In their more than thirty years as a band, Phish has made incredible music from coast to coast and beyond, from Toledo to Trento to Tokyo. But what sets a festival apart from any other concert I’ve seen, different from MSG or Halloween or any other celebrated event, is that the atmosphere is so overwhelmingly “home.” Magnaball, a tiny city of art and music, was created entirely for us. It’s a place for everyone to come meet and revel in all the myriad, unique ways that we express our joy and individuality. These expressions which may make us feel weird in “real” life, but in the context of a festival, with the music as our drawstring, we come together and feel unified. The experience was revelatory for me. But first, the afternoon set.

Photo © Jake Silco

The weather at the southern tip of Seneca Lake has been spectacular this weekend, but when the band came on around 4pm, gloomy clouds clung stubbornly above. “Divided Sky” acted as an invocation and swept the air clean, opening the possibilities of the day. “The Moma Dance” meant it was time to get up and stretch, put on our captain hats, exercise our funk muscles and get ready for a Magna-sized day of music.

“Mound” felt like more calisthenics, hop and clap and get your chops loose. “Army of One” was perfect for that moment: the sun had warmed us through, so soak it while you can, with winter just a few short months (and one more titanic three-night stand) away. The delicate balance of “Scabbard,” a perilously intricate weave of danger and serenity, drew my attention skyward again, one of many blissful moments to come.

Photo © Andrea Nusinov

“Sample” got a huge ovation in our corner of the field, and “Tube” got everyone’s get down revved up for a surprisingly spirited “Halfway to the Moon.” You can tell that Phish does indeed love Page’s composition by the way it’s progressed these last few years, and this version was certainly a standout. The “morning” workout continued with Fish practicing his woodblock tapdancing on some funky “Camel Walk” steps, following which Mike’s “How Many People Are You?” gave us an early thrill, as Fishman’s screaming vocals will attest. “Circus” was a chance to breathe and reflect on the changing beauty of the carnival that has rolled into Watkins Glen, and for just a moment it seemed like Trey would take the Los Lobos song for a Wingsuit ride, but we instead were treated to more percussive excellence with a swaggering “Undermind.”

With all of our stretching and warm ups complete, it was time to drop into fourth gear to make sure all engines were thrumming for the main event. My show neighbor thoughtfully advised me that he would be running like an “Antelope,” and we were off. I have seen this proud beast more than any other Phish song, and this is my instant favorite, hitting all of my “Antelope” G-spots by taking a smooth detour through the trees before hitting full, spine-tingling stride and actually launching itself into low earth orbit. Not even kidding about that a little bit. Trey slyly asked if we were all now awake and ready for a Phish show. Yes, sir, and good morning!

Photo by Patrick Jordan © Phish From the Road

I thought that a huge, exploratory “Wolfman’s” would be a great way to start what I expected to be the centerpiece of our Magnaball experience. The band had different ideas, though this syncopated and fierce lycanthrope shouldn’t be ignored. “Halley’s Comet” bop would also not be the vehicle to take us to our ultimate destination, but it was a celestial harbinger of the arrival of IT. IT came in form of “46 Days,” which was played through the first chorus, but what is normally only the first jam simply became the jam. IT was recognizable by the dark fabric that used to wrap around 2.0 Phish like a holocaust cloak, but the garment IT wears is now tinged with the brighter energy of Joy and Fuego.

Photo by Rene Huemer © Phish From the Road

The most exciting thing about the last two days, for me, has been the band’s willingness to take breathtaking risks. Phish’s confidence is flowing from the stage night after night, and in the most welcoming of environments, where everything has been intended all for our delight, they took full advantage. As the coals of the day ran out, a nebulous, stellar nursery emerged from the cool Finger Lakes evening, rich material for the creation of new cosmic bonfires. I am a fan of “Number Line,” so I was happy happy, even though I thought it might signify a less exploratory set of music than I had expected. I couldn’t have been more wrong about that, and I would later be happy for that touchstone of rock sanity as the band set to taking my mind apart, piece by piece, so it could be reassembled and strengthened in the process.

Photo © Derek Gregory

With “Tweezer,” IT began to work like a Guild Navigator, using the multicolored vortex located within the Ferris wheel to take us to realms both known and unknown, arriving in celebratory fashion at a place where everyone dances with abandon, arms raised and smiles wide. From there, IT ushered us through a dark corridor, an arm around the crowd to protect it from the chaotic forces in the shadows, and we boarded the Dawn Treader. I’m sure if you asked most fans to name the jam of the night, close to zero would have said “Prince Caspian.” And again, I thought those opening chords meant a pleasing though more traditional end to the set. And again, I was utterly, staggeringly wrong.

The “Caspian” jam began traditionally enough, but then just before the five minute mark, “Caspian” donned his crown and showed everyone what he is capable of. There were some hints of the menacing Dick’s version, a brief return to the “Caspian” melody, and then IT revealed what he had brought us to see. With the power of three decades of collaboration, a doctorate in quantum metaphysics, and the psychological wizardry of “Tweezer” still lingering like dry tinder, “Caspian” danced a funk-magic spell that transformed the entire site into a radiant burst of elation, joy, and oneness. During that peak at the end of “Caspian,” I experienced the spiritual unity that is, to me, the core of the Phish experience, in the most pure and transformative way since I started coming to shows in 1995. Those are the best words I can find at the moment, but it’s still only Sunday morning.

"46 Days" – Photo © Derek Gregory

And yet there was still more than an entire set of music to take in. “Meatstick” was a good way to get dancing again after the break, but I was particularly excited for “Blaze On” and its potential for good time grooves. This version did not disappoint, blazing impressive new trails in only its eighth performance. More ambient bliss, more multi-faceted rhythms, and more pressing the envelope ensued, reminding us that jaw-dropping improvisation can and will appear at any time this weekend. “Blaze On” got decidedly bizarre before the band touched home base with a happy segue into “Possum,” but “Cities” took us right back to the outer limits, just this side of the tracks from where all the rules break down.

But “Cities” just danced on the edges, where the plinko meets the darkness, before more “Light” bloomed to banish any fears of getting too far gone. Keep in mind that even being just enough far gone, we’re still floating in the iridescent atmosphere of a gas giant, populated by floating violet alien jellyfish that flit and dart to clavinet, Mu-Tron, echoplex, and otherworldly drumming, and respond with a call like a whale playing a harmonica. Somehow, in the middle of this extraterrestrial dance party, the “555” slides by, getting us out just before the locals decide to eat our minds.

Photo © Jake Silco

After such an excursion, “Wading” is like a pull from the oxygen tank, and another chance to bask in the magic of the many moments Phish has taken from their days and sent off to their fans. “Walls of the Cave” closed the third set with another fist-pumping assertion of the greatness of our four musicians, and a “Boogie On” “Tweeprise” encore put a cap on the non-secret portion of Saturday night.

As for the “Drive-In Jam,” I surely can not do adequate justice to a piece of art this dense and layered before I get carted off back to the laboratory for two final sets of experimentation. The experience was surreal, and yet completely familiar, like a recurring dream made real in the hazy, cool early morning breeze as you drift between the conscious and the other-than-conscious. It began with ample mystery and developed into a transcendent Hearts of Space ambience that I want to revisit again and again. That was just the beginning of the fifty-two minute minutes of magic as the many faces of Phish unfolded beneath the grandstands. This is a movie you’ll have to see for yourself, if you haven’t yet had the pleasure.

Photo © Scott Harris

I’ve only begun to process the experience of my first Phish festival, but I can tell you that the strongest memory I will take home is that of all the friends I encountered, some unknown until this trip, that were given the chance to gather and be quite simply their truest selves for a few brief days. A festival allows Phish, and their fans, a moment to be free to celebrate the power of music in the way we love best. Our trip is short, friends, and I can only say thank you to all of the people who worked so hard to make it as special as it can possibly be. You are all beautiful, and I’ll see you tonight.

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

MagnaBall Triptych by Drew Millward

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I think it’s largely true that how much fun you have at a Phish show is up to you and your ability to, if you’ll allow, “surrender to the flow.” But it sure helps when you’ve got a pristine summer day and perfect seats in one of the most beautiful venues I’ve ever seen on your side. This was my first trip to Blossom Music Center, the sonic and architectural gem built specifically with the Cleveland Orchestra in mind, and I was floored. Blossom has everything going for it, from the setting in Cuyahoga Valley National Park to the relaxed and welcoming atmosphere (and congrats to the couple that got married in the middle of shakedown), but it’s the sound that knocked me off my feet. I can’t imagine a better spot to allow a person to get good and thoroughly hosed than right in front of Chris Kuroda underneath that wood pavilion last night, so to whatever forces conspired to put me there, thank you.

Photo © Jake Silco

Right from the start, the solo in “A Song I Heard The Ocean Sing,” you can hear how confident and relaxed Trey has been all tour. I can’t imagine what it must have felt like to step up and knock it out of the park for Fare Thee Well, but Mr. Anastasio has been riding that wave since Bend, and we are all fortunate enough to get caught in the spray. “My Sweet One” and “Wilson” have each become something of a rarity, and during the “Wilson” chant I was first struck by the enormity of the sound crafted in part by the amphitheatre. Not only is the music of Phish huge, but the sound of the crowd, and therefore the literal energy of the people is reflected back down on them, and it’s breathtaking. This fierce “Wilson” set up a creative song choice, and third straight 20+ show gap, “Timber (Jerry).” There’s been some deliciously dark Phish lately, and “Timber” fits that mold nicely. To cap off a run of songs not heard since fall 2014, we were treated to “Roses Are Free” as well as a plea – well, less a plea than a statement of fact – that it’s time for Gene and Dean Ween to get the band back together.

Photo © @tweeprise

There were flubs in this show. Quite a few of them. And I saw Trey gesticulating emphatically offstage at several points during both sets, looking frustrated with some technical issue or the other. As a result, there were some rough patches, particularly in songs like “Rift” and “It’s Ice.” I mention this not because these perceived imperfections detract from or alter the experience, but only to point out how even when some things aren’t working, this is a band of supremely talented and professional artists who can lay waste to whole regions of the country with a single jam. And that’s pretty much the experience I had last night, so this will be the last mention I make of “flubs.”

When “Moma” kicked in, I was almost startled by the slow pace, and not in a bad way. It seemed like a deliberate attempt to make things as sticky and funky as possible, and as it turns out, foreshadowed the thick, dark, green, molasses grooves to come. The first “Ginseng Sullivan” in almost two years, the night’s biggest bustout, was next, followed by “Wingsuit” and another powerful Trey solo. Please forgive the focus on Trey, who tends to pull my attention anyway, but the man is seriously on fire right now. It’s also Mu-Tron Madness 2015 right now, which I absolutely love, and which brings the funk oozing into “It’s Ice” while Trey sort-of almost teases “For The Love of Money.” This “Ice” melts into “Bathtub Gin,” the relative newcomer to the first-set closer spot that continues to really thrive in that role. The jam here begins slyly, then gets a jolt from CK5’s effervescent light show, peaks once solidly, and then just blows the lid off the joint. It was a tremendous exclamation point to take us to the break.

Photo by Rene Huemer © Phish From the Road

A second set “Chalk Dust” opener is an exciting thing, isn’t it? Where will it take you? I had to rush back to my sonic sweet spot and made it back in time for the start of the journey. After a bit of exploration and some serene phrasing from Trey, the jam becomes celebratory in the fashion that 3.0 Phish has become known for. From this “Paradise City” peak, the music becomes contemplative again, then begins to pick up pace before executing the most thrilling segue I’ve seen live.

It was “Tweezer” before I knew it was “Tweezer,” on fire the moment it was born. What I can tell you about this “Tweezer” is that the first several minutes of the jam contain some of the nastiest, filthiest, sickest, stickiest Phish I’ve ever experienced, like a high voltage wire coated in psychedelic honey. The slow electrocution of the funk brought us to a dark realm, where the monsters are and where there’s always just a hint of fear that you may not be able to find the exit. But, as always, Phish brings us back again, and as this “Tweezer” took on gentle, lullaby qualities, I was sure were going from the dark to the “Shade,” but no. “The Lizards” is one of those beloved tunes that, even if you’re not the one who has been chasing it, you can’t help but well up with joy for all those who are finally catching one, and it sounded like there were quite a few of those from the tremendous ovation it received.

Photo © @tweeprise

Following this beautiful and emotional Gamehendge tune, time for a little silliness, and Trey has fun in “Makisupa Policeman,” struggling to find the right terminology for vaping. Or maybe “goop in the top part” is the correct nomenclature, I wouldn’t know. What I do know is that this brief humorous interlude was suddenly possessed by an angry sounding “Ghost” that once again saw Trey shred like he was going to turn Blossom into toothpicks. This jam reaches a blistering peak, flirts with “Psycho Killer,” and breaks into a thousand plinko-y pieces from which “Harry Hood” emerges.

The last two years have been historic for “Harry,” so there’s no shame in this not being one of the best versions of the year. It is a perfect cap for an amazing set… unless, of course, you want to go ahead and “Tweeprise” that Bad Larry right now, in which case, that would really be the perfect cap! Once again, the colossal nature of a “Tweezer Reprise” taken in from dead center of a venue like Blossom is difficult to imagine until you’re there with your sternum rattling. And, to give credit where credit is due, my better half called the “Good Times Bad Times” that Trey then used like a flamethrower to melt any faces left intact, an old-school encore on a night that saw only two songs that debuted in this century.

Photo © @tweeprise

Look, this is the part of my recaps where I always say something about how much I love Phish, how great the show was, and how you should go see Phish this tour. All of that is absolutely true, every time I say it. But, seriously. Seriously. Go see Phish, if you possibly can, this tour. The six years of touring they have under their belt since the breakup, the maturity, the benefits of working with their side projects and being able to balance that with family, it’s all coming together right now. I’m in awe. See you at Watkins, be safe!

Photo by Rene Huemer © Phish From the Road

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

Blossom Music Center poster by Subject Matter Studio. Edition of 675. 18x24.

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An online auction is currently being held at http://auction.mimifishman.org/ with proceeds benefiting The WaterWheel Foundation. You can bid on ticket and CD packages for more than twenty shows, CID Ticket/Travel packages for Atlanta, Alpine Valley and Dick's, or even a Glen Close luxury tent package for Magnaball. The auction ends this Thursday, June 4th, so don't miss your chance to bid on these items for a great cause.

What is WaterWheel?

The WaterWheel Foundation was created by Phish in 1997 to oversee the band’s various charitable activities.

Our primary effort then and now is our Touring Division, though in keeping with our “Local” mission we also support Vermont-based non-profits and others in need. From its debut through the most current tour, the mission of WaterWheel’s Touring Division has been to raise funds for pre-selected non-profits in each community that Phish visits while on tour.

What is The Mimi Fishman Foundation?

The Mimi Fishman Foundation is a volunteer-administered, fan-driven non-profit dedicated to raising funds for a diverse range of charitable organizations that each, in some way, touched the life of our founder Mimi Fishman.

Since 1999, the Foundation has raised approximately $350,000 utilizing an online auction system that provides supporters and fans rare opportunities to win unique pieces of merchandise, equipment and concert experiences.

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As an additional resource for our users, the track listings for Kevin Shapiro’s From the Archives broadcasts are now available in the FAQ section. These track lists include download links for each available volume on the spreadsheet.

A few brief notes about this resource:

The track listings follow the Phish.Net setlist file. Therefore, some of you may have different tracks if you already have a copy. (For example, the 5/8/93 "Mike’s" -> "Crossroads" -> "Mike’s" may be listed only as "Mike’s Song.") Kevin Hoy plans on re-uploading the FTAs in the future so that the track listings for his downloads match what is on the Phish.Net setlist file. The timings you will find are approximate, and are based on the track time, not necessarily the actual song length.

At this time, we do not plan on adding links or notes to the individual setlists. However, I will shortly be adding a large table of all the tracks, sorted by date, to help you find what you need.

You will find that some of the FTAs do not circulate, and are therefore not available to download. In addition, a couple of the volumes are incomplete. If you have a copy of anything that’s missing, or if you have a higher quality recording than what is available on the spreadsheet, please contact Kevin Hoy at [email protected]. If you find any typos or errors in the FAQ, please send a PM to @TheEmu.

Finally, although you can search for these lists using the “Albums” category or by using the keyword “Archives,” the results will only display 20 entries (there are currently 29 shows). So you may need to search for the specific volume you want in order to find the file.

Hopefully we’ll be able to add another volume to this list after Magnaball! See you there!

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Some dates are loaded with history. For Phish, January 1 is not one of those dates. Not that there is no history – 1/1/11 is a tremendous show – but until last night, that was the extent of the Phish shows on New Year’s Day. So, with a sample size of one awesome show, what expectations should we have for Miami2? Well, none. It’s our favorite band, they’ve been playing at a very high level, and we’re probably in for some surprises. That’s good enough, so on with the show.

Photo © Phish @phish_ftr

“Tube” is a capable opener and sets the show mode to Dance Party right away. “Gumbo” follows, with fight bell and clap pedal stirred into the mix, and an assertive piano outro turns full-band blues jam for just a moment. “David Bowie” next? Yeah, why not! That’s an exciting call for early first set, and I like the way it works out. “Bowie” is not overly ambitious, but it does make a few interesting moves before Trey, quite honestly, shreds it up one side and down the other. An amusing “Lawn Boy” then includes Page Side and Mike Side shout outs, and we get a little more blues, this time as “Undermind” reveals its slow-boogie underbelly.

One of the treats to take away from this show is how well Trey plays. After ripping apart “Bowie,” he shows some TLC to “Yarmouth Road,” making for one of the better versions of that Cactus reggae project. I can’t really pay the same compliment to the ensuing “Wingsuit,” a song I love, but I like what Trey is trying to do with it, channeling his inner Coltrane. Also, there’s an unfortunate ending to such a serious song when Mike, uh, drops a meatball, so to speak. But, onward and hopefully upward, with a quick “Poor Heart” and a “Bathtub Gin” closer. Wait, closer? That was quick. But yes, an uneventful if spirited “Gin” is all she wrote for this pleasing first set.

Photo © Phish @phish_ftr

“Twist” just kind of casually strolls in to start the second frame, gets the lay of the land, loosens up, and throws down. Way down, down and dirty, and eventually making way for “Piper.” There are parts of this “Piper” that I love, particularly the pulsing wormhole they enter around 6:45 and the gorgeous minute before the segue into “Prince Caspian.” This show doesn’t have the hour of jaw-dropping artistic brilliance that NYE had, but this little section of “Piper” is cut from the same cloth. “Caspian” wants to get in on the act, too, and gives an extra push at the end before the segue to “Twenty Years Later.” I will attempt to be diplomatic about the “20YL” and say that I am apparently not the target audience for this jam. Someone who enjoys it, please feel free to extol its virtues in the comments section.

Photo © Phish @phish_ftr

“Winterqueen” is, without question, the song from Fuego that has grown on me the most, and this version shows why. Trey is on point, quickly taking this jam over and making it fly, and if you don’t think so, you are a “Winterqueen” hater (of which, apparently, there are some). It is, however, the last highlight from what would turn out to be a truncated second set to go with a diminutive first. As much as I like the “Winterqueen,” I’m not sure a “Wading” sized breather was called for, and the “Antelope,” while good, sounded rushed, and siphoned off a bit of show stopping power from “Rock And Roll” (which was also a strong, shreddy version). The cumulative result of this is an odd *clunk* and brief “Meatstick” encore at the end of a show that I otherwise enjoyed quite a bit.

Trey says goodnight and asks everyone to “come back” tonight, which I am excited to have the chance to do from my living room. In my humble opinion, as well as the opinion of some of this site’s users (as of this writing, 1/1/15 has a slightly better rating than the rained out Northerly Island show with the two song second set), this was a “below average-great” show. It’s OK. There were quite a few things that I enjoyed, and as they showed on Wednesday night (again), IT can happen at any moment. You get that feeling, anyway.

Photo by @languagestrange

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Before we get into the play-by-play of Tuesday night’s show, a quick editorial comment. You can say what you want about factors that would drive attendance at these shows down: a smaller fan base on the West Coast, a Tuesday night gig, and the difficulties of getting through Los Angeles traffic for a 6pm start. Phish should be able to fill a 4,500 seat venue, regardless. Instead, under-face tickets were said to be plentiful, and as of this writing you can score great seats for tonight’s “sold-out performance” on Ticketmaster. Of course I’m not breaking any news here, but the culture of ticket speculation is obviously out of hand and keeping away fans who would otherwise attend if the process were more straightforward. But enough of that. On with the Phish.

What a beautiful venue! From my seat on the couch (well, recliner) 2,500 miles away, the Santa Barbara Bowl looked warm and intimate, and I would have loved to have been there to score some of those last minute seats. On top of a smoldering orange sunset and the beckoning wonder of the Pacific Ocean, the band continues to play with a joyful synergy that makes the current era one of my favorites in Phish history. For those of you fortunate enough to have been there last night, my meager words will doubtless be but a distorted reflection of the experience. But I’m going to write them anyway.

© Phish From the Road

I expected to hear some laid-back song selections to match the size and setting of the venue, and was delighted by the choice to open with “Stash,” a jazzy but slightly twisted way to light the burner. “Possum” brought some swamp-boogie down from the top of the mountain to get dancing feet moving before “Ocelot” crept in, strolled around, stretched, roared, and curled up for a nap. The ebb and flow of the first set continued with the reggae swing of “NICU” followed by some more down-home dancin’ music in the form of “Back On the Train.” This “BOTT” is peppy and quick, but take just a moment to listen to the precision of Fishman’s fills. Amazing.

“Limb By Limb” was another appropriate choice for the evening, keeping the tempo upbeat without becoming overly boisterous, and a beachside sunset seems like a perfect backdrop for “Waiting All Night.” By now, the gentle sway of the night was firmly established; smoothly to the upbeat side with “Yarmouth Road,” and then serene again with “When the Circus Comes,” a song which I think would set the mood for later in the evening via Page’s focused, soulful tones. Prior to the pendulum swinging back to the shuffle of “Heavy Things,” Trey took a moment to praise the gorgeous venue, then admitted that he didn’t remember being there to open for Santana in 1993. Maybe that’s just because it was actually 1992, but no matter. It might be fitting that “Stealing TIme,” the only real gritty rocker of the first set, was first awkwardly wrenched into place before closing the first stanza on a high note.

Photo @PhishNQuips

I honestly don’t care how many times Phish wants to open a second set with “Down with Disease” or “Chalk Dust Torture.” If they are going to continue to use these standards as launch pads for mesmerizing improvisation, they can do it every night. Much like the Randall’s version from the summer, the entire band moved as one into the unknown. My ear was drawn from instrument to instrument during the ensuing jam; Fish propelling the music with superhuman dexterity, Mike filling in the foundation with billowing, bubbling tones, Trey sprinkling notes and spraying chords with measured abandon, and Page draping the entire assemblage in a melodious cloak. When it’s all said and done, this might end up being my second favorite “Chalk Dust” of the year, but it is nonetheless a marvelously beautiful example of 3.0 Phish.

As the “CDT” jam pulsed and fragmented to a close, the approaching footsteps of “Ghost” were apparent, and we would be treated to a second jaw-dropping segment. Allow me to reiterate how collaborative this music is: the level of both talent and communication these guys have is mind-blowing. The last 3½ minutes of “Ghost” are absolutely sublime, and as several have pointed out, reminiscent of the TAB song “Valentine.” This was the highlight of the evening for me, as the band reached across the continent to lift me out of my chair, floating on the breeze of their creation. Truly moving.

© Phish From the Road

Ironically, “Birds of a Feather” brought me back to Earth. Like “Stealing Time” in the first set, it seemed a touch out of place, with the abrupt transition from “Ghost,” a chaotic jam, and rough landing that Trey said was “weird” and “freaked me out a little bit.” Page took a quick baseball poll, and Trey further mocked the end of the “Birds” jam before introducing “Wombat.” My favorite quadrupedal marsupial stumbled a little bit out of the gate before finding the herky-jerky crepuscular funk groove I love, then spun himself into a flailing, distorted haze. An odd “Wombat,” to be sure, with more unusual antics on the way. A mid-set “Tweezer” is always welcome, and this version marched determinedly onward, missteps be damned. An emphatic theme from Trey and Page, complemented by massive rolls from Fish, dominated the jam, which dissolved into a spacy section of repeated “Julius” licks that finally gave way to the song itself.

Photo by @stim_buck

“Piper” followed close on the heels of “Julius,” and flirted briefly with “L.A. Woman” before making a beeline back out to space, falling away, and leaving Page to work slowly into “Wading in the Velvet Sea.” Trey actually played with some “Curtis Loew” type licks that I think would actually be a nice add to “Velvet Sea,” but only a few times at the start of the song. To close the set, good ‘ol “Suzy Greenberg” started with another stumble, prompting Fish to chide Trey with the lyric “I wish you’d look at me before you count off the song!” And that’s why even the flubs at a Phish show can me make me giddy. “Boogie On Reggae Woman” > “Tweeprise” proved more than just your obligatory encore, with a strong jam out of “Boogie On” punctuated by dizzying echoes from Trey.

It’s still early in the tour, and things are only going to get tighter and more impressive as Halloween draws near. This was a thoroughly enjoyable show, with a one-two punch in the second set that simply demands that you don’t miss one of these shows if you don’t have to. I sure as hell wish I was out there to see what happens next. Be safe and have fun, everybody!

Photo by @ebyron

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“…truly to enjoy bodily warmth, some small part of you must be cold, for there is no quality in this world that is not what it is merely by contrast. Nothing exists in itself. If you flatter yourself that you are all over comfortable, and have been so a long time, then you cannot be said to be comfortable any more.”
- Herman Melville, Moby Dick

Tuesday night in Canandaigua, NY was, for me, Phish at its best. We took our one chance to see the band this year and went to visit dear friends and fellow .netters Captain Pookie and Memmers, avail ourselves of their hospitality and general awesomeness, and (in Ivy’s case) boogie. Watkins Glen is a 20 minute walk from Pookie’s Place, and you can read about his experience having Super Ball in his back yard here. Pookie basically lives in paradise, surrounded by his amazing wife, impish daughter, four cats, and extended family. And, since he is Captain Pookie, he is surrounded by art.

Painting by Christopher Pike (a.k.a. Captain Pookie)

Adjust my opinions for having been raised in the heart of flat, but I found the Finger Lakes to be overwhelmingly, almost impossibly gorgeous. Scenes of natural awe are everywhere. Waterfalls race leisurely down to Lake Seneca, which conceals ice from the glaciers that hewed this gallery from rock two and a half million years ago. Green towers everywhere around you, and it seems like art is seeping in to the ground and erupting back in the forms of wildlife and wind and beauty. In Pookie’s home, art adorns every wall, in some places with idle joy and in others with focus and brilliance. It is inspiring, and is exactly the kind of place you’d find yourself saying, “I would love to see Phish play. Right. Here.”

So, the show.

A “Buried Alive” opener, and it comes alive, “Twisting” and lifting arms and legs and all those “Heavy Things” up from the soil. Being born isn’t something to do every day, so it may be best to make an escape before an asteroid crashes and we find ourselves returned without passing Go. Once we’re settled on the train, though, we can have a drink, and I know just the concoction. A “Bathtub Gin” with an invigorating kick on the back end that will rev that rusty engine and shake it clean; that’s the cheese. Now we’re almost ready.

But first, let’s look at the sky, take in the cool breeze, linger for a while there like the gulls, and warm our wings on the day’s last golden breaths. And let’s take a moment to watch the sunset, to watch the light and clouds and wind and water collaborate to paint the ceiling in vibrant silver and azure. “Divided Sky” is written for skies of all kinds, but a sunset over Lake Canandaigua as the morning’s rain is waved aside is the most stunning incarnation I’ve seen. Achingly, deeply beautiful.

Photo © Phish – Phish From the Road

OK, we’ve stopped to smell the sunset. Let’s dance. Let’s figure out if we’re gonna go forward or leave it behind. Let’s ask the “Wombat.” “Wombat” is good and “Wombat“ is wise and “Wombat” will lead you to funkalicious love. All you have to do is let him move you. And I wish you would, because while each day needs some of the peace of the Buddha, it also needs the boogie of the “’Bat.” This critter gets a little dark and mean, a little “Melty,” and a lot dirty. He’s the perfect set-up man for mean Mr. “Bowie” to make things just a little bit scary before we move on to the night gallery.

Photo © Phish – Phish From the Road

The centerpiece for this trip is “Disease,” and it’s an adequate theme. The show dug itself up from the dirt, and we’re destined to come back to it eventually. In the time we’ve got, let’s explore. Let’s ride the train and sing off-key and do what we all gotta do, “Jibboo.” And then, and I know it’s a dark “Theme,” we’ve got to face the fact that we’re all just “Meatsticks,” and subject to time, and someday it will be time to bury the meatstick. Or, if burial isn’t your thing, you may go out En “Fuego.” Either way, no energy gained, but no energy lost, we remain in the art that’s around us. And all you have to do to remind yourself is, every once in a while, stop and look around, maybe at the beautiful things nature has carved out with a “Wedge” of glacial ice, and at the life going on around you.

And, where we started the set with “Disease,” we finish again with the essence of vitality, the Runing of the “Fuegolope.” Much more than just a climactic medley of teases, this “’Lope” runs with a ferocious love of the chase and peaks with the Power of “Fuego.” “’Lopes” in general are amazing to watch live, bounding and leaping and crashing into bicyclists, and the “Fuegolope” is a prime specimen. I personally have seen 15 “’Lopes” in various locales and I can highly recommend this Finger Lakes fauna.

I’ve probably mixed enough metaphors by this point, but just to remind you, the “Zero” sum game is much of the fun. It’s never truly lost, but it’s never fully won.

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Expectations for a New Year’s run haven’t been this high since...well, since 2012, following the Dick’s face fucking. But instead of three amazing shows, Phish is coming into the home stretch in 2013 having unleashed what was arguably the best tour of 3.0. So let’s not mess around, let’s get to it!

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Happy Halloween, everyone!

I thought it might be fun to celebrate tonight’s show with another poem. In keeping with the occasion, though, this one is quite a bit more dark, so I hope you enjoy this Phishy re-imagining of Edgar Allen Poe’s “The Raven.”

Also, in the spirit of the Reading food drive, Worlds That Inspire Community Service Organization is making a push to get donations of winter gloves for the homeless in New York City via NYC Rescue Mission. Look for more information on this later this morning, but bring a good pair of gloves for donation to Boardwalk Hall tonight and pitch in for a great cause!

See you in AC!

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One more night in Hampton for an undersold Sunday show that I hoped would put an exclamation point on the weekend and get Fall Tour off to a rampaging start. And did it ever. Forgive me for rushing my set up, here, but I’m dying to spark this one and get to it.

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What’s so special about Hampton? I joined in a discussion about this topic a few weeks ago, and there doesn’t seem to be a simple answer to the question. For sure, as venues go, Hampton has a number of marks in its favor, but none seem to provide a slam-dunk answer to the question: Why does Hampton Coliseum enjoy such legendary status for Phish fans?

(Photograph by Erik Axdahl)

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For our final recap before Dick's, we decided to invite forum regular and significant contributor of reviews, @n00b100, who has already listened to countless hours of Phish, but saw his first live performance just last night in Los Angeles, to be a guest recapper.

It wasn't the drive up from San Diego where it truly hit me that I was about to see my first Phish show after becoming a true fan. Nor was it when I met up with some very friendly .netters and actually got to chat about the band in person, hearing cool stories about first shows and seeing the Giant Country Horns in person and witnessing the Prague Ghost. Nor was it on the walk to the Hollywood Bowl (also my first time for that hallowed venue), seeing people of all ages wearing everything from sundresses right out of Monterey Pop to "Reba" t-shirts using the Reese's logo to a fellow in a full three-piece suit. It was only when I sat in my space on the long wooden bench that constituted my row in Section L2, that I realized it. Almost fifty years ago a young girl sat in my very space and screamed nonsense at The Beatles, and in 20 minutes (give or take) I'd be screaming nonsense at Phish. That is when it really and truly hit me - I was at my first show. All the tapes, the spreadsheet scouring, the LivePhish CDs - that was just spring training. I was in the big leagues now.

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Ahh, West Coast Couch Tour! This fits my current schedule pretty well, unlike most of my adopted East Coast brethren who work normal people hours. There is also a nostalgia factor for me, since BGCA 3 last year was my first recapping experience for Phish.net. I enjoy writing these, but I thought I was done until the fall, so I was excited to get one more crack at it before the break. Now, let’s go to the show!

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Disclaimer: I watched most of this show via webcast, but the stream died during “Gin” and really only got going again for me during “Lizards,” so I had to fill in the gaps by listening this morning. Now let's do it.

The show starts with a fan request as Trey asks what a “0-172 Dinner and a Movie” sign means, and then announces that “This is for you!” “Dinner and a Movie,” not seen since Deer Creek last year, is slightly undercooked and direct to video, but typical opener “AC/DC Bag” is right behind to get the set’s musical boulder rolling down the mountain. As “AC/DC Bag” dissipates, Trey holds on to the last and highest note while Fish leads us into the “Maze.” This is the kind of strong, complete rendition that makes “Maze” a great first-set tune. Page dances all over the organ, with attentive compliments from Trey, who then fires off a picture perfect solo to bring us back home. “Mound” is up next, and is a bit of a struggle in places, but “Funky Bitch” is served up Chicago style, with a deep Mike crust, swimming in Page sauce, and secret Anastasio spices.

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In the lot before last night’s show at Merriweather Post Pavilion, @mikh2wg, @the_Crested_Hogchoker, @GhettoSloth, @ivy_light and myself were discussing how many people (including some of us) had a strongly negative reaction the first time we heard Phish. It seems so unthinkable to me now that there was a time when a friend gleefully played for me a newly acquired tape of 8/14/93 and my response was something along the lines of “Well, that’s nice, dear. But do you realize that idiot is trying to play a vacuum cleaner?” Sloth speculated that 30% of people hate Phish’s music the first time they hear it. I was one of those people once, but almost two decades later, here I was about to see my 30th show. Ain’t love funny?

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The last time Phish ended a run at SPAC, it was the cherry on top of a sweet 2012 first leg. This time around, the band is still gearing up for the summer and their 30th anniversary, as well as adjusting to a new/old configuration with Fish in the middle. In short, tours rarely seem to hit the jackpot right off the bat. SPAC3 2013 cashes in on a few jams, breaks even on others, and occasionally loses out. The takeaway from the evening, though, is that this slightly-above-average-great show means that the big bucks are still on the way.

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Chicago has played host to such legendary Phish shows that I felt a little intimidated having to write a blog entry on them. I wondered if I could really find something new to say about shows which I didn’t attend but which are so well known in the community. So instead of just writing a review or an essay, I decided to compose a sestina to capture some of my feelings about Chicago, Phish, and our fan community.

Each stanza (except for the the envoi) focuses on and draws from a different show. The end words are taken from Carl Sandburg’s famous poem, Chicago.

Five of the shows I chose to focus on seemed like no-brainers. I wasn’t sure which one to select for the sixth until I noticed that 4/10/93 was "Barefoot" Bob Eckhart's first show. Bob passed away in January and our community came together in a big way to raise money for the education of Bob’s children. Donations to Bob’s family would still be welcome, so if you are interested in helping, please send me a private message.

Bob was at every one of these shows, and this poem is dedicated to him.

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“There's not a word yet for old friends who've just met. Part heaven, part space, or have I found my place? You can just visit, but I plan to stay. I'm going to go back there someday.” - Kenny Ascher and Paul Williams

The day before our friend, Robert “Barefoot Bob” Eckhart passed away, @ivy_light and I were contacted by @Furry_Thug and @DrPeterVenkman with a wonderful proposal: Why not get together some great prints and raffle them off to raise money for the memorial fund which had been set up for Bob’s children? It was a fantastic idea, and one that allowed us to combat our feelings of helplessness by doing something positive.

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Head over to Phan Art to check out an interview by Chris Stowell (@chris_22) with Christopher Pike, known to forum users as @CaptainPookie. Among his many artistic endeavors, the Captain creates paintings for fans based upon their favorite shows, such as this one based on Bethel 2011:

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Burlington, VT television station WCAX has posted an interview with Page about Phish's history of charitable giving. The piece covers Phish's philanthropic history from Ben & Jerry's Phish Food and the WaterWheel Foundation to the Essex Irene Relief Benefit show, as well as touching on the generosity of the fan base and the state of Phish today. Says Page, "Having more fun than ever. I really am." You can read the story and see the video from the piece here.

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Phish fan and webmaster Kevin Spence has posted an interview with Paul Languedoc on his website, careerthoughts.com. It's an interesting glimpse into Paul's work both as a soundman and a guitar craftsman.

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I was thinking about how little play Undermind and Round Room have gotten in 3.0, and I got curious to see how the different albums rank out. Most of this is expected (Originals not on studio albums and cover songs are far and away the top two spots) and some, though perhaps not surprising, seem interesting to me (Joy takes the top spot among studio albums by a quite a bit). In any case, here are the numbers, delivered in the form of a blog entry to justify the hour or so I spent doing it.

Songs appearing on Junta that were also on The White Tape were only counted for Junta. "Slave" was counted as part of The White Tape, which obviously changes the scoring for that album significantly.

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The Mimi Fishman Foundation has launched a new on-line charity auction that features several New Years Eve ticket/poster packages as well as Phish memorabilia featuring a very rare kick drum head that was used by Phish in the 90's and has been signed by the band. The auction also includes a large number of Phish 2012 Summer Tour posters signed by the band and a very unique memorabilia package from the 2011 New Years run. Umphrey's McGee and the String Cheese Incident have kindly contributed New Years Eve ticket/poster packages as well.

The on-line auction is currently live with the bidding coming to close November 14.

To view and/or bid on the auction, as well as read about the charities the auction supports, please visit the Mimi Fishman Foundation Auction Page.

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I just looked at the calendar and, indeed, it is not 1997 any more. I suspected as much, given the way my back feels when I get out of bed, but it’s good to double check sometimes. It doesn’t seem like it should be 15 years since Phish destroyed America. I want to call it a few years ago, five at the most, but the gray on my head and in my beard, like Mike, says no. So it must not be that Phish just played DCU last week; it must be true that the last show of the summer took place just hours ago. I was feeling old going into the Dick’s run, and I felt that the promise shown by Long Beach and BG3 had faded as the second leg went on, and I was wondering where the band was at and where it was going. I did not, however, forget one of the original commandments: Never put anything past Phish. These guys will make you throw out your preconceptions and will melt your face at the drop of a hat. This weekend was a jaunt in the WABAC Machine, three shows that will be talked about for years while they find a place among the greats. Debating how exactly to rate Dick’s 2012 can wait long enough, though, for us to appreciate that Phish closed out the summer in classic style, with a series of fist-pumping peaks in the first set and deep, inspired type-II jams in the second.

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One of the things we like to do as Phish fans is try to guess which shows will rage the hardest. Venues with unique qualities, whether it is the name (The Bomb Factory), the location (The Gorge; Red Rocks), or the building (Hampton Coliseum) tend to be prime candidates in games of “Find the Rager,” so of course a lot of early money was on The Oklahoma Zoo Amphitheatre to host a memorable show. Expectations increased after a standout show and epic “Limb By Limb” the night before in St. Louis, even though the band seemed to take a potential animal-themed show off the table by also playing “Runaway Jim,” “Ocelot,” “The Sloth,” “Camel Walk,” and “Possum.” Unfortunately, expectations are sometimes confounded, and the Zoo gig would prove (at least on tape) to be more bear than bull, with ample mistakes, low heat, and little flow.

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Phish loves to tease. Not only do you have the endless inside jokes, musical quotes and jams that hint at a song you can’t quite place, the live experience itself is kind of a tease. When I’m at a show and really tuned in, I get fully absorbed and objectivity is dissolved in the magic of being there. I’m still unapologetically awed by being at a show, and will walk out of the venue spewing effusive and hyperbolic praise. I also leave wondering what the music will sound like in the morning, hoping that I’ll hear the same epic moments I enjoyed at the show. So in the interest of full disclosure, please know that when the lights came up last night I was blown away and shamelessly fluffing despite any flaws. Now, with my show ears off any my recap ears on, I’m still reconciling what I heard last night with what I’m hearing in the car on the way home through North Carolina. My impression of Charlotte is of a Phish tease in both the good and frustrating sense; songs that continue to flirt with their potential, a first set with tremendous flow but flawed execution, a Mike’s Groove with both amazing and head-scratching song selection, and a “Tweezer” that on tape can only hint at the experience I had first hearing it.

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Written by: Tim Wade @TheEmu

Phish’s return to San Francisco, perhaps the Mecca of the jam band world, for their first non-festival shows there since 1998 came with almost impossibly high expectations. A three night stand in the intimate and historic Bill Graham Civic Auditorium proved to be the toughest Phish ticket of the Summer. A strong first leg that finished with a bang at SPAC and a much-praised, jam-heavy second set to open leg two in Long Beach only added to the hopes and excitement of those lucky enough to attend. With the bar set that high, it’s unsurprising that Phish's first two shows of the weekend would leave many fans feeling disappointed and counting on a big Sunday comeback. And comeback they did.

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