, attached to 1994-05-27

Review by jsauce

jsauce For those of us who care about such things, this is my favorite version of hood. Page is particularly active In the 25/8 runup. Mike finds a hook and page follows. Fish directs traffic until Trey steps In. When Trey hits that flurry of notes...it’s like for a moment we fly above all the pain and disappointment and frustration life offers. For a moment we’re free. This version of this song is why I listen to this band.
, attached to 1998-07-29

Review by BaconFlavoredKittens

BaconFlavoredKittens I was at this show with some great friends. On a lark, I said we needed a good Kung, and the band delivered. Aside from the music and the camaraderie, I will never forget seeing a shirtless wooly Phish-head running around the lawn like a wild man during the first set. Towards the end of the first set, we noticed that shirtless wooly head was now a COMPLETELY NAKED wooly head still running around and dancing on the lawn. Considering the quality of this show, I was not surprised by denuded joy. Naturally, as soon as the first set ended, everyone sat down, except of course for the naked wooly head who now stuck out like a sore ... thumb. Security kindly escorted him somewhere where we hoped he would get some hydration, maybe a soft chair and hopefully a 3XL "Welcome to St. Louis" t-shirt that dangled down to his knees. As my friends and I returned our attention to our immediate surroundings, we noticed -- during our discussion of that sick Bathtub Gin -- a lovely couple embraced in passionate kissing directly in front of us on a lovely picnic blanket. Somewhat stunned by their intensity, my friends and I silently tried not to stare, wondering if nakedness might continue on the lawn of fair Riverport. Instead, the female of the pair extracted her tongue from her lover, rolled to her side and threw up all over the ground directly next to her. And just like that, the moment was gone. As we looked on, the happy couple packed up their blanket and left for greener pastures while the pile of half-digested veggie burrito slowly percolated on the lawn. Thankfully some gentle soul walked over and placed a lost t-shirt on top of the mess, allowing us to eagerly await the second set without concern that any shoeless spinners might slip during the duration of the show. Seriously, I hope the naked wooly head got some clothes from security because he did not want that t-shirt back. Riverport -- for me -- will always be an amazing show, the best Bathtub Gin I've ever heard, and the tableau for the Tale of Naked Boy and Vomit Girl. I like to imagine they met somewhere in the middle ... hopefully with some adult supervision.
, attached to 2010-10-26

Review by jsauce

jsauce Dudes, HOW is this mike’s not on the jam chart? It’s my favorite Mikes ever. Seriously. It’s not the longest, but it displays some of the things I love most about phish’s playing. Nasty page funk clarinet intro to the jam. Trey is super patient with the peak. These days I feel like you can hear the peak coming from a mile away. He consciously side steps the obvious peak moments and the tension builds so that when the payoff comes it feels more earned. After that it’s pure meltdown until they turn around for another fantastic peak shred fest. For my money, when they play mikes well it’s about the most classic, telling phish jam out there. It’s so RAW and nasty. This one isn’t the longest, but if you know of a better one, please PM me ASAP and let me know.
, attached to 1998-08-01

Review by Capricornholio

Capricornholio My first Phish show and it was better than what I deserved. First set opens with the debut of Ramble On followed by a really great Mike's Groove. The Mike's song (which does't stray to far from the song's form) was standard for the time, but would be considered fantastic now. It segues nicely into an atypically placed and always welcome Esther which segues into an above average and extremely funky Weekapaug. The rest of the set is standard/great with solid versions of Guyute, BOAF and Funky Bitch and one of the few Fikus'. The second set opens with a week piper which goes into a decent Wilson. The set takes off from there with one of the better segments from the summer tour in the form of 2001-> Magilla>Tweezer>Fluff. The 2001 is nice and funky with a somewhat clunky, but interesting segue into Magilla. The second iteration of 2001 is only about 10 seconds long before going into [b]ONE OF THE ALL-TIME BEST TWEEZERS[/b]. This one tends towards beautiful Hose rather than the scary or funky territories Tweezer can often go. Lots has already been written about this jam which I strongly suggest you check out for yourself as soon as possible (available as a SBD from the Wisconsin Edition bonus disc as well as being posted on YouTube). To have a jam this epic land on Fluffhead is just icing on the cake. Things cool off with a well executed Brian and Robert into a critically underplayed Albuquerque. The whole rest of the show is firey with the set closing CDT and Frankenstein followed by the Been Caught Stealing > Reprise encore. Unfortunately, there are 0 good sounding recordings of this show. The tapers have done their best, but AV just isn't acoustically that great. You need to muscle through that shit and listen to it though because this show is great! 4.6 / 5 Solid A Phish.
, attached to 1998-07-10

Review by theghost

theghost My mind is also boggled that anyone would single this show out as a stinker. Even a bit boggled that the Halley's and Mike's Groove (the Simple in particular) aren't beloved, hall-of-fame tracks. The DWD to kick it off is no slouch.... perhaps not fully loosened up for the head of the song but I've heard lesser Disease jams exalted by the "sophisticated" phans. But yeah, the rest of the abbreviated first set is simply problem-filled. Feel free to skip. The Halley's is one of the greats in my mind. I remember when I first heard the version from 11/22/97, I was startled but thrilled to hear the jam not take off like a rocket ship (the traditional plan), but instead jump off a cliff and free fall into an abyss. This one is similar....it falls down into a relaxed trance-dance kind of groove that I'd think would appeal to the modern fan. I love this version.... it's right there with 11/22/97, the Great Went, 8/3/98, and 12/7/99 to me. As others have noted, the Simple is as good or better than the Halley's, but the Mike's Song setup is really nice too. The Weekapaug isn't super special (although I like the On Broadway breakdown part) but the suite as a whole is also right there with many highly regarded Mike's Grooves. Ok, the Sample>GTBT is pretty mediocre by the standards of the day and not a very strong finish...some demerits there I suppose. I like Brian and Robert. This isn't a particularly special version and I could understand fans being underwhelmed by the choice for the encore if it didn't go into a quick but excellent Taste. I don't know... I suppose the Halley's and Mike's Groove are the only essential tracks, but you've got over an hour of ELITE Phish right there. Plus about 20 minutes of DWD and Taste that won't disappoint either. FAR, FAR from a bad show. Don't overlook!
, attached to 2018-07-07

Review by setthegearshift

setthegearshift Nice high energy set from Trey band that was certainly appreciated by the fans who aren’t doing the non-Northeast summer or fall tours. We got to the venue in time to catch the second half of Twiddle (who had some pretty stellar ripping in their own set), and there was a ton of conversation about how this was the time to catch Trey because so-and-so couldn’t get to Watkins and Albany was going to be hard. The band seemed pretty focused and engaged throughout, which led to a great energy in the fairgrounds and a cool vibe throughout. The first third of the set was getting warmed up, with good playing but nothing exceptional. There were a few highlights of the show from our vantage point, starting in the middle with Everything’s Right, which played as its usual delivery and then Trey kicked into a jam that noodled for awhile before ripping hard and fast for the last few minutes. He went again with Sand - where the jam (which felt like 8-10 minutes but I wasn’t keeping track) went down into a deep well like Sand usually does before coming back out and exploding in energy. Finally, the First Tube and Push On were amazing. Trey clearly saved his best for last here. The First Tube came around again and again and again and reached a pretty great conclusion. Trey stood with his Languedoc pointed straight to the sky in front of his mic as he was urging the crowd to go louder and louder. A really cool joint participation with the crowd. And Push On was a final release - Trey was a maniac on stage, jumping, dancing, spinning right in circles and then left and then right again, all while continuing the build to a great conclusion. Our friends ditched us so we had to hoof it halfway back to town to get picked up, but that did not dampen a good show. Excellent vibes from the crowds and a good performance by Trey Band.
, attached to 2018-07-07

Review by setthegearshift

setthegearshift Nice high energy set from Trey band that was certainly appreciated by the fans who aren’t doing the non-Northeast summer or fall tours. We got to the venue in time to catch the second half of Twiddle (who had some pretty stellar ripping in their own set), and there was a ton of conversation about how this was the time to catch Trey because so-and-so couldn’t get to Watkins and Albany was going to be hard. The band seemed pretty focused and engaged throughout, which led to a great energy in the fairgrounds and a cool vibe throughout. The first third of the set was getting warmed up, with good playing but nothing exceptional. There were a few highlights of the show from our vantage point, starting in the middle with Everything’s Right, which played as its usual delivery and then Trey kicked into a jam that noodled for awhile before ripping hard and fast for the last few minutes. He went again with Sand - where the jam (which felt like 8-10 minutes but I wasn’t keeping track) went down into a deep well like Sand usually does before coming back out and exploding in energy. Finally, the First Tube and Push On were amazing. Trey clearly saved his best for last here. The First Tube came around again and again and again and reached a pretty great conclusion. Trey stood with his Languedoc pointed straight to the sky in front of his mic as he was urging the crowd to go louder and louder. A really cool joint participation with the crowd. And Push On was a final release - Trey was a maniac on stage, jumping, dancing, spinning right in circles and then left and then right again, all while continuing the build to a great conclusion. Our friends ditched us so we had to hoof it halfway back to town to get picked up, but that did not dampen a good show. Excellent vibes from the crowds and a good performance by Trey Band.
, attached to 2012-07-06

Review by daltone

daltone I had a lot of fun at my first show at SPAC in 2012. For whoever may see it, I'm writing this as a recollection of discovering the magic and was able to understand why people become obsessed with this band. The things that struck me the most about the experience were: firstly the wave of energy that everyone was wallowing in and hopping around about as soon as the Runaway Jim opener kicked off. I truly had no idea what I was in for. Secondly, I marveled at the accuracy with which people I talked to recalled how many shows they'd been to. An exchange with a guy next to me went something like "this is my 42nd one. First time for you? Haha awesome man. Have fun!". Listening back to this night never fails to bring happiness to me. Although at the time I was almost completely unfamiliar with Phish's catalog, I know now that I was lucky and got a fantastic introduction. I recognized Tube from a show a friend had once given to me on CD (it was 12/29/97 and he is a good friend for using that show to try and lure me into the Phish universe), but that may have been it. HYHU and Cracklin Rosie were unforgettable. Trey's sentiment, something or other about "if there are any children in the audience trying to decide on a career choice, I recommend this" was fun. I can't go into much detail on how I felt about the versions of so many favorites that were played this night. All I could tell was that I made a good decision to be here and that from here on, instead of "yeah they're pretty cool I guess" it would be "oh man, they're incredible". We were camped at Lee's which made the SPAC trip... wholesome. I know I came to the party late, but I couldn't be happier to be here.
, attached to 1998-07-31

Review by Capricornholio

Capricornholio A great (if somewhat short) first set with interesting song choices that are well played. Ya Mar doesn't get "all the way out there," but where it does go is very nice. This Cities is often in the conversation for best ever (personally, i'll take Greek 10) and deservedly so. It goes on for just over 15 minutes and has three distinct jam sections (type 1, delay loop, and hose). They stumble a little bit getting into the delay loop jam with what sounds like a forced key modulation. Everything after that is straight butter as the delay loop jam stays in funkytown for a few minutes before closing out the jam with about 6 minutes of ferocious rock. The set closes with a standard, but nice, Stash. Set II is a real snoozer. Outside of a Free that has a little bit of the proverbial "extra mustard," there isn't really much to see here. Even a "->" Izabella couldn't save this mediocre Twist. Perhaps sensing that they bricked the second set, they come out with a pretty great one-two for the encore with PYITE and Slave. Maybe if the two sets were flipped, I would consider this show a little better, but there are no real great highlights after the Cities. This is a fairly uneven show that is typically overrated because of the GOAT Cities contender in the first set. 3.35 / 5 B- Phish
, attached to 2016-07-06

Review by dutchbug

dutchbug This was the last show I went to. In anticipation of Curveball, I read a bunch of my old reviews and I really got a kick out of them. I remember not really liking this show that much. Weird coincidence, it's been exactly two years ago since this one. Seems like it's been ages. Scene outside was fine...I remember feeling a little out of place...oh yeah, baby was very young and I drove up from Boston to see the show. There was a coffee truck advertising marijuana sales on the loudspeaker...was there? I remember that. I don't know why they bothered using the loudspeaker, or why they wanted their business affiliated with weed sales (couldn't they get in trouble?). Hit Five Guys pre-show and grabbed some amazing free parking. City of Portland is great. In another life, I'd have more to do with the place. Venue had REALLY SERIOUS security. I couldn't bring in water, which was a bummer. Oh! Strangely enough, I ran into the guy that got me into Phish there! Yeah! He was walking up the aisle and boom! I hooked him up with a seat. Nice guy! I can remember the people sitting behind us---a guy with some claim to fame---maybe Trey had noticed him from stage? His girlfriend was with him and she had a beautiful way of moving to the music. She appeared to be fully absorbed. We also met some nice dudes to our side. A guy in rasta colored tie dye...Weird how I can remember people from a crowd at shows. Anyway...as people have mentioned here, lots of flubs in the show. Little exploration. Didn't really feel like the songs were building up to anything. I wouldn't ever listen to this one again. I got my first Fluffhead, which was cool. It was also cool that I saw that dude and got to hang out with him. I can remember buying him a beer as he left to chill on shakedown. He had a hotel room near the lot and I remember being jealous that his night was going to go on. I knew that it would be the last show I'd go to for a while, which made it a bit difficult to hear them play as they did. I did have the amazing experience, though of showing up to the show alone and meeting cool people and having this weird Alpha and Omega thing happen where I saw the dude that started all of this. I knew that this was my last show for a long time (maybe forever). But now, Curveball is on the horizon! Yeah! That'll be the next time I see the band for a while, too. Can't wait to leave on a better note (weird thing to anticipate, I know).
, attached to 1998-07-05

Review by theghost

theghost What a weird show. I think the Birds and Taste are great.... tight and feisty....I don't hear any drunkenness at all. Cavern's good and the beginning of Reba is crisp and uptempo. And then, all of a sudden, the wheels fall off....all four members! Mike in particularly starts missing (or omitting) the roots of the chords all over the place. Very uncharacteristic and it seems to get Trey distracted and pulled offsides. All of this happened roughly 30 minutes into the show. My theory? Edibles. Mike seems the most off his game of all of them and is known to be an infrequent partaker. He hacks his solo in Lawnboy too. Just not like him AT ALL. But this show isn't a total waste at all. There are segments scattered through the show that are at peak July 98 levels (one of my favorite months of their whole career). As I said the Birds and Taste are really good....the solo section of Taste is top notch. The Fee is a keeper for it's comedic first half and its really cool second half jam. I love the way Trey aborts the mission... "and he jumped over the side of the ship and the sharks ate him...thank you". You can hear him stifling giggles for the next minute or two. The Water in the Sky is a really nice version...Page shines. Then, the Gin.... pretty good but not too exciting. Until the 11 minute mark when they soar into a jam segment that's as thrilling as any particular moment in the legendary Riverport Gin a few weeks later. It just doesn't last for 24 minutes this time. McGrupp is a cool, unique (if a little sloppy) version...another worthy moment. It's a sub par night for sure...particularly for this tour. But it's not dull and still worth a listen for the high points.
, attached to 1991-10-24

Review by SplitOpenAndMule

SplitOpenAndMule Not adding much to the other reviews, but another voice to say that this show has great energy all throughout. A lot of more-or-less typically awesome 1991 playing, but everything from TMWSIY through Slave is some of the best playing this fall tour up to this point. Proper spaciousness in Mike's, Hydrogen, and Slave, and totally on-point, dialed shredding in Weekapaug and Bowie. The bustout energy of Tube is through the roof, and the segue from TMWSIY>Bowie is very excellent and exciting for this band at this stage in their career. Listen to this show :)
, attached to 1993-08-07

Review by vindog

vindog It doesn't seem to be mentioned anywhere, so I just want to add that the McGrupp (with Fishman on washboard) has Trey, Mike and Fishman standing around Page's baby grand for the 'jam' in the middle. None of them looked at the audience, they all kind of leaned in over the soundboard-case/under the lid as Page played. It struck me very odd and cool b/c it seemed like they were playing for themselves rather than for the audience.
, attached to 1993-04-23

Review by vindog

vindog I just wanted to add some detail about the signs during Lengthwise. Around this time, as Phish's popularity was growing (maybe even exponentially), there was talk among people, especially newer fans, about the role of the Fishman songs: Was he poking fun at them? Based on the choice Bike, probably not, but Cracklin' Rosie...? His time was clearly exceptional to the rest of the show (almost like a really weird version of Drums->Space). I think the rest of the band took advantage of that during Lengthwise. First note that the signs were run back and forth across the stage behind Fishman, and well out of his sight (if he knew, he played it off well). In particular, the first sign that came out, and was out for a bit before the rest came out, said: ``When you're through playing, you're through". In the context of the gym, and the other signs (``We win in our gym"), this seems normal. But mixing acid and newcomers, one can see how the band could be punking the crowd (and even Fishman) here: ``When you're through playing, you're through" might seem like the band was also questioning Fishman's time, and maybe they are on the verge of kicking him out of the band (the horror!) b/c of his insistence on doing this stuff. If so, see one of Fish's crushing comebacks during Catapult on 7/16/94. That, of course, could be wrong, but it's always fun to speculate (harmlessly).
, attached to 2017-12-30

Review by aisincl

aisincl Setlist Porn on paper, and incredible highs throughout the evening. The relaxed and slower songs were inserted in just the right spots to catch one's breath, and then right back on the roller coaster again. The Tweezer, DWD and Antelope will hold up for many years ahead, and this show is evidence on why "you never miss a 12/30".
, attached to 1999-07-03

Review by jsauce

jsauce I usually don't delve too far into pre-show specifics, but on this, the 19th anniversary of my 12th show, I thought I'd indulge myself. My cousin drove down from West Virginia to North Carolina the night before. Over a few beers at one of my local bars we told ourselves we'd take it easy on account of having a long run of shows ahead of us. I'm sure you can see where this is going. Fast forward a few hours and we'd gotten so drunk we'd decided to settle some long-forgotten dispute with a good ol' fistfight outside of my apartment. The fight reached its zenith when he landed a fantastic PYITE (still have the scar!) and I smashed his head into a mailbox. As luck would have it, our server the next morning at breakfast was my senior prom date. Her jaw literally dropped at our appearance. On to Atlanta! The lot outside Lakewood was steaming, full of very fucked up heads and a ton of undercover cops. We saw Mike zoom by on the gocart. I traded my extra ticket for a 10 strip and promptly ate the whole thing. To say that I had difficulty getting into the show would be a tremendous understatement, but arrive we did, just in time for a blazing Chalkdust. Even this early on in my phish career, I thought this was a fairly uninspired opener choice, and they made me pay by laying down one of my still-favorite versions and followed that up with my still-favorite version of Gumbo. Here is where we got the first taste of the swirling loops that would go on to define the summer '99 sound. Tube is also worth checking out. The second set, despite the somewhat raggedy ending, is one of my favorites of all time. The Piper, in particular, was the first version I ever heard (and I think may be *the* first version) where they really stretch out the beginning. Relistening, it's clearer now than ever that Fish is controlling the tempo on this one. The intensity builds and builds, a very good metaphor being when you're doing your level best to not to bust, and when you do, it's absolutely glorious. Trey (continuing the metaphor) unloads on the back end and we melt into a wonderfully fresh Moma. This antelope, along with 11/22/97, continues to serve as my standard bearer for the song. There is no Piperesque subtlety to this one- they go straight for the jugular from the beginning and ravage the ears the whole way through. During the final buildup, I remember thinking this is what it must have sounded like when the Titanic hit the iceburg. How can four people make this much noise?! Coming out of this was massive whiplash and served as the de facto end of the second set. Thank goodness. I don't know if I could have stood much more. We'd made campground reservations near the venue and, being the 21-year-old idiots that we were, brought sleeping bags but no tents. Those mosquitos got so much blood from us, they're probably still sitting around on the couch digesting their meals. OUCH. This was a great opening night for our five show run. I only hope that one day they wisen up and release this as a two-show box set.
, attached to 2009-03-08

Review by forbin05

forbin05 Disclaimer: my first .net show review. This was my first show. I'm a 3.0 noob as they'd say. I got into the band during the breakup and feared I'd never see them. When the announcement of this Hampton run came in the fall of 08 I couldn't be more excited. I had just finished high school and had spent those years listening to, and learning about, Phish as much as I could. They had become my favorite band. I put in for the lottery and got picked for two tickets to the 3rd night of the run. I couldn't have been happier. On the way to the show that morning I got a speeding ticket in VA cause I just wanted to get there so bad! When my buddy and I did finally get there we just hopped in line and waited to get in. In retrospect, I don't why I was in such a rush considering all we did was wait in line all day, but I just had to get down there. When we finally got in we went right to the soundboard and stood there leaned against the surrounding railing till the show started. I noticed Kuroda lighting a thing of sage and wafting it around his lighting rig area before the show. When the lights when down he lit up Hampton like a starry night before the start of Sanity. It was the coolest lighting effect I had ever seen. I couldn't have been happier. The first set was a bit like a blur of excitement and emotion. I remember standing up on the bottom part of the bike rack railing surrounding the soundboard during Free so I could so Mike doing his bass solo spot a little better, the Gin and the Foam. When the set ended the people around us asked what our favorite part was and I said "either the Gin or the Free" to which they responded "that Gin was cool, but was just alright" hahaha! The second set started off with the huge DWD and it was amazing to see the finally jump off the deep end into unknown waters. I remember looking around the audience at some point during the Moma->2001>Teist segment and seeing the whole arena moving in unison and it blew my mind. The Slave at the end of the set was the perfect cap and I really enjoyed the encore with the happy birthday and the Contact before Tweezer Reprise brought the house down. It felt like the best release to what was years in the making for me at that point. While summer tour was just around the corner, waiting till then would've felt excruciating knowing 3 nights at Hampton had just happened, and I was beyond grateful to have been able to take part in some way.
, attached to 1997-06-27

Review by aybesea

aybesea Okay, so just a comment that I don't understand everyone's problem with the recording. Sure it's not the best that I've ever heard, and yes some goof keeps whistling... but these bootleg trained ears have heard much worse! This recording is plenty listenable and this is a really average festival show.
, attached to 1992-06-28

Review by Mikesgroover

Mikesgroover Brad Sands talks about this show on Tom's "Under the Scales' podcast as being the impetus and genesis of Trey's idea that Phish should hold it's own festival. Also important to note the context of Phish's performance was that Nirvana was the headliner at the height of the band's popularity. Pearl Jam also played.
, attached to 1999-09-18

Review by pmc2kd

pmc2kd New livephish release - $$$ once again! Set I A throbbing Tweezer opens the show and by 5:30 is oozing with loops and textures as Page and Mike cook up a simmering groove, Fish accenting the downbeat nicely. This is a full on groove machine within seconds. Trey really takes his time in emerging and lets Mike and Page drive first, before a delicate 4 note pattern fills some space. By 7:20 he’s in the mix, without taking over, and the playing very nicely with Mike complimenting (or Trey complimenting Mike). This is slow head bobbing stuff. By 9:40 they are cooking something with a bit more spice and Trey’s run starts a full band crescendo, which gains in purpose and intensity in patient fashion. It must be noted that Mike is straight thumping here, and Page is playing admirably as Big Red does more with less here (sticking with a 4-5 note pattern) until he starts screaming at 11:30 and kicks in the reverse delay. It’s ’99 now, and Trey fires off some screaming notes and trills and gives us some good peak playing. The rest of the band is on-point and this full band groove reaches a satisfying conclusion. Fish is back on the hi-hat at 13:45ish and they lower the volume as Trey kicks in some final siren loops over a boiling low bass bump from Mike. End song. What an opener! Following that up with Roses is a fine choice and a very good pairing to start the show. Nice song selection. There’s a small lyric flub and a small “flub” in the middle by Trey, although to be honest he makes lemonade out of one little lemon note. Wilson drives some purposeful rock and roll into the show, which is a nice change of pace from a mellow (but fantastic) Tweezer and a fun romp through Roses. Rockstar Trey drives a nice heavy jam mid-Wilson and, it being ’99, Trey throws on the reverse delay over a thumping Mike and some cool (keytar sounding) work from Page. A nice loopy bridge out of Wilson threatens to go into a space jam, but does not. There’s absolutely nothing wrong with the ensuing Maze that emerges, however. There’s a lot right with it in fact. Some loops persist at the beginning giving this one an even more sinister than usual feel. A fiery version ensues and yields to a mellow Brian and Robert, the set’s first breather. A nice, long, funky Tube is an inspired choice to bring a good dose of dance party time to the set. This is a standout version and is easily the set’s second highlight, just behind the Tweezer. Enjoy this one, as it finds Rocky Top to close out the set. Overall, this is great first set, although it doesn’t fee particularly long (at least by today’s standards). Some fabulous jamming in the opening Tweezer, the spacey outro of Wilson, a well executed Maze and a funktastic Tube make this an easy winner. Roses, B&R & Rocky Top serve their purpose well. On to set II! Boogie On starts with Trey and the rest of the band enters, Mike shining (of course). The band runs through the song in fine fashion, with a good solo and a little more rhythm play at the end that slows down and appears headed for a conclusion. Just as you start to wait for the next tune to kick in, Fishman jumps right back in and the band Boogies Onward. Well, they churn through to a pleasant ’99 style jam, with good playing from the full band as Trey leads the band into nice upbeat melody. This puppy cruises serenely along, settling into hose land, with the full band unified via an uplifting groove that patiently peaks and showcases some fantastic textures and playing from an underrated tour (year?). The eventually resolve back into the tune and conclude. It’s not my favorite jam, but boy it is certainly good. Meatstick is up next and has some fantastic commentary from Trey about needing to teach the west coast the “new macarena”. Well after a fun romp through the song, the band tacks on a nice funky churning jam at the end, which resolves nicely in Free. Great version. Free is plenty of fun. It’s not super atypical, but Trey makes fantastic use of the reverse delay during the solo, before shifting into high gear and just slaughtering the climax. Very great ribbon on top of an excellent three song opening segment. Bouncin’ fits nicely here. It’s a good little mellow addition to the set, which, while full of great jamming still manages to feel pretty laid back. Harry Hood pops up next and this is a fine version. Like Free, it might not be 100% atypical, but it is totally worthwhile and has some fantastic sections. The 7 minute mark initiates some fine soloing and great coloring by page. It’s nice and ethereal. Trey stumbles a bit, but around 10 minutes starts to cook and finds some good climbing patterns which manifest into some rapid playing around 11 minutes and picks up momentum replete with trilling and peaking notes throughout the remainder of the jam. A fine note at 12:20 brings the victory lap and a fantastical finish ensues with 13:25 sticking out as a rapid fire Hood jam explosion. Nice version. Frankenstein appears to signal the finish of the show, but a nice version is followed by a rocking Cavern, sending everyone home full of adrenaline. Well, the Contact encore is always a good choice and the Tweezer Reprise serves as a fitting bookend to the first song masterpiece. Overall, this show is pretty damn good soup to nuts. Great song selection (set II looks pretty odd on paper, at least no formulaic set II songs aside from Hood, which still pops up late/mid set in a slightly altered placement). Lots of good '99 spacey textured stuff, very easy to lose oneself in these jam. If you had to pick on something - let’s be honest, this show has its share of slop. But let’s also concede this produces some inspired jamming. Maybe Rolling Stone got something right when they wrote this about Trey: "His epic solos balance technical finger-work against screaming climaxes, and they're exciting even when he's sloppy. Especially when he's sloppy.” 5/5 Great Show!
, attached to 2017-12-28

Review by dean815

dean815 I think this show is pretty underrated. It's less impressive than 12/30 on paper but it's nearly as good in terms of performance IMO. This NMINML is one of, if not the Jam of the year for me. It's just completely flawlessly executed and flows so well. The whole second set carries the vibe of that jam so perfectly.
, attached to 2016-12-30

Review by Col_Radicones_Ascent

Col_Radicones_Ascent Just going through a relisten of all 12/30 shows and I have to say this (IMO) maybe my favorite of the modern era. One thing I noticed was Moma through Cities has this great opening drum kick and funk beat. Gumbo sounds like a reverse Moma...just something I noticed almost two years later. Have a listen to this behemoth
, attached to 1987-08-29

Review by westbrook

westbrook I really don't think you could ask for much more from an 80s show than what's offered here. There are numerous strong jams as noted on the charts but my favorite part of the show is the jam that bridges Hydrogen and Who Do? We Do!. That's just one of the several great segments found in each of the three sets. Highly recommended.
, attached to 1993-07-28

Review by westbrook

westbrook Nothing out of the ordinary in the first set, although it is always thrilling to hear Trey at the height of his powers weave his way through a Foam jam. The Horse has a long than normal intro as well. Antelope and Hood are the standouts of this show. Lizards is also a bit longer and looser in Page's solo section. The rest of the show is average '93 stuff, which is just fine by me.
, attached to 1999-09-18

Review by Col_Radicones_Ascent

Col_Radicones_Ascent @N00b100 Hey man you got your wish today on LivePhish! You're 100% correct this show is straight fire. I've listened to it a few times on phishows.com and instantly fell for that slow moving first set Tweezer which seemed pretty common in '99. The entirety of this show is amazing but both set openers were just killer. So happy for the official LivePhish release today! Enjoy all!
, attached to 1989-08-26

Review by vreeland_t

vreeland_t Gods, this show was my first exposure to Phish and it blew my mind! I worked down the street and headed over as soon as I was done, so I missed most of the 1st set. For folks who remarked on it being a beautiful day, my memory was HOT! Like 100 degrees. I recall garden hoses running through the mini-golf to the parking lot for people to get water and cool off. The stream was a great scene on that day ;) Honestly, this is a show I'll never forget.
, attached to 2009-06-10

Review by trollwizard

trollwizard The lot was angry that day my friends, more tanks than the eye could see. My first show, listening to the band since I was 9 ,just missing out on 03-04....i was ready. To this day, after 50 shows, loudest ive heard a crowd was during the Jim during the slow build to trey ripping(you know the part). I was wanting a reba and very glad to have gotten it. However, after years of not listening to this show, the Bowie is up there with what the band has been doing lately. Trey is in solid form, no lackluster, full energy. Surprised no one has talked about that on here. I think most would agree, the bonnaroo shows were a let down after this show. On paper, this show is up there for 3.0 and some of the jams live up to it. Its funny, this show got added way after dates were announced, thankful that happened. The energy of this show is very similiar to what was going on during 12/30/17, but first show bias has alot to do with that. But if you were there or at both, you probably would agree. I think what made this show so special is that it was many people's first show and def many first show since hiatus. Glad I was there with you all. Summer 18 here we come!
, attached to 1994-10-23

Review by westbrook

westbrook You like mid-jam Catapults, smoking Mazes, Gypsy Queen-infused Jims, surprise segues (->Halley's), ferocious YEM jams, and all-time great Hoods, right? If you do, you'll find all that and more in this phenomenal show. If you don't, well then I don't know why you're reading this. Maybe give this show a listen and see if it changes your mind?
, attached to 1997-08-17

Review by pmc2kd

pmc2kd Sure, it's been done, here's another Went Review. Set 1 opens in breezy fashion with the Wedge. Like the Makisupa in the previous show, it's a great table setter for a festival. Beauty of My Dreams and Dogs Stole Things are fine, but not exceptional. It's not the strongest start to a show, but Vultures follows up and is always a treat. Water in the Sky brings back a mellow vibe, but surrenders to an incendiary Maze that lights a fire, only to be doused by a mellow Bouncin'. While the majority of the set is a little bit uneven to this point the ensuing Tweezer>Taste is some classic '97 stuff, with a funkified Tweezer featuring a Cities jam and a Taste (in its finest year?) that features a temendous solo by Big Red. Carolina closes the set. Overall, it's a set with plenty of fun, but most folks probably start with the Tweezer. Set II opens with the rumbling of DWD and this version is a doozy. Fiery soloing, yields to some upbeat blissful playing, followed by some slow & dark space funk that features Mike and Trey trading licks and treating the listener to a wonderful concluding bit of interplay. The long version transitions nicely into the Went Gin, which is of course notable & ranked by most as one of the best jams the band has ever played. The upbeat hose is at the very least inspiring and it deserves its place aside Riverport as the best Gin the band has played in their career. The surprising but perfectly played segue into Uncle Pen is equal parts weird and perfect. 2001 is given the full treatment as the band members take turns painting during the absolutely funky madness of a 20+ minute version of the tune. While it segues into the Art Jam which is a cool moment, it doesn't quite carry the musical muster of the previous songs. Hood closes the perfect set in majestic fashion. Trey instructing CK5 to lower the lights for the ensuing jam is magic as it progresses from delicate to magnificent and all things in between, with Trey giddy as a child over the first ever Hood glowstick war. Overall a perfect set, with nothing at all to complain about. It's perhaps the finest set in the band's history? Set III is not much in comparison to the previous 5 festival sets. However, there are some moments to enjoy for sure. Buffalo Bill is slightly jammed out into NICU, which is a cool set opening. Weigh Guyute & Dirt are all adaquate. SOAM is very cool with a good DDL jam. The Caspian is perhaps the set's highlight & it is a very good version indeed. When the Circus Comes, Tweeprise is a great conclusion. Overall this show contains the best set of the festival (if not band's career), however the other two sets do not quite carry the majesty of the previous day's performance. Still an easy 5/5 and essential (repeated) listening for any phans.
, attached to 1997-08-16

Review by pmc2kd

pmc2kd There's plenty already written about this show - but considering it was one of the first live SBDs I was fortunate enough to stumble on, i'll give my take. Set 1 is maligned in Bittersweet Motel by the band, and certainly has it's sloppy moments. In spite of this, there's some GREAT jamming and killer song selection. Makisupa feels like a great way to break into a long festival and open the festivities. The Gooball lyric is an inspired choice and the slow reggae tune is a nice place setter for the slow funky jamming to come. The segue and culmination of the Clifford Ball Harpua in the two slot must have been something to behold. Really cool nod by the band and can't go wrong with this one. Chalkdust Torture is a bit rusty at the finish, but the road the band takes is inspired with a frenetic full band peak and some wizardry from Trey. Fantastic take if your willing to eschew some flubs in favor of guitar theatrics. Theme is up next and, like CDT, breaks some new ground within the jam. It's "type I" but wholly unique and has a really fantastic middle section before the conclusion that's a little more spacey than you'd expect from the normally soaring linear peak. PYITE carries a funkier than usual intro and, while not perfect, is a great festival tune. Ghost is a good take, without being as clinical as some of the versions from earlier in the summer. It's nonetheless a good funky and fiery rendition. Pantheon of Ghosts - no. Fine set I addition, absolutely. Ginseng is the odd man out, but a little does of Mr Sulivan never hurt nobody. YEM follows up and returns us to the funk. It's not perfect or particularly exceptional, but it will get you moving. Train Song is a breather and is promptly obliterated by a fiery Character Zero. The Squirming Coil closes out a long and funky first frame with a gorgeous festival sized outro from Page, who encourages the crowd to "Stick Around" - as if there were any other place to be/go. Overall it's a very fun set. While there is plenty to hard on from an execution standpoint, the jamming is actually quite good and atypical takes on CDT & Theme provide really wonderful surprises. Set II is where things get legendary. The opening Wolfman's is LONG and FUNKY with a molasses thick funk work out that features Mike absolutely thumping on the bass. An inspired full band groove at the end sees Trey lock into a fantastic little lick/melody and the band creates something purely cohesive resolving into Simple. The Simple is also inspired with a Trey solo that is pure perfection. Magical notes seem to simply flow through the guitarist as he channels the heavens in this version which finds its way into a weird odd couple jam before a strange turn into the maligned My Soul, which is adequate. After a spacey interlude the band drops a devastating Slave, which is perfection in placement and canonical in its jam quality. Rocky Top>Julius is a fun finish. Looking at the setlist on paper its something that is completely off the wall and unexpected but seems to work just perfectly. Must hear Phish. Set III closes out the first night with aplomb. A jammed out Halley's features a throbbing bluesy kind of groove with a nice magical segue into a thick and funky Cities. It's so slow and funky ... damn. The two opening jams are concluded with a fiery segue into a maniacal Lllama that snarls to a finish and resolves in Lawn Boy. What a whirlwind! Limb x Limb follows up a wild sequence in perfect fashion. This is extended and contains excellent full band improvisation before e set closing Funky Bitch ends the set in fiery style. Contact>Loving Cup is a perfectly fun encore, with Contact always being a treat and Loving Cup providing a good exclamation point to the show. Overall: Fantastic playing throughout. Plenty of unexpected jams alongside the typical big boys. Great festival set, perhaps only slightly weaker than the next day's show (although if we are scoring all 3 sets, I just might take this one in light of the next days "weaker" set III) 5/5
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