Trey screamed "POSSUM!" intro the microphone during the pause.
 Simpsons signal.
 Phish debut; Fish on Bag-Vac.
 Without microphones.
My Friend was dedicated to “Steve E.” who drove eighteen hours to the show. Jokingly, Trey subsequently called the bouncers over to throw him out! Before Maze, Page read an announcement from management asking fans not to smoke in the building. Many people shouted out requests during the pause in Divided Sky, prompting Trey to scream “POSSUM!” into the microphone. The second set started with Page again requesting that fans not smoke, while Trey and Mike launched into a few bars of Smoke on the Water. NICU included a Simpsons signal. This show marked the Phish debut of Baby Lemonade and, along with it, the first appearance of Fish’s Bag-Vac. The end of Baby Lemonade featured a tease of On Broadway. Sanity and the theme to All Things Considered were teased before All Things Reconsidered. Lots of humor ensued over Mike’s use of a cardboard cutout of Kathleen Turner from the movie V.I. Warshawski, which started out on top of his bass rig and ended up in front of him, giving the appearance of his head on her body. Sanity was played for the first time since May 28, 1989 (339 shows). Memories and Carolina were performed without microphones.
This was my hometown and first show. I was 16 and it was the second time I'd taken LSD. So this won't be a classic song/show critique; intoxication, time, and perspective muddy any attempt at that.
I had listened to Lawn Boy and a couple random bootlegs prior. (Luckily for me, Phish had a significant following in Keene and a lot of my friends had been to shows and turned me on to them). Thank you Jesse!
A month before the show, I listened to Antelope while alone in my bedroom. Just closed my eyes and listened, focusing soley on the music. It induced me to inadvertently meditate for the first time. I felt as though I'd lost time. I had to see this band.
To the show: We walked into the theater just as they opened with Suzy. The entire room was bouncing. The L probably enhanced this, but I'd never felt this type of energy before. I had another teenage musically-motivated meditative moment during Reba.
Everything was just fun and loose. The band's banter, Kathleen Turner, the drummer who played a fucking bag-vac, Simpsons signal, Smoke on Water (please don't smoke requests). It was raucous. A unique "Evening with Phish," as the tickets used to say. No memorable 20 min type II Ghost Jam....these were different times.
For instance, we got to leave the theatre during set break. Outside, fat flakes of snow began falling and a pyschadelic snowball fight ensued on Main Street.
I couldn't appreciate the signifigance of the Sanity encore bustout at the time, but it certainly summed up the evening for me. Quintessential Phish: segue from an electric, wailing mind-fuck Sanity into a flawless a capella of Memories and Carolina, with Kathleen Turner hitting the high notes .
I was hooked.
Interesting foreshadow to the inspired hilarity of the Oswego Icculus: after Trey and Mike tease Smoke on the Water to accompany the 2nd set smoking warning by Page, Trey then mentions Cat Scratch Fever before they bust into Llama.
Not quite as good as the Portsmouth shows but, still avery important part of Phish history in Keene. Some of the "older" songs are not as well practiced as the new ones, like Reba and Melt. Baby Lemonade is funny and new. Great Sanity bust-out to start the quadruple encore.
Overall, this show did not live up to the expectations set by the Portsmouth shows that preceded it, but nevertheless it was great to see Phish in such a fantastic theater. This show was very much like Portsmouth Friday, but with a few curves thrown in. They opened with “Suzie Greenberg”, which I haven't heard them play in a while, and never as an opener; they did a nice “Split Open and Melt”; “Bathtub Gin” is always welcome; and I finally heard “Mind”, which was new at the time.
I also decided that I liked the song “Mound” much better this time than the first time I heard it (at Portsmouth) — much like “It's Ice”, it grew on me. They only did one musical language cue tonight, which was one incident of the Simpsons theme, and only about three other people seemed to know what was going one and did the "D’OHHHH!" with the band. I was hoping for more. Oh, yes, “Sloth” was a very nice addition. Also, the three-quarter-height V.I. Warshawski standee on Mike's amp not only added a touch of class, but from the balcony it looked exactly as if it was standing on Mike's shoulders. She also helped out in the a cappella Carolina. And Fishman sang a new Syd Barrett tune, Baby Lemonade, and played bagpipes, which were fitted with a special attachment so he could hook the vacuum cleaner up to them and play without expending any of his precious oxygenic gasses. All in all, a pretty good show.
But the big surprise of the evening came during the encore when they whipped out a song I had considered retired for years, one which I have been hoping to hear for ages and asked Trey to play numerous times, to no avail. Or so I thought. I could not believe it when they started in and the words rolled around, the words I had been waiting to hear live for years now…
"Sanity never came my way (came his way)…"
Yes, folks, that's right — they played Sanity! It was the slow version rather than the hopping one that was played a few times in 1989, and Trey sang the lyrics out of order, but it was Sanity nonetheless!
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