7-28-01 - Merriweather Post Pavillion, Columbia, MD

review submisions to me at dws@netspace.org or dws@gadiel.com

Date: Thu, 2 Aug 2001 17:18:13 -0400
From: Scheinberg Adam CONT NSSC ScheinbergSA@NAVSEA.NAVY.MIL
Subject: Merriweather 07/28/2001
Merriweather has a stigma that goes with it.  Horrific traffic.  Cuff-happy
cops with something to prove.  When I saw Phish in '98, despite the traffic,
it was worth it.  In '99, the drive seemed worse if possible.  In 2000, it
wasn't quite as bad -- the show was awesome.  Continuing in that amazing
tradition, I expected Merriweather to be a real pain for the most part.
Boy, was I wrong.  I packed up my friend Andrea for her first show on the
Phish-phamily and we drove straight to the venue.  The miles of traffic I am
used to outside was not to be found.  In fact, we cruised directly into the
main lot! We walked for about two hours, searching the sea of dollar
grilled-cheese and 3 dollar microbrews.  Gone were the kiddies peddling nugs
and the "1 for 3, 2 for 5" red balloons.  Gone were the burnouts there for
the 'killer dank,' but not the show.  Gone were the tour rats who wave their
'1' in the air - even if they complete the atmosphere.  But the folks who did
show up, the kids wanting to see a good show, were among the lucky.
To set the atmosphere quickly, I've never been to a show at Merriweather and
had good seats, but this night, we walked right in and sat at the front of
the lawn.  It was a clear shot to the stage, the weather was perfect, and the
crowd around us was cool.  I also caught up with the mysterious and
omni-present Clay the Uno Boy, and spotted Lawn Boy many times throughout the
show, so it felt familiar.
Trey came out with his growing band and opened with the energetic Burlap Sack
and Pumps.  Not knowing too many songs on this tour, I was glad to start off
with a song I knew from the February shows.  As the crowd got going, Trey
directed them into Acting the Devil.  Let's all take a second here: if you
came for a Phish show, you were about to learn a lesson.  This is proof of
why Phish NEEDED a break - Trey's song writing needed to stretch outside of
the boundaries of Phish.  It's also proof (to me) of why they will eventually
re-group.  Because this is a fun exercise for Trey, not a permanent change.
I said I didn't like the song, but I hummed it for two days.  Cayman Review
is just sick.  You gotta love how hard Trey works to make that song great.
This was a nice extended version and the crowd needed a break.  But it was
not to be.  Instead we got a rocked out Last Tube.  Having wanted to see this
live since February of 1999, this was a huge treat for me.  I definitely was
psyched for it, and this version must have gone on for 15-20 minutes.  It
just kept going.  Every time it returned to the main riff, I was riding it.
Drifting was one of the highlights for me and Andrea - it just slipped us
into setbreak.  It's a nice song, you can space out Phish-style.  Set one
ended at about an hour.  Short but sweet.
Cool crowd.  Short setbreak.
Set two opened with another crazy beat - it sounds like....could it be?! Oh
yes! Free Thought! Mozambique! Whatever you want to call it, since the 8 Foot
Tubes show of 4-18-98, I've been dying to hear this song! I absolutely loved
the harmony between Trey and Heloise Williams on this then, and I hadn't
heard the MP3s of the Mozambique's from this tour yet, so I watched Jennifer
praying she'd sing....but it wasn't to be.  Despite the lack of vocals, it
was still a rocking version.  I was dancing and everyone a round me was
bouncing around.  How could you not love this song?  Moesha followed.
Another cool song, it's rocky, but not Phishy.  You have to hear this song if
you're a Trey fan, it's a twist kind of number that doesn't disappoint.
Sidewalks of San Fransisco, aka Noodle Rave Daddio, is a drum-lead
instrumental that goes way out.  I couldn't really draw a significant line
between it and Plasma until the horns played the main riff to Plasma.  They
bled together well.  During Plasma it occurs to me - Jennifer has a great
backup voice.  It's not a lead singer voice, but it is possibly the perfect
compliment to Trey's voice.  So well done.  Plasma was incredible. In the Wee
Hours is a Chuck Berry like number that was fun, but nothing to write home
about.  First Tube, a favorite of mine, showed its face and raged - although
there definitely was a minute or two in the center that lacked it's normal
intensity.  At the BBQ was nice - it's nice to hear delicate and composed
music from Trey again.  Money Love and Change, though pleasant enough, was
not a highlight, at least this night.  At the Gazebo is a counterpart to At
the BBQ, and sounded so alike.  The acoustic guitar is nice, but can anyone
really follow the arrangement? It's more complex than it looks.  Mr.
Completely is probably my fave of the bunch - it's a real rocker, way jazzed
up since the version on One Man's Trash, and it got the crowd moving again.
The drums are intense with the double high hat thing, man it's awesome.  And
Tony, oh Tony, he lays the groove down so thick and syrupy! Mike is a much
more talented bassist, but Tony's repetitive grooves are trance-like.  Push
On Til Day was looooong.  I loved it, but it's tough to follow Mr. C.  Set
clocked in by my count at about 100 minutes.  Not bad.
For encore, Sunday Morning was the choice.  This slow tune was debuted on the
February tour as well, so I knew it.  I still can't decide if it was too slow
for the encore or just the right cap for the show - but there was a lot going
on.  Solos from Tony and Jennifer, extended introductions....it was fun, but
I highly doubt that will translate on tape.
Anyway, if you get a chance, I'd recommend the Merriweather show.  Trey was
definitely showing off for his Dad in the crowd, but it made for a really fun
show, for not only the audience, but Trey and his band as well.
Adam Scheinberg

Date: Tue, 31 Jul 2001 10:03:29 -0400 From: Brandon.Morris@bbandt.com To: dws@archive.phish.net Subject: review of merriweather 7-28-01 Let me start this review off by saying that Merriweather did not disappoint me again this year. There were just as many cops and helicopters as last September. That is the only negative thing I have to say about this evening. Trey started out with Burlap Sack and Pumps which I was in the bathroom for the beginning of, but managed to get back on the lawn before the was done with the first verse. I couldn't believe that he started off with that, truly a fun song to get the crowd dancing right away. Next he went into Acting like the Devil which didn't let me slow down a bit. I enjoyed Cayman review and Last Tube, Trey's work is truly genius! The first set was over way to quickly or it is just that fuzzy to me. Set two is what really blew me away though, the sun finally went down and we got to see Chris go to work on the lights. It started off with Mozambique and you could tell Trey and the rest of the group were having fun by the dance routine they started on stage. He went right into Moesha which was good, but the funky guitar work on Sidewalks of San Francisco proves why we love this guy so much. I still can't get over First Tube, my buddy Joel wanted to hear this and you should have seen how stoked he was from the first few guitar licks to the very last. I also enjoyed In the Wee Hours, which was an appropriate theme for the evening. Sunday Morning was the encore, and let me just say that Jen was born to play the horn!!!!! She is truly a genius on the horns at only 18 years of age. She has such stage presence, and you can tell she was loving every minute of it. She gave to the crowd, and they gave it right back. The energy was great during the show, you could tell Trey was having so much fun...maybe it was intensified because his Dad was in the crowd. I really enjoyed the horn section, it brought a well rounded sound to it, but I'm not sure the bass player was really a person, he didn't move the whole time. All in all this show completely blew me away!!!! To all of those out there going to see Trey and expecting a Phish show...forget it because you are not going to see a Phish show. That's the whole point of the Trey tour...it's Trey taking a break to grow as a musician and try out new things. What you will see is the musical genius hard at work again, and having fun. To those who have been to tons of Phish shows, open your mind and let something new in...you'll be glad you did. Lastly, I have to say thanks to my girl Crystal (I love ya!), and my buds Kevin, Hines, Joel, Tara, Josh, Didi, and last but not least Matty (sorry I never made over to your group...you understand though :) ) for one of the best nights I've ever had. I hope we all get to do this for a long time to come! Peace -B
Date: Tue, 31 Jul 2001 07:32:26 -0500 (EST) From: jmh rowjimmy@flavorj.com To: dws@archive.phish.net Subject: trey 7/28 rvw On Saturday, we set out early for Merriweather Post to see Trey Anastasio and his ever-expanding band. I had visions of previous years' jams both (traffic and onstage) dancing in my head but those premonitions marked the only time I mistook this for a Phish-type experience. Traffic? What traffic? We sailed into the lot, worry-free and with plenty of a beautiful afternoon left to enjoy. The blue-sky day sported occasional puffy, white clouds which provided moments of relief from the sun which, although warm, felt nothing like a Mid-Atlantic, late July afternoon. We relaxed and absorbed some rays as the lots slowly filled and the police and event staff crept about doing their jobs and making folks uncomfortable. After an hour, we chose to clear out of the sun for a bit and head to the shade. Round the backside of the venue, a good walk from the lots, we found a picnic table near the fence and a sign which read, "Don't be the next fence jumper to be prosecuted." Seems like an effective warning and, with the plethora of tickets floating around in the lots, it didn't seem like much of a concern. From this table, we listened to the soundcheck which began with some warm-ups for the horn players. Next they snaked though a tune which I want to say was "Caravan" but I'm uncertain. It may well be one of the many other instrumentals but, regardless, it was lengthy and cool. Something funky followed (again I'm not sure what it was- it might have been simply a jam) and wound down into a spacey, mellow funk jam (Noodle Rave Daddio?) Delightful background music to a beautiful afternoon. In sharp contrast to the bright sun and dusty air of the lots, we sat now at a table beneath towering ancient oak trees, touched by an easy, steady breeze with grand music wafting over the hill... They followed this instrumental with a New Orleans style boogie named "In The Wee Hours". This got our feet a-tapping and had us fired up for a rocking show. Back to the lots for a little dinner and socializing and then we trucked on inside for the show. Surprisingly punctual, the band filed onstage at 7:30, set themselves (plugged in, etc.) and jumped feet first into "Burlap Sacks and Pumps". Trey laid back into the rhythm section, giving the first solo to Andy Moroz who set the bar to a comfortable height with his trombone. This kids reeks of Fred Wesley's influence and, to this reviewer, that's a mighty good thing. Jennifer followed Andy with a terrific trumpet solo driving the jam to the brink without going too far "out". While some performances of this song have apparently been stretched out, this version stayed concise and under ten minutes. "Acting The Devil" batted second and drove a nice straight line down center field. "Acting..." is a ska song played Trey style and the horns give it a groovy, authentic flair. Russ Remington took a nice solo on his sax and Trey stepped up and took one too but remained tight and on track before quickly wrapping things up. Next we were greeted by Tony Markellis' bass as he dropped into the deep end and drove "Cayman Review" with a force that swelled from beneath our feet as if from the very core of the earth. "Funky" is a word some might use; I'd use "Nasty". Trey stepped up and turned it on for this number, as the horns provided backing fills and keyboardist Ray Paczkowski turned to his clavinet for that "authentic, 70's groove". The song came back for a reprise and Trey took a second more expansive solo before nodding to Ray who took over and gave us his thoughts on the Caymans. Ray's setup is typical of many rock keyboardists- he sits surrounded by an organ, Fender Rhodes, clavinet (atop the Rhodes) and a synth piano- and he's strong on each set of keys. Together with Trey (naturally), he holds down the weird department at the right side of the stage. On the left side, the horns are lined up and they hold down the straighter side of things, though given the arrangements that they're working with that's a neat trick. In the center of the stage, the core of the band, Russ Lawton (drums) and Tony Markellis (bass), hold court at ground zero, issuing regular shockwaves and syncopated aftershocks outward to the delight of the audience. Continuing with the deep bass grooves, "Last Tube" came on and held itself at a controlled boil. A deep, dark thick groove like bubbling tar in the base of the amphitheater. The lyrics maintained their ethereal distance, becoming more a part of the groove than any distinct message and this became the first stretched out tune of the night. "Drifting" followed, and as I did exactly five months earlier at Trey's show in Richmond, I loved it. Trey guided the band out into what felt like an extended jam. This ones more gentle than the earlier funk grooves though still danceable. Trey had his way with this song and, sadly guided it to a close just as Russ Remingon stepped up with his flute. We were surprised as well when the band then left the stage, closing the set after only an hour. Set break only ran thirty minutes and, in a continuing show of promptness, the band returned to the stage at nine o'clock for the hot dance number, "Mozambique". The horns broke away from their riser and came round to dance center stage with Trey- all on wireless equipment. As they formed boxes and lines and moved about the middle of the stage, they all raged on through the song. Jenn Hartswick took a terrific solo followed by Dave Grippo and then Trey took a turn. They jammed for about ten minutes before falling back to their places and - on Trey's cue- jumping into "Moesha". I believe that Trey has described "Moesha" as sounding like a seventies tv theme song and I can go along with that label. Rich with terrific horn riffs and fanfares and fun, catchy lyrics this might've been a pop song in another decade but now, in 2001, it's a Trey song and we're happy to have it. "Moesha be wrong, Moesha be right. Moesha be good, Moesha be tight." Very tight. Lots of positive energy came off the stage during this one and the audience received, amplified, and returned that energy to the band. Looking to my left, I could see that even the Loge was rockin'. "Streets Of San Francisco" followed the short, punchy "Moesha" and brought back to the rolling, cowfunk from set one. "Streets.." is a nifty tune centered on yet another tight groove from Russ and Tony. Grippo took a great solo on this one before about six minutes in, the horn section cleared the stage. The jam continued on, however, with a decidedly deep groove reminiscent of the '99 Trey tour. Ray helped bring the sparser '99 sound into 2001 with his organ and clavinet, landing the group, sans horns, into a more acid-jazz/electro-funk zone. This continued for a couple minutes until Trey let out a primal scream from his guitar, stepping the groove up into more aggressive territory. More than one fan screamed out, as Trey continued to wail, "Voodoo Chile!", proving that I was not the only one thinking of the '99 tour. But 2001 persisted and the horns returned to help reprise the "Streets.." groove. Trey took another turn and began playing some fairly psychedelic-sounding licks and they transitioned into "Plasma". I didn't recognize this tune and am not positive about the name (however popular sources seem to agree, for the moment) but enjoyed its sound: up-tempo grooves with great lyrics at the close which said something about "*End up where you started". We danced throughout and this one ended about twenty minutes after "Streets*" began. Next, Ray slid to his piano and put forth his best Prof. Longhair/Dr. John impression for "In The Wee Hours". We'd heard it earlier at soundcheck but this one immediately showed signs of improvement. The band held tighter and at the same time swung out in that true New Orleans style. The audience boogied. The Loge was rockin' and folks seemed to dig the break. Knowing that Trey has probably mapped out each show completely before they begin, I felt that this show was moving nicely, energies building and diffusing beautifully from song to song. Taking the hyped up energy from "*Wee Hours" and turning it up a notch, Trey kicked the band into "First Tube"- receiving an overwhelmingly positive response from the audience. Ray matched Trey in drive (and grooviness) while Tony locked in the bottom and the horns danced on top. Trey drove the whole thing though, slowly incrementing the intensity and moving from groove to psychedelic to the gushing release at the end. The ten minute song's tension progression is similar to watching someone inflate a balloon to well past its "normal size" and continue blowing until, suddenly and inevitably, it bursts and deflates- leaving you a bit jarred by the experience. Afterwards, they opted for the dreamy, short, instrumental: "Nothing But a G Thing". This began with Trey conducting the horns and reminded me a bit of "Dear Prudence" though the similarities extend only to the tempo and general beauty. Afterwards, they dove back into the groove thing with "Money, Love and Change". Yet another of the new groove-based horn driven tunes, this one was the closest to the reported Fela influence than all but "Burlap Sacks*". Unlike "Burlap Sacks*" however, Trey stepped up and stretched his solo out, relaxing on the comfortable bed of made up for him by the band. The dancers sure were getting their fill at this show. Trey decided to give us another break to catch our breath with a run through "At The Gazebo". Trey seems to be really proud of this tune and it is notably stronger than five months ago. It opens with the horns swelling through a sort of lysergic chamber music. Next, Tony with his bowed upright bass and Trey on acoustic join in, followed but Ray and Russ; who does gentle rolls on his kit with mallets. It's short but, not short enough for some, who frowningly sat it out or headed to the restroom. Before most restroom visitors could return to their spots, the band exploded once more; this time into the heavy, alt-rocker "Mr. Completely". Greatly fleshed out since its origin on Trey's "One Man's Trash" album, "Mr. Completely" is catchy, gritty and hot. If recorded by this group and made to sound anything like its live feel, it could possibly make a go at "alternative rock" radio. Trey guitar took on a frenetic voice, over-driver, distorted, and echo-y. The horns back the song with a dissonant swing that really tugs at the ear and the songs refrain sticks happily in the head long after its over. But not too long because, next came "Push On Till The Day" with its catchy verse, chorus and, well, everything. This song was the oft played big hit of the February tour this year and has, since then, only improved. Trey sang the verses at their hurried pace and Jenn joined in for the chorus before the terrific horn riffs that lead both back to the verse and into the jams. During the jams Jenn came down from the horn riser and she and Trey began dancing. At first, they were doing some simple dance moves, trying to stay in unison and laughing the whole time. Then they turned and faced each other and began an odd looking dance that looked like a cross between grinding (though they weren't actually making contact) and mime sword-fighting. This had us baffled and laughing and shaking our heads before they returned to their places and reprised the song. The reprise smoked and they left the stage with it ringing in our ears. Less than a minute later, they filed back to their places- smiles on their faces reflecting the generous ovation given by the audience. "Sunday Morning" has got to be one of Trey's best ballads ever. Folks received it well, smiled and most danced slowly to its mellow beat. Trey took a beautiful solo before coming back to the chorus once more and introducing Jenn Hartswick with "Jenn's gonna do it to you." She did, too. Turning in yet another delicious solo, Jenn solidified her MVP status for the night and during the band introductions that followed, the ovation given when she was introduced, confirmed it. Through the introductions and after the encore, the entire band garnered a great deal of applause and deservedly so. Russ and Tony played rock solid, centered grooves throughout the show. Ray, while not always in the front as a soloist was ever-present- either locked in with Russ and Tony or providing other means of support including the all important "weird department". The horns, as a unit, brought the band away from the electronica and techno grooves and carried them in more traditional, disco, funk, and afro-funk directions. Additionally, each player added significant meat to the stew with his/her solos. Trey, naturally excelled as the leader of the band but, to his credit, he didn't always stand out. He found his spot, deep in the pocket alongside Tony and held there often; generously cueing the other players to take their turns. Five months ago, this band had intensity, edginess and the glimmer of things yet to be. Now they're opening the bottle, the genie is sneaking out and this genie knows how to rock. I found myself wondering; as I sped home in the late-night drizzle, humming "Mr. Completely" to myself; if this band would survive beyond the planned album and supposedly upcoming Oysterhead album. Given the strength of what they did at Merriweather, I would like to think so. But then, I thought the same about Phish. jmh rowjimmy@iname.com homepage: http://cdr.flavorj.com kimock site: http://cdr.flavorj.com/kimock "You can't write if you can't relate."
Date: Tue, 31 Jul 2001 01:18:19 -0400 From: Michael Mattix mattixm@washpost.com To: dws@gadiel.com Subject: Merriweather 7/28/01 Well, well.... my first review on this site since Phish's Vegas blowout last fall. My first Trey solo experience was this past winter tour when I saw his band on consecutive nights in Blacksburg and Richmond. I felt lukewarm about the Blacksburg show and thoroughly enjoyed myself the following night in Richmond but I definately had the overall feeling that the band at that time and the tour at that time were hastily thrown together. It was almost like Trey needed something to do or wanted to avoid all the pressing questions about the future of Phish so he just hit the road to get away from it all. The performance from this past Saturday at Merriweather left me with an entirely different feeling. My feeling this time out is that Trey and his band have much more purpose and direction. Namely, he wants to forge an identity for himself and a repertoire of songs, completely outside the realm of Phish and to that end I think he is definately headed in the right direction. Naysayers and people having trouble coming to terms with the fact that Phish's traveling circus is no longer chugging down the road will always be out there. I knew Trey was playing mostly the same setlists each night and that is why I opted out of a Friday--Saturday double dose at Walnut Creek and Merriweather. One show was all I needed to confirm my suspicions... this incarnation of the Trey band is tighter musically and much more inspired than what I encountered last winter. My current opinion is this: the band is very fun and entertaining and they try to throw in a little something for everyone. These shows are horn-driven funk explorations that will keep you grooving and moving all night long. There isn't much room in these songs at present for transcendent opportunities but that's not to say they don't have that potential. Keep something in mind..... those fortunate enough to get on the Phish bus even as early as the very early ninety's were hearing songs that, for the most part, had been written, performed, and honed for several years by that time. Most of the songs Trey is now playing haven't even spent a full year in the live arena!! Give the man and his band time to get comfortable with the songs and each other before you toss in the towel on this project. And if you give it an honest effort and this band just doesn't do it for you then that's fine. Fortunately we are living in an amazing period of exploding interest and growing mainstream respect for our music scene and if you can't find something to satisfy your musical jones out there then I say that you should take a long look within before slinging insults toward Trey and his current project. Check out Steve Kimock, Robert Randolph, Phil Lesh, Karl Denson, Dr. Didg, String Cheese, Bisco...... I could go on forever but I think you get my point. It's an amazing time to be a lover of live, improvised music. In fact, there's so much inspired, passionate playing going on right now that I find it hard to believe anyone even has time to complain that..... "dude, I can't believe he played Caymen Review two nights in a row!". "The point, as far as I can tell, is to have fun." ---Jerry Garcia Peace, Mike
Date: Sun, 29 Jul 2001 23:52:56 EDT From: Popyite@aol.com To: dws@netspace.org Subject: Merriweather Review ! ! ! - JESSE PRUITT Trey Anastasio Gets Soulful at Merriweather! Summertime at Merriweather felt real nice this year. I've always thought of the place as a great, relaxed venue. The weather was perfect, as was the energetic crowd. The parking lot filled with kind familiar faces (a bunch of new ones as well), and the busy hustling marketplace of money-exchanging began to flow. Extras were everywhere. Seems so eeirily familiar, ... dosen't it? However, Merriweather's usually timid atmosphere was extremely secure this time around. People were getting arrested left and right. The Cops were definitley filling their quotas this evening. One more note about the scene, I saw my first Trey Solo inspired lot tee; a picture of Marge Simpson in a brown dress and high heels. The caption reads: "Burlap Sack And Pumps" ... scary. On the way to our seats (Thanx for the candy, Lawn Boy!) we were greeted with just that, and a raging Sack-n-Pumps it was. I held a high regard for this song since his last tour, and was initially impressed with how finely-tuned Trey's band had become. Very tight and precise playing. Fun. The show continued with the ska-flounderish Acting the Devil, which I really just don't like. It's sounds to Mighty Bosstone' ish, and just plain Un-Trey. The show picked up again with a great Cayman Review. This version seemed slower than others I've heard, and much more funky. Trey was ripping this one apart. What followed was, ... I believe, Last Tube. It was distinctly Tubey whatever it was and it had some lyrics thrown overtop of it, continuing the funky bass vibe. The other songs in the set included In the Wee Wee Hours which sounds like some kind of sock-hop bebop tune written in the sixties, and an awesome Drifting with soothing loops and uplifting jam segments that left the audience floating into set break. At this point I turned around shocked to see that the amphitheatre was almost full! This was something I hadn't expected after seeing tickets going in the parking lot for only (gasp!) SEVEN DOLLARS! Oh well, that's the way it was last Trey Tour. I practically gave away a handful at Buruss Auditorium for the Virginia Tech Trey Show. I guess this happens because people buy extras in hopes of getting better seats or selling them on Ebay for outrageous prices and the demand falls through. I don't know, but if you wanted to get into Merriweather, you were in there. The second set lit things ablaze with a smoking Mozambique that featured really tight playing by all band members. The keys were very on-point. Trey and his horn section did a little line dancing to the rythym before forming the "flying V" with his bandmates on both sides and him in front, wailing away on a wireless guitar. It was impressive. What followed was even better. Sidewalks of San Francisco is a funky big-band symphonic number with an incredible energy and groove. I love this song, in my opinion it is one of the best next to The Way I Feel and Tube Top Wobble. The funk instrumentals Trey's been cooking up are pretty damn good, and this one was no exception. Trey's guitarwork overtop of the song was joyous to all the phans; his hands plucking away and whipping the crowd into a fenzy at the same time. I knew at this point that First Tube was not far away, and predictibly it wasn't. But not before a funny Moesha song with lyrics catchier than Gotta Jibboo (I'll leave it up to you to determine if that's a good thing :) . Mr. Completely squwaked away another 12 or so minutes of the show. This one just felt forced. The lyrics aren't really to die for and the jam took awhile to get pumping. Push on Till the Day definitely has a prettier face than it did in the winter, showcasing more Trey handiwork than you can shake a stick at. Once he got a really good funk groove going he looped it and started doing weird ritualistic dancing with Jennifer the Trumpet Player, looking very similar to Pee Wee Herman's dance steps to "Tequila" (if you're young enough to remember that) ! Right before Trey came onstage for the encore, the person next to me crossed their fingers for Sunday Morning. Why? I do not know. But she got it. Trey mentioned that his Dad was at the show and that the song was for him. Maybe the awesome playing was to show off for his Dad? Maybe he was just doing what he does so well... entertaining! It was definitley a recommendable experience although I wouldn't recommend touring to anyone. But the show I caught went along quite smoothly albeit a few speed bumps. See you in VA. Beach... Jesse Pruitt Hampton, Va. Popyite@aol.com
Date: Sun, 29 Jul 2001 12:17:00 -0400 From: Richard Allen rallenphoto@hotmail.com To: dws@archive.phish.net, dws@gadiel.com Subject: Trey show update Trey show July 28th 2001 Merriweather Post Pavilion. Ah the summer time at Merriweather where the music is good and the staff are assholes. Anyway as for Mr.. Trey, I can actual say that I was kind of interested in his sound. It was nice to hear new music coming from his wacky mind. Although the lyrics were not up to par the grooves that were produced really got me moving. Starting the show with some nice easy tempo grooves to get the crowd into it and then moving into more of a latin salsa sounds to really get the feet moving. It was nice to hear so many different sounds and styles coming from Trey as anyone who saw his last solo tour would remember that it was very repetitive in sound and style. At least this tour he decided to mix the songs up a little. Everything was grooving alright until he decided to break out the first Tube and then I remembered why I stopped touring with this band. But he got right back into it, and as a blessing didn't play anymore so called "Phish" tunes. The ho! rns were a nice welcome and the keyboardist put a nice twist on things. Unfortunately he has some sort of loyalty to his drummer and bassist from his last solo tour. I don't think the bassist move a mussel except for his fingers the hole night I think he actually might of been a robot with his mediocre stale jams. At one point he was given a solo and all I could think of was how much better the bass sounds on tue nights at the attic sessions. For those of you who have been to the attic sessions you know what I am saying. And as for the drummer how dare he wear black tube socks with shorts. Well I guess this is all I have to say about Trey. I am happy he is experiencing new styles and if you get a chance to see him I do recommend at least one show. After that I think he would start to bore me as he seems to be playing a lot of the same songs every night. It was all wood!! Well I hope I was helpful in you! r daily journeys and as always "may the force be with you". Peace Rich.
click here to return to the 2001 reviews page
hits (many)