Soundcheck: Frankenstein, A Song I Heard The Ocean Sing, Access Me, Undermind, Crowd Control, Nothing Jam

SET 1: A Song I Heard the Ocean Sing[1], Dinner and a Movie, The Curtain With, Sample in a Jar, The Moma Dance -> Free, Nothing[2], Maze, Frankenstein

SET 2: 46 Days -> Possum > The Oh Kee Pa Ceremony > Suzy Greenberg > Axilla > Also Sprach Zarathustra > Birds of a Feather, Kung, Mike's Song > I Am Hydrogen > Weekapaug Groove

ENCORE: Divided Sky

This show was simulcast in movie theaters nationwide and subsequently officially released in both CD and DVD formats as Live In Brooklyn. This show marked the debut of A Song I Heard the Ocean Sing and the Phish debut of Nothing. Kung was dedicated to the golfers competing in the U.S. Open at the Shinnecock Hills Golf Club in Southampton, NY. 46 Days included a DEG tease from Trey. San-Ho-Zay was teased in 2001. Mike’s Song featured a Twist tease. During Weekapaug, Trey teased Mainstreet. Before the soundcheck's A Song I Heard The Ocean Sing, Fluffhead, Frankenstein, Walls of the Cave, Seven Below, and Letter to Jimmy Page were teased. At the end of the soundcheck, Trey teased Fluffhead, as memorialized on the Live in Brooklyn DVD.
Noteworthy Jams
Twist tease in Mike's Song, Mainstreet tease in Weekapaug Groove, Dave's Energy Guide tease in 46 Days, San-Ho-Zay tease in Also Sprach Zarathustra
Debut Years (Average: 1991)

This show was part of the "2004 Early Summer Tour"

Show Reviews

, attached to 2004-06-17

Review by waxbanks

waxbanks Wonderfully fun show, though a bit lite for June '04 in retrospect. The band's enthusiasm and affection are palpable from the start. If you like Phish of a 2003-04 vintage, certainly buy 'Live in Brooklyn' (for the crystal-clear audio if nothing else), but the deep cuts don't really start until the tour hits SPAC on the 19th. 46 Days > Possum is all strutting cock rock with a letter-perfect segue, Suzy heads out from clav-driven dance madness to 2004-standard uptempo haze, and Moma > Free is *spectacular*; hell, even 2001 gets a zippy dance workout; the show really does deserve its status as an official album release. But nothing here has the underground-cavern vibe that set in at SPAC (cf. the 6/20 version of Seven Below), and if you like your Phish deepwater dark and fathoms below sea level, this show will seem a touch inadequate.

But if it needs saying: this is a better-than-average Phish show, which is to say very few rock bands can do what this band does, on this night, without so much as breaking a sweat.
, attached to 2004-06-17

Review by kipmat

kipmat Hindsight is a funny thing. Over the past few days I've been *observing* (rather than "celebrating") the 10th anniversary of the 2004 Vegas run, by general consensus the worst three consecutive shows of the band's career. I couldn't stomach listening to the complete shows, resorting instead to revisiting a few selected tracks.

This afternoon, I put on my Live In Brooklyn CDs. What a difference.

The level of energy evident in the music is on par with the heady, nation-conquering days of 1993-95. And although the musicianship has changed, this remastered recording demonstrates how the band has improved at listening to each other and supporting each other musically. When the band has been consciously putting in the time to elevate this ability, it becomes infectious: Sample In A Jar is usually setlist fluff, but Page, Mike, and Fish are contributing to Trey's solo in rhythm, tempo, and dynamics, and Trey can't help but be inspired by this.

And during Free, Mike unleashes the Meatball pedal effect, the sound that has had such a profound effect on 3.0 funk jams.

Another indicator of a special show: when the band elects to play one of their early bread-and-butter jam songs in the encore slot, like Reba, Bowie, or Fluffhead. I will always have time for a Divided Sky encore.

Other reviewers have done a great job of explaining the context of the Summer 2004 shows. Live In Brooklyn was the first Phish release I purchased in the wake of the band's breakup in 2004, as a way of providing myself some closure in the grieving process. Of course there were specific reasons why the band broke up in 2004, but it was, and still is, astonishing that Phish could consider calling it quits when they still play shows like this. If you are at all familiar with the band's live show catalog, *please* get this show from, (as well as the SPAC run from the following week) and listen, and enjoy, and consider what was and what might have been.
, attached to 2004-06-17

Review by Hose_jam

Hose_jam Things other reviewers have not mentioned....

*Very smooth segue from 46 Days->Possum
*18 minute Suzy with Reprise Jam. Straight funk (reminiscent of the 9/14/2000 Suzy) until about the 10:20 mark and then things take a turn for the nasty. Typical 2.0 dark jam sound.
11:40 Fishman starts this open hi-hat beat and Trey lays some nasty distorted chords and the jam kicks into high gear, very dark sound. Trey does some wanky oxy-chords but Fish and Mike never stop driving the jam. Eventually at 16:00 Trey explodes with rhythm, classic two chord vamp, and the jam comes full circle before eventually fizzling out (17:15 Trey does some weird stuff, they seem to get disjointed and fall off) but you can tell they are wanting to rage, hence following it up with a killer Axilla.
, attached to 2004-06-17

Review by The_Slothelot

The_Slothelot Moma Dance is unfinished.
, attached to 2004-06-17

Review by Mikesgroover

Mikesgroover The first show after the announcement of Phish's impending breakup was eagerly anticipated by the fanbase. Would Trey reference the letter in words or in music? What would the band's chemistry be like? Truthfully, there were few signs musically that the band was running out of gas. Thanks to limited access to the general-admission field, we were able to park ourselves 30-40 feet back from center-stage and have plenty of room to dance.

ASIHTOS sounded like it could go deep early, but it was really a taste of where this song would go in the future. Dinner and a Movie was the appropriate and predictable call for the simulcast, while the Curtain With (first since Vegas 2000) was an obvious statement song ("Please, we have no regrets") that was quite pleasant, especially in light of the debacle that the song was at Coventry. Moma>Free is pure beauty and funkiness, while the rain began to fall during Nothing. Maze had us screaming "You'll never get out of this rain" as we were soaked to the skin.

46 Days>Possum showed off a beautiful segue and Suzy sounded at the time it might be the final-ever version (which it wasn't, of course). The second set was fun and danceable, but my favorite part of Weekapaugh was the brief Main Street hint. The clearing sky inspired the encore, which was welcome but botched. The Moma>Free and 46 Days>Possum are worth watching and hearing, but the jamming doesn't reach the heights of the SPAC.
, attached to 2004-06-17

Review by FordhamSoldMeOut

FordhamSoldMeOut I have a huge qualm with .net's recap on this one, considering I believe this to be the greatest Free that they have ever played. Does the jam have to be long to be considered "Highly Recommended"?

There isn't a single thing from this show that has more relisten value than the Free imo and for anyone who hasn't heard it, pop it on and enjoy the hell out of it.
, attached to 2004-06-17

Review by hughie46

hughie46 this is an AMAZING SHOW. you need to hear it, really sharp definitive 2.0 takes on some of the phish catalogue. the moma is what i used to always go back to early on in my listening to phish, absolutely ripping, and the curtain with, sample, free, all have a seemingly additional melodic nature. Amazing takes. Then the second set takes it up a notch, with incredible jamming, segues. The highlight of the second set to my ears is the 2001, which has a filthy and to me irresistible tone. Mike sounds like hes in a wind tunnel and trey is guitar is gnarly and murky. Highly recommended listen, also to check out on youtube.
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