you’re looking for one. But it does kick off with a “Down with Disease” that does nothing but generate forward momentum in its 16 minutes before the band jumps without looking off the segue cliff into … well, for 20 seconds or so it’s unclear, could go any number of directions. Finally Trey and Fish come to a consensus on “Olivia’s Pool,” the band’s long-lost jump-boogie tune. It’s over quick, and the second it ends Trey engages the turbo and plunges the band into “Johnny B. Goode.” Phish in 1997 still felt a need to prove their orthodox rock chops; you can see it in how so many big, exploratory jams resolved into “JBG” or “Izabella,” as opposed to something softer. “JBG” takes a couple minutes to feel natural but after that it’s cake, eventually going full-on type II excursionary and no slouch as the second-best jam of the night. The “Jesus” is slow and sleepy and patient and I have no problem whatsoever with it and don’t really get why anyone would. Finally: set-closing “YEM,” and – only 90s kids will get this – this was in the era when Trey used to take a guitar solo before the vocal jam.

It’s not for nothing that Phish themselves chose this as the first 1997 show released under the LivePhish banner. Perhaps it’s the obvious choice, and we’re crowning the equivalent of the “Guernica” or King Lear or Citizen Kane, but it’s how the numbers added up. I actually like “Guernica” and King Lear and Citizen Kane, anyway. This show offers wall-to-wall heat with huge peaks and at least one all-time top 50 Phish jam. It was the kickoff show of the single best week of Phish of all time, at least according to the voters in this poll. I can’t complain; it was my choice too.

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