, attached to 2016-11-29

Review by stinkfoot

stinkfoot Great show, the crowd was loving it and getting down on a Tuesday. Check Your Pepper is a fun new one, I'd love to see Phish play it in a couple weeks. Face>555 and How Many People Are You were highlights for me. Interesting to see them covering Mac Demarco this tour, too! There's a couple very clear and crisp crowd sources on etree if you fancy a listen.
, attached to 1999-10-09

Review by Bob_Loblaw

Bob_Loblaw Yet another average/above average type show.

The first set version of Wilson is a very heavy one and great. The beginning of theGhost jam although a fairly stereotypical jam is still pretty cohesive. It then goes into a "My Left Toe" type ambient jam which is also great. Out of all the songs in the first set I think Free is the standout in terms of playing, a very inspired version. And as always a strong Possum to close out the set.

LXL lifts us off in set 2 into some very intense heavy jamming, before pulsing forward with some great drumwork by Fish. 2001 is a total dance party but stays pretty much the same throughout. Disease has a fantastic guitar solo that escalates to Trey just destroying it onstage. The piano segue into Wading is spot on and beautiful, and wading is pretty standard but pretty as always.

Slave is a great encore choice and although it's not top tier it gets the job done.
, attached to 1994-10-15

Review by davisnafshun

davisnafshun Great show. First set is succinct and tasty.

2001 is a common second set opener at this time, and YEM->Catapult->YEM is interesting.

I don't care what anyone else says, but The Maker is one of the best songs written in the 1980s if not all time. A true masterpiece. I wish this could get played again.
, attached to 1999-10-08

Review by Bob_Loblaw

Bob_Loblaw This show is really good at times. But for the most part pretty average.

Wow what a short first set! Piper picks up the show fast. Bag has a nice funk jam with a strong peak at the end. Meatstick is kind of rough although I am not sure what was going on that was making the audience cheer, a visual might increase appreciation. A normal but still strong Antelope to cap the set.

Hailey's kicks off the second set with a jam that is strong and lifts off into major Trey shreddery, then simmers with looping into Tweezer. The Tweezer jam starts with a lot of Mike and is fairly reminiscent of a Fall '97 (Hailey's>Tweezer 11/22/97?), and then melts into a sea of beautiful ambient bliss. Fee has a cool little harmonic jam towards the end. Hood starts with some hiccups but the end stretch of it is quite pretty. I'm not a huge fan of Tom Marshall sit ins and the same applies here, although the See Me/Feel Me section is pretty cool. CDT is standard.

A good Coil to end the night and Tweeprize is always welcome.
, attached to 1999-10-07

Review by Bob_Loblaw

Bob_Loblaw This is really close to a 4 star show....But not quite.

The first set starts of pretty normal and standard, until Bowie kicks in. Which picks up the pace very slowly with some bomb dropping effects by Trey toward the end. Possum and Jibbo are good solid versions. Fluffhead is very strong despite some flub at certain parts.

Boogie starts off as a pretty straight forward version. Back On The Train is a cool extra slow version. Mike's song kicks in and has a really great funk section in the middle. Mcgrupp has to be one of the best post 94 versions I've heard, with the mid section being filled with beautiful, churning, and at time intense playing. Caspian has been known to be a 2nd set killer. But this version is extremely noteworthy and strong, and the Trey loop at the end perfectly compliments the song. The big highlight of this show has to be Weekapaug. It caps off the set starting with a nice Jungle Groove with Mike on fire. It builds into some huge peaks with everyone completely linked together, fantastic version.

Standard encore with a BIG exception of Hydrogen very oddly being sandwiched between two songs outside of Mike's Groove.

Overall quite a strong show. it just does not have enough of "IT" to hit those lofty bells other shows hit.
, attached to 1998-11-29

Review by imdano

imdano Andrew Rose! good to see you again. Always enjoy your perspective, although that may be attributable to the fact that we usually agree (see 7.9.99). I also happen to think that this was a nice little show, and while I am indeed biased due to the fact that it was my first, I do believe that it stands up to scrutiny upon listening, 18 years ago to the day. From 30,000 feet, the mere inclusion of Layla in a show merits a listen. They don't exactly crush it but it's a fun version. And, to get more granular, I think the entire 2nd set is pretty hot, especially the Gin. There is a standard Gin "peak," which hasn't really changed much in 18 years. However, after said peak, they settle into a very cool ambient-wash type jam, with some very nice group playing and some excellent melodic work from Trey. I think this Gin is an all-time great.

The Centrum is a great place to see a show and I've caught some pretty amazing nights there. This was certainly a special one, given it was my first show, and obviously I'm just as captivated with this music now as I was then. Thanks to my auld man for getting me there; a lot of things change but music is the only thing I've ever given a shit about, and he's to blame.
Here's to another 18 years
, attached to 1999-10-04

Review by Bob_Loblaw

Bob_Loblaw Another show in the same vein as the night before.

Funky Bitch gets played again less then a day after the night before. Maybe to make up for some of the slop on the night before's version? Vultures is one of the best versions I have other heard with a nice exploratory solo section by Trey. Runaway Jim has a slightly different bass line by Mike with some extra hammer-ons, and a quick hypnotic jam. Jesus Just Left Chicago has some exceptional playing by Page and some good blues by Trey. Wilson has some nice shredding by Trey and is very hot. DWD is sped up a lot more than usual, maybe because of time?

Ghost kicks off the second set with a few hiccups but goes into a nice dreamy groove, followed by some nice peaks. Bag has a nice tiny funk jam. Makisupa is a fun and somewhat different from other vesions. Sand is pretty straightforward with some above average playing by Trey. Zero has some extra fire at the end as well.

Although this show does have some solid versions it does leave a lot to be desired. But none the less I'm sure a fun show to see.
, attached to 2001-11-18

Review by Abe_Froman

Abe_Froman Better late than never, right? I didn't go to this one; I gave it a couple of listens from a nice sounding download from the spreadsheet.

It's fifteen years later, so there's that. The first time I listened I was a little turned off by Trey's over the top playing. It didn't sound cohesive, like a band listening to each other. On my second listen.....OH! that's what this band needs. I was also maybe not listening closely enough myself. Stuff like Owner of the World, Army's on E shows good band connection. I love Birthday Boys, especially that bluegrassy outro. Wield the Spade was cool. And Them Changes would make Jimi proud.

I was into Oysterhead in 01, but between us, I didn't really listen to much other than the album. I really enjoyed this show, and I'm looking forward to hearing some more down the road.
, attached to 1999-10-03

Review by Bob_Loblaw

Bob_Loblaw On the heels of some pure fire shows Phish plays a little more....Normal?

Farmhouse has a great guitar solo. Carini is a slaughterfest by Trey and Fish. Ginseng Sullivan is very very rough. This can be somewhat forgotten by a pretty awesome intro to Back On The Train which turns out to be another pretty standard version. Maze although nothing new is relatively strong.

Twist kicks off the second set and just barely dips into uncharted territory as it goes into a version of Possum that has a little extra mustard. This is proceeded by the "Fun" portion of the set inlcuding TMWSIY> Avenue> BBFCFM which I'm sure is a nice bustout patch in the set. This goes into the only real business the whole show. Which is a Bowie that simmers into a dark groove led by Mike, and then picks up slowly flying into the outro. Hood has a strong intro and mini drum solo by Fish, and is a strong version.

The Encore is a fun guest sit in with Son Seals.

Overall a very average show that is toned down quite a bit from the prior ones.
, attached to 2013-10-26

Review by Tbarelaxer

Tbarelaxer Great thing about opinions is everyone is able to have one and here it seems people are at least civil about it. That's said this amazing night is absolutely incredible and I have no idea about feedback from treys guitar as I was about seven rows off pages side first row Loge, and I did not hear any guitar issues. So people pretty much said everything about the show even though I've not read every single review but I do want to add one thing: the Drowned is absolutely incredible of course and the sitting in limbo instrumental is amazing as a segue from the Drowned, but in between there is a jam that it took me listening back to the show to recognize and I knew I'd heard it before and it is actually from the chase scene in the French connection when the frog "" dodges popeye on the subway but if you listen to it starting around a nine minute mark of drowned through the 12 to 14minute mark where segue to Limbo occurs; then watch French Connection chase scene and listen to the jam, I guarantee you will notice how it mirrors Phish's tease...thank you ps the lead French character who is also in the sequel has a umbrella during the chase that really is not so much a chase but more a cop trailing his mark while trying to be discreet, but after losing him on the subway the French Guy waved bye with his fingers sarcastically, epic scene and an epic show!
, attached to 2013-10-26

Review by Tbarelaxer

Tbarelaxer Great thing about opinions is everyone is able to have one and here it seems people are at least civil about it. That's said this amazing night is absolutely incredible and I have no idea about feedback from treys guitar as I was about seven rows off pages side first row Loge, and I did not hear any guitar issues. So people pretty much said everything about the show even though I've not read every single review but I do want to add one thing: the Drowned is absolutely incredible of course and the sitting in limbo instrumental is amazing as a segue from the Drowned, but in between there is a jam that it took me listening back to the show to recognize and I knew I'd heard it before and it is actually from the chase scene in the French connection when the frog "" dodges popeye on the subway but if you listen to it starting around a nine minute mark of drowned through the 12 to 14minute mark where segue to Limbo occurs; then watch French Connection chase scene and listen to the jam, I guarantee you will notice how it mirrors Phish's tease...thank you
, attached to 2016-10-14

Review by WookieGroove

WookieGroove My first show! In my hometown. Couldn't have asked for a better intro into becoming a Phan. Grew up a Deadhead. Saw Trey play at Fare Thee Well. Gained so much respect for him and his musical capabilities.
That coupled with listening to Big Cypress over and over, I couldn't get enough. When Fall '16 was announced, I went nuts! To open in my backyard; are you kidding me?!
Drove up from Walterboro about an hour away. Jammed Wrigley the entire ride. Met my buddy in the lot and it was on from there. Immediately met some incredible people/lifelong friends. Managed to scout great seats 3 rows up from the pit. Such an incredible vibe just taking in the entire experience.
Debuting Petrichor was awesome. Then, came Ghost and I was blown away. Not to mention a killer Gin; which is my favorite song! And, an insane DWD into a "dance party" Cities!
I apologize for sounding like a newb, but man was it a time to be had by all! It took me by horns and I am forever grateful.
There is no band that throws it down like PHISH!
Thank you so much for everything!
, attached to 1995-12-02

Review by pmc2kd

pmc2kd Took me a while to get to show #2 of the hallowed December '95, but here we are.

The show opens with a short version of an early days Caspian. No guitar solo or anything extending the song. It's over in under 3 minutes.

Runaway Jim is in the 2 spot and fits as a second opener of sorts after the odd Caspian starter. This is a very nice version. Plenty of dynamic playing and a nice fiery solo. It's a surefire highlight even at just over 8 minutes.

Mound is up next and is a well-played version.

They drop into Guelah next. This is also played in crisp fashion. Very well played in fact.

Reba is the first nice open jamming canvas in this show. The composed section is very nicely executed at speed. The drop is very beautiful, it's quiet but more purposeful than spacey. Fishman carries a nice steady beat just above brush level for a while, while Trey colors some excellent melodies. Mike is pretty active, and Page is more in the background. It works well as Trey actually plays a lot of notes even in the quiet jam section. Around 8 minutes they start to build a bit upward in a classic Reba sense. Page gets more assertive on the piano and Trey finds some strong and familiar lines, which he patiently works through. The intensity grows at 10 minutes with Page really hammering and a nice cacophonous jam happens. At around 11:30 trey goes back to the melodic Reba well and builds some nice ascending lines. By 12:30 he really sinks his teeth into the solo and peaks it at a fiery pace. Excellent and thrilling conclusion to a fine jam.

My Sweet One follows up in punchy fashion.

Free is next. They play the song proper nicely with some good vocal harmonizing. It's not a long improvisational piece, but contains a very nice spacey/effects jam with Page out front, while Trey goes to the looper and creates the rising falling tension and some sputtering growls. Some similarities to the Coral Sky version '96. It shifts from dark back into the melodic song structure around 6:50 for the final verse. It's a different structure than today, and a very nice take, with the spooky middle jam.

Taste is up next and sounds good, in spite of Fishman's vocals, which are a bit cringeworthy. Overall it's a decent enough version, but nothing notable.

Bouncin' slides in before Possum, which seemed about right in terms of placement.

Possum is the set closer. It's got a nifty bit of jamming and some secret language. There's a nice quiet jam before the 6 minute mark, which builds some nice intensity with Trey hitting a nice blue vamp and jumping into a bit of chording. Trey moves back into the lead and builds some very nice tension as he climbs into the stratosphere. Around 9:30 things get more frantic and continue to build to a pretty darn massive peak that reaches full scream by 11:10 or so. One last climb before 12 minutes and the final verse sends us into set break. Very nice version.

Overall, a standard great set I with Jim, Reba, Free & Possum being interesting and quality takes. It's a very strong and energetic set.

2001 opens up in early 90's table setting fashion. It starts with a brief intro jam that is noisy and odd. The band plays a nice quick version of the song proper and land in the familiar hi hat of Maze.

Maze is a good version. In fact, it's a great version. Page's solo is plenty of fun, but when Trey grabs the reins he proceeds to throw incendiary flurries of notes down upon us. There's a cool tension filled segment around 10:10, which Trey meticulous crafts into a simmering, then sizzling, then exploding peak. Well done.

Simple keeps the energy high. The outro jam is nice and rhythmic a little more rocking than some of the sparse, spacey jams you might be accustomed to in Simple. Fishman in particularly is playing quite heavily until about 6:20 at which point he drops out, leaving Page and Trey to trade notes before a darker spacey interlude leads into Faht.

Some space at the end leads to Tweezer, which is played at pace. Very crisp. The opening jam segment is nice and rhythmic. Trey playing more rhythmic leads, before diving into some traditional lead playing around 5:45. Fishman is working nicely as a counterpoint to Trey's leads. They are really cooking by 8 minutes in, with a nice driving jam. Trey hits a cool line around 8:15, which he uses to spring the jam further into driving territory. The hit another upshift around 9 minutes and Trey sends a nifty little mini peak our way at 9:30. He hits the leslie for just a second or two before building another step change around 10 minutes. Trey is really firing off notes at this point and the band continues to drive. 11:05 is another great peak, which Trey continues to shred on until about 11:45, at which point they drop into a mini noise jam that builds to another go 'round on that peak at 12 minutes. 12:30 we get a rythmic slightly funkier breakdown, which downshifts at 12:50, slowing to the breakdown style Tweezer endings of the earlier 90s. They crawl to a satisfying conclusion. This jam reminds me of a slightly faster and more raw version of 7/18/16 Sneakin' Sally jam from BGCA in that it's driving and pretty relentless. Good stuff.

ADITL is a nice follow up to the Tweezer and flows well into Golgi, followed by a very pleasant Coil.

Tweezer Reprise is a damn fine closer.

Bold As Love is a damn fine encore as well.

Overall - you'll find some stronger shows deeper into 12/95, but this is a mighty fine specimen in it's own right. The Tweezer is the big jam of the show, but don't sleep on a solid set I, and the set II flows quite nicely with a very cool opening trio.= of songs.

, attached to 1999-10-02

Review by Bob_Loblaw

Bob_Loblaw This show kicks absolute butt!

It really does have everything. Good Banter (end of SOAM), Jams (SOAM, Tweezer, Piper, YEM). Great segues (Piper>YEM).

Llama kicks things off hot as usual. Wolfman is strong and has some nice light jamming towards the end. Quinn is a very strong inspired version. Roggae is very powerful and is another great addition from a year full of them. SOAMs jam starts off with a nice loop intro into some nice Ambient jamming and shredding over by Trey, and the extended ending and banter is definitely fun.

Tweezer kicks the second set off much to anybodies excitement. The jam starts with a mellow groove and gradually speeds up, but mostly stays the same throughout. Now for Piper.....And this is what I would call a all timer. This is not your stereotypical slow build Piper from this Era. It speeds up very early, you can tell they mean business from the start. It then goes to light-speed headed by Trey lighting up his fret board. Meanwhile Fish is beating the crap out of the drums, it's pure chaos in the best possible way. Then the loops kick in and it morphs into intergalactic floating madness with Mike holding things down. It then churns and simmers into YEM. YEM has a very infectious dance section and a notable vocal jam this is actually pretty good.

While My Guitar Gently Weeps is a very strong version with a killer solo by Trey.

Overall this show has about everything I want in a show. I love it.
, attached to 1992-04-16

Review by DemandOpener

DemandOpener Top Phish Show #4. I had been going back and forth debating inwardly whether context mattered when listening to these shows. I decided to take a week off from listening to shows from 1992, and I think it helped tremendously with respect to this show. It is now my favorite show of '92, and by a fairly wide margin. This show had so many gold nuggets you could have started a second California gold rush!

The first set opens innocently enough with a nice Buried Alive > Possum combo. Possum has a fun intro with lots of the customary sign language, and features a great, blistering jam with a scorching hot Machine Gun Trey. Possum was great back in the day, and this is another one that shouldn't be missed. The spreadsheet tape of this show has Mike dialed waaaay up in the mix, and it's awesome to hear him shine in this excellent version of It's Ice. This Ice grooves all the way through and provides some nearly-transcendent dissonance.

Bouncing-Melt-Rift follows, of which the main highlight is some nice shredding as the focus of a funky(!) Melt jam. It's a little different than usual, but I enjoyed it. Trey wins the piano vs guitar duel in Maze, with ferocious playing that at times makes you fear for the life of his poor guitar strings. There's more bending going on here than a 6 AM yoga class! Forbin's > Icculus > Mockingbird is next, and it's a solid rendition of the tale that was mostly utilized to educate the So. California crowd on the story of Gamehendge. The story is a little convoluted, but the Icculus is the shortest version ever and definitely worth a listen. (Note: I listened to this show with someone who is pretty new to Phish, who knew nothing of the Gamehendge saga, and he was blown away. He spent the rest of the night looking up the Gamehendge story and getting wrapped up in all the lore. Awesome!) Antelope closes the set, and this is surely the highlight of the night. This is another contender for Antelope of the Year in a year that was filled with these types of jams. The dissonant, melodic, awe-inspiring beast of a jam must be heard to be believed!

Set two opens up with Sanity, a song that is probably better served in another slot. When listening to this show, however, it was juxtaposed right next to the preceding Antelope, which made it feel more like a breather song. Another breather was needed after the Llama that followed. Anchored by a rock solid rhythm section performance, this version of Llama is absolutely volcanic and features Machine Gun Trey firing at will, as if they were about to take his guns away. Page's piano tinkles signal the start of The Lizards, another song my noob friend was really into as we listened along together.

Mike's Groove was solid, as usual. They were definitely starting to take risks on Mike's by this time, as the customary six minute tune had now been routinely lengthened to eight minutes. This Mike's features balls-to-the-wall tension, if you're into that. As for Weekapaug, well...God bless the guy who decided this mix needed more Mike. Since the bass is so high in the mix, it's really a glorious listen. Incidentally, this version is really interesting. Trey crafts a weird, spacey jam, and a highly re-listenable one, at that. In a sea of Weekapaugs that are decidedly "in-the-box", this one is decidedly "out".

The show winds down with a typical early '92 set two victory lap, but I'd be remiss if I didn't mention the gorgeous Horn that followed Mike's Groove. This song is an excellent breather in the second set, and I really wish it could make a grand return to the second set on a consistent basis! I have one last chance to sing the praises of this mix, by the way, and it has to do with the high quality of the funky set-closing Suzy Greenberg. Mike is awesome. He's the best. This is a jam-chart version of Suzy IMO.

If I was making my own "Top 100" list, I'd have to imagine this show would be on it. Moreso the first two '92 shows on TPC3.0's Top 100, I feel like this show is the band making a statement to their new Californian fanbase. This is the exact type of show that SHOULD be on the Top 100, a historically relevant show that features transcendent versions of just about everything that was played. Highly, HIGHLY recommended.

My highlights: Possum, It's Ice, ANTELOPE, Llama, Weekapaug, Suzy
My score: 5/5
, attached to 1999-10-01

Review by Bob_Loblaw

Bob_Loblaw This is an overall fantastic show with a few bumps along the way.

Set 1 is pretty straight forward until Gin kicks in. This Gin jam starts out with some beautiful loop layering by Trey, followed by some great hose. Into some great tension and release peaks, top notch. Limb By Limb is the only other notable song from this set, standing out above a lot of average versions throughout the year. It picks up about midway as Trey goes faster and faster into a great peak at the end.

Set 2 has Antelope in the odd slot of 2nd song. This version contains a great extended mid section. No type 2 and nothing really new but just a great lengthy Antelope mid section that any Antelope fan needs to hear. Gumbo goes Type II early into some great funk interplay, and dips into a subtle dark groove. Julius contains a slightly extended solo that Trey tears up. Fluffhead is pretty average and even has a little flub at times. But they way I see it is after the first half of this set Fluff is a fantastic cherry on top. Slave is also very strong containing some very patient Trey, excellent execution. Bold as Love? Well it did what it does.

This is a very very good show. I was on the fence about giving it 5 stars but it was just below the consistency I would give to a 5 star show. Still an excellent show.
, attached to 1997-11-19

Review by Piper72

Piper72 I'll try doing some justice at a review, having only remembered the other day that I was at this show. Yes - 1997, perhaps the most talked about year in Phishtory, one I thought I had snoozed on - I was there. Amazing what a year of sobriety can do for your long-term memory. A fresh listen helps, too (as I'm doing now).
One thing that holds up in my memory was how schizophrenic this show is, and this listen reinforces that. There were moments (Bathtub > Llama, Wolfman's > WTF > Makisupa) where a nice, thick Fall '97 Cowfunk foundation was being laid nicely by the Phab Phour to build on, and then Trey would stomp on it and kick it apart with some searing Machine-Gun type playing. It works for the former (when Fishman catches on), not so much for the latter. What hurts is hearing the rest of the band either glaring or glazed-looking at Trey, going "ok...um...sure, give us a sec" before finally all giving him a nice sonic dancefloor for him to spaz out on. It gets better as the band sells you on it with some serious facemelt rockpile jamming, whether it's Crosseyed-related or some distant cousin. The segue into Makisupa is clever and sublime. Actually, that whole jam redeems it's mutated predecessor (as well as providing a much-needed cooldown for the band I'm sure). And that's what jogged my memory - that Makisupa. I was there with my friends Kevin and DJ, and DJ, who was older than us and had had a few more run-ins with the law (not to mention his first show) during the "cased my house" portion of Makisupa put his hands to his head and yelled "Nooooooooooo!!!", which freaked me out and probably those in our section (who may or may not have been on as much acid). Funny, that one memory all these years later.
Looking back, this show proves how much 1997 was an influence on Phish during 3.0 - in both good and bad terms. 3.0 took the 1997 Cowfunk throwdown, and made it an altrustic listening experience, patiently developing ideas from their different eras to build shimmering sonic statues onto that stand the test of time. This show is a reminder of what we love - and don't so much - about The Phish From Vermont.
, attached to 2016-10-15

Review by MrPalmer44

MrPalmer44 Not a bad show, not a great show. Most of the new material translates well to the live setting. The first set actually is the stronger of the two sets highlighted by a good Martian Monster, a nice Waking up Dead, and some rarities like Let Me Lie and Lengthwise.

The second set starts out with potential. Mercury was a bit sloppy, but the jam is decent. The first I Always Wanted it This Way showed the potential for the song. It really gives a different platform for the band to improv. Unfortunately, the show takes a nose dive after this. Miss You will be killing second sets for a while. The Fuego>Sand is good, but Joy comes in to kill any energy that segment may have produced. Possum closer that goes nowhere, and a GTBT encore that will be easily forgotten.

The first night was much better. Petrichor/Ghost is one of the strongest openings of the year. Disease>Cities was worth the price of admission.

Overall, interesting to hear all of the debuts...each night had its moments. Night 1 being the better of the two.
, attached to 1999-09-29

Review by Bob_Loblaw

Bob_Loblaw This is without a doubt one of my favorite 99' shows. It is such an incredibly strong and consistent show.

Jim starts things off on a very strong note, it's just perfection every note Trey hits is just perfection. Free is also a very strong version with Mike really laying down something fierce in the mid section. Stash does exactly what it needs to and the Can't Turn You Loose jam was really a fantastic way to peak at the end. Theme From The Bottom is one of the best versions I have ever heard with such great peaks and inspired playing on Trey's part.

Now down to the business. This 2001 has a very long intro that sounds something to the effect of Aliens landing. It is just experimental as hell. But unlike a lot of the experiments thrown down this has a high level of fluidity to it, Mike once again laying it down. Just an all time version. This goes into DWD which has an insane solo from Trey followed by shredding madness for a while. Billy Breathes is solid with a much more delicate solo then your average version. Then we have the mini Mike's Groove fest at the end. Mike's starts off especially strong and quickly flies into catapult which then goes right smack into a Mike's second jam perfectly. And back into Kung weirdness back to Mike's. I didn't know is very random in the mix but is an added treat. And Weekapaug just slays to cap off an amazing set.

Cities Encore? Are you F***ing kidding me???

For sure an essential show for anyone checking out 99'.
, attached to 1992-03-20

Review by DemandOpener

DemandOpener Top Phish Show #3. Exactly one week after "Top Phish Show #2", the band laid down another all-time early 90s gem. Given that these two shows occurred in such close proximity to one another, I was curious to see what they had in common and what was different.

I don't have a ton to say about this show, to be honest. The show bears a striking resemblance to 3/13/92, mostly due to the large number of repeats from that show and the fact that there were a bunch of newer songs still getting worked out. The first set, for the most part, is pretty standard. There are more than a couple of standout moments, however. The solid, early set Reba has a really nice guitar solo from Trey in the jam and thunderous work on the skins from Fish. Brother includes the infamous "alligator pit" banter and features Trey waving around a big-ass machine-gun. This set also features one of my all time favorite versions of Rift, with extended, awesome solos and an impeccably played composed section. The set closes with a good Antelope, especially for those who are fans of tension. It gets pretty wild and Fish even unsheathes his 'bone post-jam!

The second set leads off with a standard Mike's > Hydrogen, but then an excellent Weekapaug kicks in. Mike flips on a filthy heavy metal envelope filter to open the tune, and that's just only the beginning of the awesomeness. There's a weird vocal jam, all kinds of awesome exploratory playing, and even secret language! The jam at times feels akin to a frenetic, out-of-control cheerleading routine, and that's literally the best way I can describe this smoking Weekapaug. MUST-HEAR!!! Sanity is really weird, as was customary at the time. The Mango Song is one of my favorite "songy" Phish songs and it is employed to great effect here in the second set, with beautiful tinkly piano and tight rhythm work.

The rest of the show is mostly just the coach running the ball to run out the clock, but the set closing Possum > Secret Language Instructions (a la 3/13/92) is still a highly enjoyable listen for anybody who hasn't heard the legendary Secret Language, and as such, comes highly recommended for those listeners. The show definitely "suffers" from being in such close proximity to such a similar, probably superior show, but on its own it's still a great show with a bunch of good highlights.

[b]My highlights: Brother, Rift, Antelope, WEEKAPAUG, Mango

My score: 4.5/5[/b]
, attached to 1999-09-28

Review by Bob_Loblaw

Bob_Loblaw What an awesome show!

Set one starts off as an all out funk fest with an Extra Funky Wolfman, Sally, & Tube. I can't think of too many shows that have a 3 song pairing of funk quite like this. Mike is laying it down the whole time. Roggae is noticeably powerful as Trey adds a lot of character to it. Maze is great and leads to gigantic peak as it should. Wading is in a bizarre slot but Trey seems to want it so it works. Hood is a very solid cap to the set with some very inspired guitar work by Trey.

Set 2 starts with the odd pair of Farmhouse and Heavy Things, very normal for first set but not the second. But that is ok because Farmhouse is fantastic, one of the best versions I've heard. And heavy Things? Well it's the same one you'll get for the next year. Tweezer is the typical slow funk you come to expect from this year and it morphs into a looping decay feedback frenzy. The segue into Makisupa is pretty cool, it's one of those "How did they get there?" type of segues. YEM is played very well. Solid after jam with what appears to be a longer than usual vocal jam. Everything is solid.

Average Encore.

Front to back this show is very strong and carries very little flaws. It has energy, fun, and inspired playing. I like.
, attached to 1999-07-09

Review by 46Blaze

46Blaze Gotta add props for this Weekapaug! For my money, there is no better version (suggestions welcome, of course). Mike's intro comes raging out of Twist's feedback ending, and we're in. Jam takes off with Trey laying down melody after melody (anyone else catch the Gotta Jibboo tease?). They begin to steer into the tight sometimes-minor-key funk section, but instead opt for a hilarious Macarena jam, out of which the music just EXPLODES. That final peak is almost too much. Trey coasts on some high wailing notes while the rhythm section braces us for a smooth landing.
He-eyyyyyy Macarena!
, attached to 1999-09-26

Review by Bob_Loblaw

Bob_Loblaw Set one of this show is mostly a novelty set. Sweet Virginia is a pretty cool and out of left field debut to kick off a show. The horns are a very cool and unique show. The highlights to my ear are Cars, Trucks, And Buses and Mozambique which as a very creole touch to it, perfect for the area and venue. For the most part it's a pretty average first set though, nothing groundbreaking.

Set two kicks of with Twist that slips into a kind of floating dreamscape, before Trey charges it into the finish line to a fine conclusion. The Piper is absolutely top shelf and likely deserves more credit. It is your typical slow build Piper but with a very heavy touch courtesy of Trey and Fish, it is a version any fan of the song needs to hear. Mountains in the Mist & Heavy Things work as a soft core to the set which works pretty well. DWD stretching to the typical type one Trey shredding but with a slight hint at what was to come at Big Cypress.

Meatstick > Rocky Top encore is a good one two punch as an encore.

Overall a fairly solid show. Not stepping outside of any conventional bounds but none the less the guys did their thing well.
, attached to 1999-09-25

Review by Bob_Loblaw

Bob_Loblaw This is a show to to leads. Mike and Trey seem to trade off throughout this entire show being the dominant player,

Tube gives the show a quick injection with Mike laying down the funk hard. On your way down shows up again and does it's thing as a bluesy little song somewhat in the middle. LXL is basically the same one you have gotten all year. All around average first set but high energy none the less.

The second set is where things get interesting. Mike absolutely owns Bowie and he drives the whole thing rather well. Nothing new or too exciting but they do play Bowie as it should be played. Coil > Caspian is where Trey steps in front. A slow couple of songs but Caspian has some nice peaks and valleys on Trey's part, you can tell he's really having fun with it. R&R continues Trey's reign in the front and is pure Trey Shreddery at the end. Things go back to Mike in 2001 as he lays down a nice smooth groove that to me may be the highlight of the whole show, it flows very well.

Frankenstein, Julius, Zero are well.....What they are to close a show they don't really add or take anything away.

Overall a pretty average show with some interesting trade offs in dominance throughout.
, attached to 1992-03-13

Review by DemandOpener

DemandOpener Another of The Phish Companion 3.0's Top 100 shows, this is one I can't really get my head around as a legitimate inclusion in the Top 100 Phish Shows Ever Played, an illustrious distinction that should be reserved for shows more...well, distinct, than this. Nevertheless, this show is extraordinarily well put together, full of fun antics, great setlist picks, and a couple of must-hear Phishy musical moments.

The Curtain is always a fantastic, tone setting opener. This Curtain is impeccably played and followed with a trio of SOAMelt, Poor Heart, and Guelah that were all well played as well. Following the classic opening salvo is only the fourth Maze ever played, and it shows, as the band doesn't seem to be incredibly comfortable with the nuances of the composed section yet, flubbing some notes and playing at a considerably slower pace. Things pick up during the solo sections, though, as the Page and Trey duel delivers some truly melodic playing not usually found in Maze. Unfortunately, this version doesn't quite have the epic build up of tension that Maze has today, but it's still a good listen. As such, I would definitely recommend this Maze, mostly as a curiosity piece but also as a genuinely enjoyable bit of pre-1993 Phish to listen to. Dinner and a Movie followed right behind Maze, and featured some hilarious audience participation. I enjoyed this Dinner while it lasted, it wouldn't be long until America's favorite pre-nuptial ritual would become a rarity at Phish shows. (1992 was the last year Dinner and a Movie has been played more than four times.)

Divided Sky feels rather truncated (the length of the infamous 'pause' is negligible at best, despite the fans' best efforts to get them to play Possum), but is never underappreciated. Trey customarily [i]rips[/i] this Divided Sky jam, and provides the first bona fide highlight of the evening. An early, weak Mound >s into Fluffhead, a welcome surprise given the band's infrequent propensity to play multiple composed songs in the first set. This Fluffhead is right in the pocket, and totally hits the spot at this point in the set, and features an amusing "Follow the Yellow Brick Road" tease at the end that carries into the start of Antelope.

You've almost certainly heard this incredible Big Black Furry Antelope From Mars (it was released on Live Bait 6) and if not, I (and everyone else) highly recommend it. It's certainly a rip-roaring good time, featuring dissonant playing up the wazoo, a great -> BBFCFM, hilarious Hawaii and Three Stooges antics, secret language of the Get Back, Complete Stop, and Simpsons variety. I mean, [i]damn[/i], this Antelope is something special to behold. This is Phish at their at their most wild and uninhibited! They are completely out of control here in the best possible way! I can't talk this Antelope up enough, just go listen to it!

The second set of this show is undeniably songy, and if it were played today everyone would almost certainly hate it due to lack of jams, despite the incredible song selection (a thought which amuses me greatly). Seriously, the big jams are nowhere to be found, but there a myriad of interesting things going on in this set. One of the longest versions of Wilson ever has "Somewhere Over the Rainbow" teases and gets so quiet at times you can barely hear it. The Brother that follows is a beautiful mess. Similarly to Maze and Mound, the Horse > Silent combo features a bit of early-version jitters. A sentence beginning with nondescript versions of Landlady and Lizards and a new tune, My Mind's Got a Mind of Its Own follow, is punctuated nicely by The Sloth. (I take back what I said earlier, by the way, phans might be s**ting their pants for the privilege of adding Brother, Landlady, Lizards, MMGAMOIO, [i]and[/i] The Sloth to their stats!)

The second half of the set brings us the newly (and mercifully) redone Rift. It's hasn't quite reached its blazingly fast peak yet (and honestly, they've play it faster in 2016 than they play it here), but if you've heard the old version of Rift, you'll recognize what a relief it is for the song to finally be up to speed. More antics follow this pretty well-played Rift in the form of Cold as Ice, Henrietta's new walkup music. The ensuing Love You features Fish introducing the band members and taking a hard-earned bag-vac solo, which is something you don't see every day!

The centerpiece of the second set is the final song, a Possum that includes instructions to all the different secret language signals the band was using at the time! Absolutely nobody who considers themselves a phan should go without hearing these instructions, just in case Phish ever decides to bring back secret language. Be prepared, everybody! A fitting Contact with Mike on accordion/Fire combo sends the Campus Club crowd home happy.

Killer early show, one of the best examples of how great Phish was becoming before our (your, their) very eyes.

[b]Highlights: Maze, Divided Sky, Antelope, Wilson, Possum[/b]
[b]My rating: 4.5/5.[/b]
, attached to 2005-10-19

Review by markah

markah My friend Adam walked up on the stage during this gig. As he later explained, there was an extra guitar up there, no one was using it, and he was so spun that he thought it would be fine if he just started playing it. He never got that far--security escorted him out. Later in the show, Leo makes reference to "soy boy" coming up to play with them.
, attached to 1999-09-24

Review by Bob_Loblaw

Bob_Loblaw Very solid show. First tube kicks this show off in style. Down With Disease is also seriously worth noting.

Peaches is always a welcome set opener for set 2. Possum although being a fairly odd placement also does it's thing to keep the energy. The Wolfman is the goods. It morphs into a hypnotic trance that pulls you in and packs a very heavy punch. Besides Trey hitting some sour notes on the solo Lizards is also very well played. Sand is well...Sand and I won't complain! The -> Misty Mountain Hop is absolutely fantastic and a great cap to the set.

Boogie On > CDT for an encore? I guarantee you will hear no complaints about that whatsoever.
, attached to 2005-12-02

Review by Dutch

Dutch The energy at this show was intense. While Trey was playing the acoustic songs somebody threw something at him (a water bottle). He stopped in the middle of the set and said something like this, "People have been throwing sh#t at me this whole tour. I have a good relationship with Fish, Mike and Page. They are cool with me playing these songs." He then said something like, "I don't know who keeps throwing this stuff but it better not be you man." He was referencing a member of the audience with a cowboy hat on named Rufus. The crowd then exploded with cheers, applause and support for Trey. You could feel the energy of the crowd elevate the mood of the situation and it filled Trey with positive vibrations and brought the audience to a a point where we were all "vibrating with love and light" from that moment forward. I saw the guy who Trey thought was throwing stuff at him (Rufus) after the show and he claimed it was not him. He actually handed Trey a letter at the end of the show while he was taking encore applause. He was crushed to think that Trey would have suspected him because the letter contained a mathematical equation that was developed by Rufus framed around the Trey's music.
, attached to 2016-10-28

Review by dabslayer

dabslayer First time flying, first time in Vegas, first show EVER for my girlfriend, and first show of a glorious 4 day run!(Lot of firsts, just no first tube lol). Well what can I say this was an amazing show to kick things off for the Halloween run, fire right off the bat with Martian, and No Man's. Pleased to hear Dogs Stole things, and loved that Destiny Unbound. Limb was great, and well that Steam was steaming hot! Home, which is one of my favorite songs off the new album, had my face melted at the end of it. On to Set II, the rare Crimes of the Mind to start things off was just awesome. then came the biggie, the golden of Golden Ages, pure energy off that one! Kick ass Blaze on and one of my fav's, Coil at the end, with a Bounce, Bold as Love encore, I was grinning from ear to ear!
, attached to 2016-10-30

Review by forbinspants

forbinspants I love Birds of a Feather and this was the best version I've ever seen live.

This Have Mercy was the ultimate tease for those of us who've never seen it live. Now I can say I've seen half of one. They never actually got all the way into it which was a shame. Hard to play a reggae tune without the reggae drum beat.
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