, attached to 1993-03-28

Review by beach

beach SOUNDCHECK

A great sounding soundboard of the soundcheck and the rest of the show circulates. The soundcheck is very good. The Wedge Jam finds the band getting into a deep groove. At the end of the jam, Page teases Axel F from Beverly Hills Cop and Fishman hilariously yells out, “Ghostbusters!” Page manages to gently correct him. Fans of The Wedge definitely need to check this out. The band then plays a nice long Dog Log, which has some very nice jamming and is full of the typical early 90’s Phish goofiness.

SET I

Landlady through Melt is very strong -- lots of energy and great playing. Lizards and Sloth are little shaky, but still solid. The band picks it back up for a rocking, typical of the time period, version of Maze. Fee and It’s Ice are good, but again a little shaky. The first set is wrapped up with a good Antelope, which features the Fishin' Hole melody whistled at the beginning and an Axel F tease from Trey later on.

SET II

The second set opens with Walk Away, which is a very unusual opener. In reviewing the performance history, it looks like it has only been a second set opener twice before this version, both of which were in ’89 (6/30/89 and 8/17/89), and never since. A really tight and rocking Runaway Jim follows. A pretty good Mound and decent Gin follows. Then you get a BBJ, which I think you have to be there to appreciate. The YEM is good, but not great. It does contain the one and only performance by Phish of My Life As a Pez, or “The Pez song,” which makes this version an historical highlight. The Paul and Silas is good. And then we have the Fishman section featuring Love You. I really liked the set closing Possum. It’s a nice long rocking version with strong McGrupp teases.

ENCORE

Contact and BBFCFM. I always enjoy Contact, and Mars, which I much prefer hearing in person, was pretty good.

Overall, I liked the first set better than the second. Also, the soundcheck is well worth checking out. My personal highlights are the soundcheck numbers, Funky Bitch and Melt, but, as with a lot of the shows from the earlier years, it’s not about one amazing version, it’s about the flow and execution of the entire show.


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