, attached to 2017-08-04

Review by fretgod321

fretgod321 All I can say is that while I had listened to a bit of phish through high school and college(most of my exposure was from the Bittersweet Motel documentary and some of the live albums); this was my first Phish concert and none of that could have prepared me for this experience. I didn't have the encyclopedic knowledge of Phish's catalog like some fans, so while there were some tracks I recognized, the rest of the show was full of musical surprises. The high points for me were definitely the transition from PYITE to Party time; very feel-good sequence. BBFCFM was a classic silly song to add some chaos into the set. Winterqueen I can only describe as a light and fluffy jam, and let us coast to the buildup of Bold as Love into a phenomenal First Tube. Set two was solid. The second the chords from EIIRP were played, the crowd erupted, and we were just taken away on a musical journey. S&SS was great jam, with some callbacks from NMINML. Fluffhead. I don't have the words to fully and accurately describe how amazing that finale was. The combination of the crowd's/band's energy, the lights(
, attached to 1990-02-08

Review by DancetheMeatstic

DancetheMeatstic  Went to VCU and saw first show here...Could swear Phish played Jade Elephant 1988/1989 is that possible? Am sure it was before they played "The Library and Flood Zone in Richmond. First encounter was seeing Mike etc.. carrying mini tramps in the front door well before show time..so sure YEM was played...where they using Tramps in 1988? I have great pic of Jade Elephant courtesy of my buddy G$ if you would like it?
, attached to 2003-01-02

Review by Bob_Loblaw

Bob_Loblaw I think this show is pretty underrated. I see what has been said about some slop and warmup jams as this is the 2nd show in about 2 1/2 years. But I like a lot of the ideas that come out of the jams in these shows however sloppy or directionless. CDT opens and rips and blasts the audience off into space right away. Gin is in a pretty weird 2nd song slot, it goes into a nice groove before going into atypical Gin hoseyness towards the end. Excellent BOTT it's a nice little taste of what will happen on 2/28. Stash is pretty average but not bad still. Character Zero has a great solo and excellent peaks that you would expect from it. 46 days makes it's debut with what starts off as a somewhat thunderous jam. Then it mellows out quite a bit for a little while as they try and find some kind of ground. But the thunder returns as they take us for yet another crazy Trey led roller coaster ride. Simple is extremely sloppy but the bliss jam after is quite nice. Antelope has a little stretch to it and has all the ferocity you would want, no complaints! However silly Mexican Cousin is as a song, the guitar solo is no laughing matter. Trey just nails it! Overall I quite enjoy this show, maybe it's just my taste being able to see past some of the faults of a warmup show.
, attached to 2017-08-02

Review by Timpanogos

Timpanogos Motion to get this mikes on the "highly recommended" chart! Absolutely excellent version. I'd say hands down the best of 3.0. Contemplative, celebratory and down right rocking! Probably my favorite jam of the run along with the jam out of 1999. Lawn Boy and company get and deserve all the praise in the world, but this Mikes flows incredibly well and takes me there! See you all at dicks!
, attached to 2017-08-01

Review by n00b100

n00b100 Set 1: O Canada, full of Hendrix-type distortion and clanging accompaniment, is a highlight of the set, as is Maple Leaf Rag popping up incongruously in the middle of Guelah, as is the lovely McGrupp > LxL duo at the end. Always love Walk Away, too. Set 2: Golden Age, as one of Phish's current Big Time Jammers, kicks off the set, and the band is content to luxuriate in its usual jam before Mike pushes towards something darker and more mysterious (almost that Phrygian mode you may remember from the 8/21/15 CDT), but Trey takes the lead and the jam kicks into a new gear with Page on electric piano and Fish's snappy beat carrying things. Page's synths swirl around as Trey plays some snappy chords (man, those synths really changed the game this year), and the jam begins to pick up speed without moving towards major key (a nice counterpoint) as Trey's minimal licks take the forefront before he gets off a nice solo and the jam comes to a ghostly close. Leaves follows, and I actually like the move; the eerie crowd silence as the song starts up is something to behold, if nothing else. Swept Away > Steep feels like a nice relaxed mid-set breather, but instead of closing out Steep Trey plays some increasingly dissonant notes before switching to chords, Page goes to the effects as Mike rattles some ribcages with his meatball effect, and Fish kicks into Drummer God mode to urge the band forward into improvisational territory. The jam grows in power and energy, Trey steps into the limelight and really shreds, and they hit a really powerful and thunderous peak. This is a truly awesome jam, and the 46 Days that (a tad abruptly) follows is just as good, sandwiching a pretty interesting Marimba Lumina percussion-fest with some grimy funkiness on one side and an echo-filled spaced-out Mike-driven groove on the other. Piper blasts off into the stratosphere before downshifting into a stripped-down effect-laden jam with Page flashing on the keys, then gets really dark and weird before Fish actually steps to the forefront and Trey sings 46 Days quotes for some reason before the jam comes to a stomach-twisting end. A tension-ratcheting Possum (Page and Trey basically find a Maze peak) closes out the set, and the second Ziggy Stardust cover of the run makes for a fine encore. Final Thoughts: One of the more overlooked shows of the Baker's Dozen (if the rating is any indication), which I think is a mistake. The second set contains some of the darkest and most interesting music of the run from start to finish, with Steep > 46 Days > Piper the clear main event. I mean, you're not gonna skip a freakin' Baker's Dozen show, are you???
, attached to 1997-08-17

Review by CanadianPhan

CanadianPhan 20 years and 44 shows for me (not a guy that can tour constantly with the band and I just pick my spots) and this second set is the best I have ever seen in only my second ever show. So so glad my university buddy talked us into going to the went and not just doing the one off at Darien Lake like we had planned (although I won't scoff at that show with the Merry Pranksters and Col. Forbin which I am still chasing and will probably never get). That said, listening to this show on the 20th anniversary while I plod away at my desk job reminds me why I ,love life and Phish. I get goosebumps every time when the hose comes in during the Gin and the wonderful highs of the peak of Harry Hood. I don't think I will see anything better than this but here's hoping. Peace and love to you all. Cheers, Jay
, attached to 2017-08-02

Review by dpwilljr

dpwilljr My 80th show which I suppose is a milestone. Two songs were played this night I saw my first show on 11/2/96. Antelope & A Day in the Life. These mid-week shows were some of my favorite songs from the BD run. The Taste > Wingsuit was absolutely beautiful. Mike's Song completely surpassed any definition of second jam in my humble opinion. The now rarely played Guyute was only part of what I consider a really interesting first set. Meat > Maze should be heard simply because the Meat jam that segues into Maze is very unusual. A great summer, mid-week NYC Phish show. I wish they would do a run at MSG every summer.
, attached to 2017-08-06

Review by Coleman_

Coleman_ The excitement and energy in the building before the show was unlike anything I had ever seen - strangers were literally stopping strangers to shake hands and high-five before the band had even taken the stage! Despite having played [url=http://phansite.com/wp-content/uploads/2017/08/IMG_8063.jpg]217[/url] of the songs in their catalog without any repeats prior to this show, Phish was still able to surprise the crowd when they launched into Dogs Stole Things to kick off the first set. Rift was played exceptionally tightly. The spirited composed section after Trey's "soul to ignite" cranked up the energy and by the time the familiar opening riff to Ha Ha Ha rolled around you could tell they were just loving the moment. Camel Walk followed and continued the set's early feel-good, old school vibe. Then from the abyss rose a trio of dark songs like the band had taken a cue from the red "Make Phish Evil Again" hats that were being sold outside the Garden. The first highlight is Crazy Sometimes, a strange new Mike song, that showcased Page's willingness to take the synth to spacy, cerebral places. Bouncing brought with it the return to equilibrium, setting the stage for the next highlight. Immediately after the last verse to the Vida Blue song you probably hadn't heard before called Most Events Aren't Planned the band pauses before Fishman ignites a punchy '70s detective groove with a quick snare fill. I'm reminded of the [url=https://youtu.be/S8oroY5V48E?t=7m24s]Murat Gin[/url] when Fishman gives everyone a swift kick in the ass before the second jam. Easily the best song of the first set, the intensity doesn't let up for a second of the 7-minute jam. Additionally, it should be noted that aside from the amusing I Been Around dialogue between Trey and Page, this can be considered the only earnest nod to the Glazed donut theme of the night in that there seemingly hadn't been any planned mention of the theme otherwise. For the most unpredictable run of Phish's career it is perhaps fitting that the set closed with Izabella - a rockin' Jimi bustout they hadn't played in nearly 20 years! The novelty alone is worth a listen, but they really nailed this version and had clearly been in a Hendrix mood given that this was the third night in a row they played one of his songs. I managed to get my first donut during setbreak and fuck it was delicious. Pretty much everyone and their mother could have predicted that they'd play Simple in the second set, but regardless the anticipation was nigh unbearable. Surely they'd give it its proper Baker's Dozen treatment, but I don't think I'm alone in that I was wondering how it would ultimately stack up against the glorious [url=https://www.youtube.com/watch?v=KlcHi4c_22w]Chicago Simple[/url] from just a few weeks prior. Well, in short this Simple did [i]not[/i] disappoint! Not only is it the third longest song of all 13 shows, but similar to MEAP this one does not lack in intensity in the slightest. Trey's beautiful, no-space-between-notes noodling reminds me of Jerry's style and Mike does a fantastic job of keeping the energy high. In my opinion, this surpasses the version from earlier in this summer hands-down. After this is a new Trey song that has yet to grow on me, and then a couple of ace classic rock songs bookend the best YEM I've seen live! Starman was such an epic celebration, and I'm glad to say I witnessed all Bowie songs of the run. It was good to see which Halloween songs may make it into normal rotation. When they launched into YEM, I don't think I had ever seen so much excitement from such a huge crowd all at once. The you-know-what-I'm-talking-about notes and the "BOY!" were absolutely explosive. This was a very fiery version and they even did a little Izabella jam! Loving Cup was an awesome way to end the second set, I don't care what anyone says about this spot for this song I will always defend it. Before the encore when Phish raised their banner to the ceiling of MSG I thought to myself, "Damn, these guys have earned it." On the Road Again was teary-eyed, I guess, but I couldn't hear from the crowd and though I've never been one to well up at shows I can certainly see why folks would. Then the Lawn Boy Reprise - are you kidding me?! It [i]was[/i] all Lawn Boy all along, I knew it! I really hope they revisit this groove in the future. The Tweeprize encore was the most epic way to end the run of a life time, and I thoroughly enjoyed seeing Twitter posts like, "The Baker's Dozen Tweezer lasted longer than Scaramucci in office." The greatest band on earth just did the greatest thing on earth and it is a wonderful time to be alive.
, attached to 1992-11-21

Review by Bob_Loblaw

Bob_Loblaw This show to me is on the upper tier of 1992 shows. It is a pretty long one with a ton of songs. And at times it's somewhat stagnant. But the setlist is excellent and there's a lot of gems to be found. Jim is absolutely gorgeous and leads to a fantastic peak. Mockingbird has a fairly straightforward narration for the era. But they still played it first set! Possum caps the first set with outstanding peaks and playing, it's just one of those songs that shows Trey at his most shredtastic. Carolina is fairly rough and Curtain is pretty standard. But Mike's is when things really get started. Trey goes completely nuts at the ending of it. I Am Hydrogen is even somewhat noteworthy in that it's perfectly played. Weekapaug is likely the highlight of the show for me. Trey's beautiful hammeron's and a nice quick hose jam, top notch version. The rest of the set is pretty straightforward. Standard HYHU and coil is unusually standard. You also get your phishgrass essentials (uncle pen) and phishjazz essentials (take the A Train). The Llama with a quick Big Ball jam is unique and kind of cool, and of course Trey shreds as always. Buffalo Bill's debut is quick but still fun. And to end the show maybe one of the more noteworthy BBFCFM with a lot of hilarious talk about Satan. All in all a pretty good 1992 show coming from someone who isn't a huge fan of this year.
, attached to 2017-08-13

Review by pgoggijr

pgoggijr What a fun set! Mike clearly was in his element and having a blast. The energy coming from his person was noticeably stronger than during a phish set. Highlights for me included Sugar Shack, which was played (I think) even better than Phish does, Marissa, Crazy Sometimes (It's been stuck in my head ever since BDoz!), and then Face and Victim 3D (I think this was my favorite) with the Turkuaz Horns (who were a highlight of the entire festival). Only wish it was at night to really engage the awesome lights they had set up at the Peach stage
, attached to 1992-10-30

Review by mfhendi

mfhendi My first show was memoriable. My roommate had gotten floor tickets and we basically went for something to do on a Friday to start the Halloween weekend festivities. I was coming off summer Dead tour and was anchored to only local shows due to school. The comedy was weak. Michael Penn was alright but really couldn't carry the size and mood of the room. Spin Doctors threw down ( as hard as it is for me to write that) and then Phish hit the stage. It was about this time that my roommate was kicked out for smoking but was able to do the handout on his way out. The rest of us had a great time. The band played solid, sounded good and confident. I tend to remember the Rift material due to my familiarity with it at that time. Trey commented about always wanting to play the Garden. I made it to Great Woods the following summer and then left the scene for an extended period of time. Nice introduction into many decades of enjoyment.
, attached to 2003-07-29

Review by TweezingSpaceRanger

TweezingSpaceRanger Out of all the shows of 2.0 phish, I think this show and 2/28/03 are my favorites followed closely by IT and SPAC 04. The jam out of Crosseyed is incredible. Everything is played so well and there have only been a couple flubs that are hardly noticeable. Also, there are fantastic versions of Cool It, Fee->Timber, McGrupp and Harpua. How can anyone complain about that?
, attached to 2017-07-30

Review by n00b100

n00b100 Set 1: A nice mix of rarities (Curtain With, Esther, B&R) with some usual Set 1 stalwarts, peaking with (as one might expect) Forbin's > Mockingbird; some sloppiness throughout doesn't take away from the power of these tunes, or from Trey's amusing lyrical quotes during Forbin's. Good start. Set 2: Drowned gets things going, and it doesn't take long for the band to settle into a brisk groove with Page at the forefront, Trey adding scratchy effects and occasionally firing off some tasty licks. The jam grows warmer in nature, then weirder as Page goes to the synths, then Fish switches up the beat and we enter a relaxing, dreamy zone with whale call-esque effects and Mike working his way to the forefront. Trey goes to his pedals and Page switches to piano, and a more powerful jam emerges, then after some nice trilling from Trey Page steps to the forefront and offers some wonderfully contemplative playing as a fog creeps over the proceedings and the jam winds to a close. ASIHTOS moves in, and this is an incredible version, one of the finest ever played. Page goes to the synths right away to help set a mood during the usual ASIHTOS jam, and after some fine playing the bottom drops out and a delicately miniature jam develops, with Trey scratching on his strings, Page playing off-kilter notes, and Fish tapping away behind. Page suggests a dissonant chord pattern and Trey catches on, then the jam reignites as Mike flips on the envelope filter to really add to the depth of the jam. It sounds like they've returned to the ASIHTOS theme, but instead Fish goes to a military-style drumbeat, strange ghostly effects rise to the surface, and the band rides this stark groove to its natural conclusion. This is truly interesting and dark music, the kind they might have played in 1994, and a must-hear jam. Harpua comes next (Jimmies night, remember), and instead of a goofy cover the band has a droll conversation about the nature of the universe, leading them to conclude the universe is a donut (and allowing our good pal Page to drop some dad jokes), to which the cat dying sort of gets shoehorned in rather amusingly. And, after the scripted silliness, Also Sprach Zarathustra makes its presence felt in a neat synth-laden version, Golgi offers a blast of rock and roll catharsis, and they wind up the set with their cover of In The Good Old Summertime (hey, can't let that go to waste). A Hendrix tune makes almost too much sense as the encore, and they skip their usual repertoire of Hendrix covers to debut The Wind Cries Mary; it's not the tightest version you'll ever hear, but neither were Hendrix's live versions, and the spirit was certainly there. Final thoughts: A true smorgasbord of the Phish experience, with some of the deeper jams of the Baker's Dozen tempered by the fun Harpua. Well worth the listen.
, attached to 2017-07-28

Review by n00b100

n00b100 Set 1: Good clean fun - love the song selection; Free luxuriates in its jam for a few extra minutes Dayton '17 style; The Oh Kee Pa Ceremony pops up unmoored from Suzy or Bag for one of the few times outside, like, 1990; Chocolate Rain is an inspired opening choice; Divided Sky gets past some rough opening flubs to give us a lovely version; Sand steps out for a few blissful upbeat minutes before returning home a bit more abruptly than one would like (it almost certainly would've gone on longer earlier in the set). Who doesn't want Destiny Unbound and Weigh in a set together? Set 2: A sweet Have Mercy gives way to an absolutely mammoth Chalk Dust Torture, one of the finest of the modern era (and believe you me when I say this is high praise indeed). They drop down to a lower gear almost out of the gates, Page on electric piano and Mike doing the damn thing, then Fish kicks the jam back into high gear as everybody meshes together in delightful harmony. Fish gets a brief "solo" as a warm, low-key groove emerges, Trey hitting on a cool repeating pattern and Page matching him on piano, then Page returns to piano and some stabbing chords lead us to grimy rocking out. The woodblock pops in as Mike takes control, then the jam tears itself briefly apart and rebuilds around some Echoplex-y playing, before Page's synths lead them to a new segment (the band is just shifting from mood to mood on a dime, it's unreal). A driving Page-led groove emerges, then shifts gears again as Page returns to piano and some really motorized riffing from Trey adds energy to the proceedings, and then the band magically builds to what many consider a Harry Hood-type peak (it's pretty close, I gotta say) before winding to a close. Hot Chocolate's You Sexy Thing (!) comes next, Mike singing it with every last bit of vocal ability he has left, and (as was normal with the BD) Mike shifts the music to a darker minor key, with some more Echoplex-y playing and Page abusing the ol' clavinet as only he can. The band stays in this dark and gruesome zone, Page's synths and weirdo effects floating around as Mike and Fish hold things together, and then as the jam dies away Mercury steps up to the plate (it's really made its bones as a Set 2 vehicle, IMO). They shake off some early flubs and give us the usual luverly Mercury jam, and Page gently suggests major key, with the rest of the band following him for a brief section of joyfulness, before Mike catches onto the bassline to You Sexy Thing (!!) and they segue back into that song in genius fashion (giving us a genuine You Sexy Thing sandwich), Trey takes a nice solo, and they quickly head to a close. Number Line and Rock & Roll close the set proper, and a chocolate donut-referencing Fee and Space Oddity end another tremendous show. Final thoughts: The CDT > YST > Mercury -> YST run is possibly the finest of the entire Baker's Dozen, and that's saying something. Yet another absolute skullcrusher of a show.
, attached to 2017-08-04

Review by n00b100

n00b100 Set 1: A bit of a dog's breakfast, honestly (the no repeats gimmick was taking a bit of a toll around here, at least for Set 1s - none of these songs are bad, but there wasn't much in the way of flow); the Blind Lemon Jefferson cover was interesting if nothing else (I called it!), and First Tube had some real extra rev to it. Perfectly good first sets are entirely forgivable when you get second sets like these, anyway. Set 2: Dem Bones, the first acapella Set 2 opener in (I think) 20-odd years, kicks off the proceedings, then NMINML busts on in, and the band seems ready and willing to luxuriate in the usual jam, with Page going to electric piano to add some warmth to the proceedings. The synths worm their way in as the jam ratchets down to a lower boil, and Trey really begins cranking out some filth with Mike and Fish dancing around the song's usual rhythm. The jam comes to what feels like a satisfactory close, but (in a running theme for the set) the fires keep burning and they appear to maneuver to a new key, but instead they gently wind down and (with the unmistakable sounds of an egg shaker) Phish finally take on Radiohead with a cover of Everything In Its Right Place. EIIRP is absolutely amazing, all the more so for how obviously Trey had studied Radiohead's live versions (I don't quite get @Philbombs77's complaint about Fish's vocals - nobody in the band is matching Thom Yorke's original vocals, and the off-pitch nature is kind of obviated by the electronic manipulation anyway); the crowd roar is enough to warm one's heart, and the looped vocals of "yesterday I was sucking on a lemon" would be put to good use throughout the rest of the set. WTU? pops in for a few minutes (with Trey rather hilariously making a meal of the intro), then comes the set's main event with an absolute MFer of a Scents that first bursts into a hearty and fast-paced race-to-the-peak (with Trey shouting out NMINML lyrics, the goof), then shifting to a *relaxed* semi-tropical Mike-led groove as Page goes to work on the organ and Trey lays back and adds color (seriously, this jam is so relaxed it's like they're playing it in Barcaloungers), with an EIIRP quote just for funsies. Caspian slides into the fray in that Caspian way it has, but instead of the usual chill Caspian jam Trey just starts hammering away on his strings like he's possessed by Joe Satriani or something, then builds up a torrid storm of noise as Page goes to work on electric piano and the rest of the band gently fades away. A cloud of industrial grinding spookiness floats across the stage, as demonically dark and crazed as anything from 2003-04, the sort of truly frightening music the band only whips out when they're really feeling it in the modern era. That darn EIIRP quote pops up again, and Page wanders over to the theremin to add another level of craziness to the proceedings...and then Trey gently leads the band into Fluffhead, of all things (apparently Page was none too pleased he had to move away from his favorite toy, but curfews and all that), a wonderfully performed version to cap off a killer set. Frankenstein, with one more EIIRP quote for the road, sends everyone out into the NYC summer night with huge grins on their faces (I'd guess). Final thoughts: Look, man, Radiohead's probably my favorite non-Phish or Beatles band. They could have played Everything In Its Right Place and Alaska 12 times and I'd be cool with it (well, probably). Instead, they played Everything In Its Right Place and a tremendous set of music that ranged from funkiness to major-key joy to calypso-esque groovin' to whatever the fuck the end of Caspian was, AND quoted it extensively on top. This one's going in my personal Phish time capsule.
, attached to 2017-07-26

Review by n00b100

n00b100 Coming on the heels of a benchmark show in the band's history, you had to wonder what the band would have left in the tank after a Jam-Filled excursion into the beyond. Let's find out, shall we? Set 1: After a pleasingly austere start with White Winter Hymnal, the band settles more into what we consider a "typical" first set (sadly, no half-hour improvisation out of My Soul), but there's two highlights worth speaking of here - and I'm not just talking the Pebbles and Marbles bustout - that help give this set an extra kick in the pants. The first comes in, of all things, The Very Long Fuse, as Trey apparently loses the thread a little bit, allowing for the band to vamp a nice extended groove before returning home. The second comes in an absolutely wonderful Tube, one of the finest ever played; I'd say the fine fellow that cranked out the jam chart entry described the Tube pretty well, so go give it a listen, won't you? Set 2: Carini opens the proceedings and continues the 3.0 stalwart's march back to the spotlight after receding a bit after 2014 with a jam entirely deserving of the cute little .net setlist headphones. The band makes a nifty turn to major key about halfway through the proceedings, Trey and Page working well together as Fish bashes away with some tasty fills. The jam seems to maneuver towards darker waters, then slides into an offbeat groove as Page teases either Halfway to the Moon or Beatles song If I Fell as Trey moves to chords and Mike pushes to the forefront. Fish suddenly kicks into a tasty beat and things gets icy and weird (that's all Page, baby), and then with a wink and nod we move into Mr. Completely via a gin-u-wine segue. This Mr. Completely eschews the massive super-hose of Pittsburgh's version, instead maneuvering into a fun weird groove with Trey playing with the main theme and Page tinkling the ivories, before they head to a nifty peak and bring the jam to a close. Then, entirely out of nowhere (it has nothing to do with the donut theme, right?), 1999 makes its return, and a somewhat sloppy version is redeemed by a wonderful jam that touches briefly on dark weirdness before Trey pushes for a new key (almost Mr. Completely-esque) and the band gins up an absolutely killer anthemic jam, Trey ripping it up with Mike burbling happily away and Page hammering the keys as Fish sprouts those handy extra arms of his to really hit a new level. They segue neatly into Steam, and this Steam is wonderfully dark and weird, a nice way to offset all the bliss and major key of the rest of the set (I again turn your attention to the jam chart entry; a different fantastic fellow wrote that one, though), before giving way to another shot of darkness with No Quarter. Character Zero would be a nice capper to a gigantic set...but instead it's a tremendous capper to a gigantic set, thanks to Trey bringing the band on down behind him, boys, leading to a 12/29/03 Free / 8/3/14 Hood- esque duet between him and Mike before casually heading back to the Zero we all know and love. All in all, one of the finest sets of the modern era, and Powderfinger is an awesome encore to the show. Final thoughts: The second half to one of the greatest back-to-back-show duos of this or any era. This is the sort of download you pull off the "percent of cents" scam in Office Space to buy.
, attached to 2017-08-06

Review by n00b100

n00b100 "THIS...IS PHISHCENTER" "Welcome to the big show, everybody! Alongside Keith Palmer, I'm Dan Wilson. We start off tonight with Phish's 13th and final show of the Baker's Dozen...and boy, did they have a lot to live up to, Keith." "You got that right. Bustouts galore, incredible jams, wacky covers, fun themes, astounding full sets...this run has really run the gamut. But did the band have enough to cross the finish line in a blaze of glory, or would they limp over like they'd stubbed their toe? Let's find out together...as a family." "Well, after some fun rarities brought on by the 'no-repeat' policy, the band had their first cool moment in Set 1 with Gordon/Murawski newbie Crazy Sometimes worming into a neat bit of improv and transitioning very nicely into Saw It Again. But that wasn't the highlight of the set, was it, Keith?" "No siree Bob, Dan, that'd be Page's Vida Blue composition Most Events Aren't Planned, which carried an energetic Mike-driven groove on the back end and really allowed Trey to shine in the final stages. But just when you thought that was all they had in store, they capped off Set 1 with the good clean fun of I Been Around...and, could it be?" "It sure could, Keith, the return of Izabella, for nearly 2 decades one of the most coveted of bustouts! And Trey shreds like mad, too! So what could they have in store for us in Set 2?" "Well, kicking off with Simple's not a bad start, and we all know what happened last month [quick footage of the 7/15/17 Simple], so we knew this bad boy's gonna get comparisons right out of the gate to that mammoth jam. But we also knew they'd be up to the challenge, and right out of the usual Simple jam Mike starts picking up the energy, Page pulls out those synths he's used brilliantly all tour, and they ride into a groove so disgusting David Lynch would have nightmares of it -" "Is that the woodblock Fish is going to, Keith?" "Sure is, Dan! The band rides this unreal filth for a few minutes, then with a turn sweeter than Ray Allen's J they make the move to major key, Fish really turns up the heat to a tempo so quick the band almost has to hang on for dear life, and Trey pushes the boys to a MONSTER peak, one of the biggest of the year. So I'd say that has to qualify as yet another contender for jam of the year, right, Dan?" "You're darn tootin'. Rise/Come Together and Starman are great breaths of air after that sledgehammer jam, then they give us a You Enjoy Myself comparable to the old days, full of brisk jamming, Trey tearing off his fingertips shredding, a tremendous Izabella tease, and a vocal jam replete with some of the previous songs played this run [quick footage of The Lizards, EIIRP, and White Winter Hymnal], then Loving Cup takes us home in fine fashion. But that wasn't all for the night, was it, Keith?" "Not even a little bit! After a truly touching banner raising and an even more touching tear-filled On The Road Again, the band gives us two more cool surprises with a funk-filled Reprise of Lawn Boy [cut to Page saying 'people keep asking me, is this still Lawn Boy? It is], Mike getting that bass solo he missed out on during 8/2 II [quick cut to the botched entry into Paug on 8/2], before Tweezer Reprise brings this whole massive shebang home." "Final score? What else could it be but 'Phish wins again'. Keith, back to you." "Thanks, Dan. Now, on to the Dick's run..."
, attached to 2017-08-01

Review by Troutman

Troutman I attended four BD shows: 7/28, 7/29, 7/30 and 8/1. There are so many highlights from those shows but overall, start to finish, 8/1 might be my favorite of the four. Maple was deeply intense and emotional for me. And as far as re-listening goes, 8/1 has received the most playbacks of the four shows I attended. I've really been enjoying listening to the entire show, start to finish, whereas with the others, I just go to certain highlights. I have read that a common critique of the show is that it "starts off slow" and I think people are referring to the tempo/song choice. I'm assuming this is in reference to Sugar Shack, Circus and Army of One? Personally, I love slow, patient, contemplative Phish and I forget that there are a lot of people who do not. I felt the O Canada>Crowd Control pairing to open the show was done with a slight wink but also a great deal of intention. Trey's vocals and Fish's playing in Crowd Control are intense and I got the sense that they needed that release as much as a lot of Americans do right now. I know I really connected to that opening sequence and was singing along loudly and pumping my fist to Crowd Control. It was very cathartic for me. Sugar Shack was the obvious pick and solidified the Maple theme and I always enjoy that groove. I love it anytime Phish can surprise me so when "Circus" arrived in the 4 spot, I was thrilled. It was unexpected and again; so patient, quiet and intense. The crowd cheers after Trey sang "I never thought I would make it this far" brought tears to my eyes and still gives me chills. I'm sure a lot of people had Jerry on their minds as well. The fact that a Gospel tune followed next just seemed so appropriate to me. The BIG crowd reaction to Daniel was great. I love the personal nature of Army of One and the themes of struggling and just trying to survive (again, big fan of slow, contemplative Phish). And I thought Page was so present and felt his vocals and playing were really great. I'm assuming everyone loved Guelah, McGrupp, Limb and Walk Away as much as I did. The fact that they played a Scott Joplin tune in between just pleased me to no end- especially after hearing them do "In The Good Old Summertime" this tour. The fact that they are paying homage to tin pan alley and such an old form of music is so cool to me. I know the second set has been talked about a lot. I'll just say that the transition from the Golden Age jam into Leaves was one of the most intense moments I have ever experienced with this band over the past 20 years. It stunned me how quiet it got during that moment. The energy and intensity around me was palpable- very tough thing to achieve in a room the size of MSG. I love the lyrics to Leaves and really enjoyed this performance. Again, thematically I thought Leaves fit so well as a continuation from Crowd Control, Circus and Army of One. I loved the build and jam out of Leaves and when they went into Swept Away I was stunned once again (and excited, as this was my first time seeing Swept Away>Steep). Again, the fact that the band would be so patient and slow down and get quiet again, I think is a big risk. It's a risk that really thrills me when I hear it live. The Steep>46 Days>Piper>Possum was wild and I think represents some of the most dynamic jamming of the BD run. The Rock N Roll Suicide encore was so appropriate to me and again, kept with the lyrical themes that started in set one. When I consider some of the lyrical lines from this show, beginning to end, and then consider how beautifully the music and jamming moved along with them, it adds up (for me) to one of the most emotional and intense shows I have ever experienced. I am so grateful to have been there. And grateful for the ability to listen back and re-connect to it. "Show us why we came here before we lay on the ground" (Crowd Control) "Never thought I would make it this far" (Circus) "'Cause now if these wings should fail me, Lord I want to hitch on another pair" (Daniel) "Comin down to redeem a mighty world" (Daniel) "I just can't compete with the weight of it all" (Army of One) "It's the salt that's in our tears" (Wedge) "Up or down it's up to you" (Limb) "Someone's always telling me to breathe" (Leaves) "We built a kingdom out of lies and we blindly fanned the fires" (Leaves) "The crowd intrudes all day..." (Swept Away) "Lets turn on and be not alone. Gimme your hands 'cause your wonderful" (Rock n Roll Suicide)
, attached to 2009-08-14

Review by PauperCaspian

PauperCaspian Seeing my first Phish show in my home state was pretty cool at the time and seems almost perfect in hindsight, thrust into another world then and stepping into yesterday now, the eternal chorus of Gamehendge still sings it's mighty verses! I grew up loving the [i]Billy Breathes[/i] album, with [i]Prince Caspian[/i] being one of my favorite headphone songs, it's neo-mythic rendering of Narnia reminding me of Zeppelin's Middle Earth opuses. Little did I know of Gamehendge but walking into the venue that day made me feel like I was wading into another strange and wondrous place, filled with magical birds, harmonic vacuums, and badass covers. I had no idea how rare Icculus was, or even the idea there were songs within this weirdly intoxicating band's canon that could even be super rare, like ethereal baseball rookie cards or something. All in all couldn't have asked for a better first show- Gamehendge rarities, electric covers, and a lot of fine jamming that represents a small sampling of the set 2 type II and beyond vehicles that would continue their legacies as 3.0 standards- [i]DWD[/i], [i]Slave[/i], [i]Ghost[/i]. In that sense it's a nice bridge from the old school days of yore to a new era, another Golden Age if you will. But whatever your take on the show, and I'm not just talking about any old take, or the stuff you'd rather hear on the radio, I think we can all agree- we enjoyed ourselves. -also link to my film blog: bmclassahan.tumblr.com
, attached to 1993-08-16

Review by umuckurlife

umuckurlife I know there's a lot more to talk about regarding this excellent show, but about that Weekapaug Groove: Another Brick in the Wall? - Maybe it's not enough to be considered a tease because Mike used the same baseline (from 5:00 - 5:25ish) during the Gypsy Queen jam, but Mike brings it back and the rest of the band pick it up at about 6:23. It's obviously too fast, but it seems intentional. I also hear a bit of (and I know that the song wouldn't exist for nearly another decade) Pebbles and Marbles starting at about 12:20, and especially at about 12:43. I bet if that sequence happened today, it could be considered a tease.
, attached to 2017-07-26

Review by A_Buddhist_Prodigy

A_Buddhist_Prodigy I really liked this show. The second set was superb. It's a show that gets overshadowed by the other great Bakers Dozen shows, but it is too fun not to give it a few listens. I feel like I heard Trey teasing Mountain Jam through the whole BD, but I'm totally hearing "Can't You Hear Me Knocking" teased at about 6:40 in Steam. Please tell me I'm not crazy. They are playing top notch!
, attached to 2017-08-13

Review by Dianna_2Ns

Dianna_2Ns (Setlist: Long Black Line, Tailspin, Sugar Shack, Peel, Marissa, How Do I Know, Crazy Sometimes, Face, Steps)... While I've only seen MGB 6 times in the last 6 years, this was still by far the best MGB show I've ever been to. I don't know if Mike is just super amped up from the Baker's Dozen still and brought all that energy and enthusiasm on tour with his solo band or what, but this show (while short) was SUPER tight and funky. Mike kept jumping up and down, smiles were on everyone's faces. It was definitely the funkiest MGB show I've ever seen. Not a ton of that weirdness that Mike loves so much, just tons of dancey, bass-heavy funk. I dug it. I'd never heard Tailspin before but really loved it. Sugar Shack was what everyone wants Phish's Sugar Shack to but it never is. Scott killed it. Peel was dark and great. Marissa was really pretty and I was happy to hear that after it didn't get played at the Dozen. The horn players from Turkuaz came out during Face to join the band which was awesome and they closed the set with Steps. Really looking forward to listening back to that set. Some really solid stuff in there. Good sign for the rest of the upcoming tour!
, attached to 2017-07-23

Review by Midcoaster

Midcoaster There's always one that gets away (OK, more than one!). This show just tickles my pickle (sorry/notsorry) in a way that I can't explain. Ambient grooves, It's Ice and that five song opening salvo of set II just dingaling in the Ringling Brothers ring like a magic bell. Great grooves, and lots of air between notes. Gotta love what these guys are doing for the 20th anniversary of the year they destroyed Merca.
, attached to 2017-07-29

Review by GenoTreyBall

GenoTreyBall Just gotta say this is show of this run i wish i was at. Sounded great on Phish OD. Was at final 3 nights, but the way they opened and closed each set was just perfect. Llama is ALWAYS a great way to start a show and the solid performance within both sets were perfectly punctuated with amazing playing of great songs in Walrus, Blaze, Hood and Cinnamon Girl. This show had flow baby.
, attached to 2017-07-23

Review by sstevee00

sstevee00 Now that the instantly legendary Baker's Dozen run has concluded and the dust has settled a bit, I have decided to give this show another spin. Sitting at a 4.14 rating as I write this review, this may be the most underrated show of the entire run and (to my estimation) one of the most underrated shows in recent memory. Immediately after it ended, I remember this show getting a lot of love... until the "Jam-Filled" show happened just 2 nights later. With that show becoming an instant-classic as well as the almost as highly regarded 7/26 show, this show seems to have been immediately forgotten about. However, it should not be missed, as there is a lot to love here. Set I provides a very strong selection of songs as well as some top-notch takes. After an enjoyable Sunday Morning opener and a rocking Axilla, the band jumps into Your Pet Cat. Although they do not stray away from the song's funky romp, it contains some strong playing from all 4 to preview what was to come. The heart of the set begins with an excellent version of BOTT definitely worthy of its inclusion on the jam chart. Certainly one of the best versions in recent memory. After BOTT's conclusion, the band starts up How Many People Are You. This version, despite a little extra swagger in the composed section, seems to be straightforward from the beginning of the jam. However, around 6:41, Trey suddenly embarks on a stunningly soaring lead progression quite uncommon for a song that is played by the book just about every time. With laser focus and precision the band brings the jam to a triumphant (as opposed to blissful) peak before bringing the song to its usual conclusion. Certainly the best version of this song played to date. The beloved Glide comes next. This is one of those songs that only pops up once in a blue moon nowadays and, when it does make an appearance, seems to give Trey fits. However, Trey nails this version, giving this rarely-played tune the treatment it deserves. Although the Theme that follows is played in standard fashion, it does contain some focused and inspired playing from Trey in the jam section. Then comes It's Ice, not only one of the night's highlights, but one of the top jams of the entire run. At the start of the jam section, you know this one is gonna be different. Gordo and Fishman lay down an irresistibly funky groove from the get go, while Page and Trey drive this jam down the rabbit hole. Trey breaks out the murky 2.0 growling tone while Page's synths give the jam an etherial glow, akin to being at a funky dance party that's set in an underground crystal ice cave. Before we know it, the jam makes an effortless return to It's Ice to conclude. Although it's near impossible to select one single version of a song that has been around as long as the best ever, this is certainly in contention for that coveted spot. The set concludes with a standard, but rocking version of More. Set II begins with AC/DC Bag, which most assuredly got some hopes up for a 12/30/97-like blowout (myself included). Despite some quieter and more patient play during the beginning of the jam, the jam eventually ends in standard fashion. However, any initial disappointment is shattered after what was to come. Wolfman's gets the call. Although there have been many excellent versions of this tune in recent years, has rarely, if ever, launched into extended type II territory since 2.0. That all changed this night, when the band, seemingly ending the song in its standard fashion, suddenly drops into deep, deep space. At first, it sounds like transition space between songs, except the band does something remarkable: they actually continue playing in this realm and *contribute*! The patience pays off, as the band moves through several music of beautiful, serene space jamming that, as another reviewer points out, draws parallels to the 6/14/00 legendary Fukuoka show. The transition to Twist does feel a bit abrupt, but again, all is forgiven once the band almost immediately begins exploring following the composed section. This jam sounds like if the Fukuoka Twist and the Riverport Gin had a baby. Enough said. Waves comes next, seemingly as a cooldown from the last 30 minutes of improvisational madness. However, like they did with Wolfman's, the band *continues* playing where they would normally move on to the next song. What follows is certainly the closest Phish has come to the IT Waves soundscape jam, festival sets notwithstanding. Just unbelievable, otherworldly stuff here. Incredibly ballsy for Phish to play so abstractly and quietly in front of an arena crowd. Although many fans are not a fan of this song popping up in second sets, Miss You actually provides the perfect cooldown in this slot, allowing, as others have mentioned, the listener to take in the full emotion this song has to offer. Boogie On provides some much-needed funk with shades of the delicate ambient jamming found earlier in the set. Velvet Sea closes the set in standard fashion, although with a little extra gusto added for Red Velvet night. The Sweet Jane bustout is the proverbial icing on the cake to bring the show to its conclusion. Overall, this is a fantastic show that would have been a top 10 of the year contender in any other 3.0 year (with the possible exception of 2015). I think it also shows the need to judge a show on its own terms, without comparing it to the shows surrounding it. Although the following 2 nights get all the attention (and deservingly so), definitely give this show a listen with a nice pair of headphones, you will not be disappointed.
, attached to 2008-08-10

Review by shaunfunk

shaunfunk This is the show where I realized that, "phish is coming back" ... and what a feeling that was! Summer in the park in New Jersey, across from lady liberty at a festival that had a very eclectic crowd. 4 guys on stage, Trey was very [i]exposed[/i] and his new vibe was ultra bright. Less than 400 people were getting down to the set, on a side stage, late afternoon, made for a very special experience. During the Gotta Jibboo, I was overcome by this feeling that sanity was about to be restored in the cosmos and the greatest band in the land would soon be returning.... the rest is history. God Bless Trey, the phans, and as always, God Bless the Tapers! (lol no tapers at this show)
, attached to 1992-03-20

Review by mcgrupp81

mcgrupp81 Trey and Page in particular were scorching during this show. Beautiful Reba followed by a great version of Brother and Fluffhead. Check out the Maze. Blistering version that will make you rewind. The Lizards is actually very well played too. Trey really excels during the buildup. The Antelope to close is one of my all time favorites and is right up there with the mighty 3/13 and 5/14 Spring 92 performances. In terms of setlist and playing, this is a dominant 1st set. Second set. Heavy Mike's Song. Insane Weekapaug. I gave a copy of this show to a friend many years ago. He first listening to this in a car with another guy while passing a house engulfed in flames. He said it was on fire like the Weekapaug. Hell, the Weekapaug might have caused the fire. Rest of the 2nd set is plenty fun and a nice version of Hood in the mid-back part of the set. The Dead and Phish alike came to play when arriving at Broome County.
, attached to 2017-07-25

Review by samsaraa

samsaraa THREAD, The second song in the STEAM Trilogy. Mark my words, this will be a special and highly anticipated song for years to come! We've only had two versions and admittedly they might not have it down yet, but they will soon and we will all be singing its praises................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
, attached to 2009-06-05

Review by sol4rg4rlic

sol4rg4rlic This was my first show (after an aborted attempt to get from Westchester to Nassau Coliseum in 03 involving 2 flat tires and lying to parents, lol teenagers). My best friend and I walked in during Wilson cracking huge smiles, knowing that we had finally achieved something we thought might be lost after Coventry, namely a Phish show! Personal highlights include Theme, Ya Mar, and Slave. Loved catching DwD and ACDC Bag at my first show. Through the light rain I can remember A Day in the Life encore and leaving the show knowing there'd be more to come. Obviously biased on this one, but give it a listen and let it bring a smile to your face!
, attached to 2017-08-05

Review by STTTL

STTTL Upon a re-listen and reflection I thought this was a really solid show. I know some have said set 2 fizzled with Petrichor, but the show was more laid back overall especially with the multiple bluegrass numbers, and slower songs. I think Petrichor is a great composition along the lines of some of the other great Phish ones with an absolutely awesome ending jam. Silent in the Morning is another really good, laid back song. After seeing what happened night 13 they were probably saving the set 2 fireworks for then, especially with limited repertoire left on the table. That said there were some really high energy moments even way up where I was in section 414 particularly toward the end of Jibboo, Sunshine of Your Feeling and of course Lizards. From Trey and Fish's banter after Sunshine of Your Feeling it sounded like that medley of songs was a driver behind the entire idea to do a Baker's dozen run of shows with a donut theme... that's a major reason why this should be ranked among some of the best shows of the run.
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