Paradiso, Amsterdam, Netherlands
 "Worm" banter.
 The second set began with a Fishman piano solo that evolved into a jam, as the rest of the band eventually joined the stage and Fishman moved to his drum kit.
Average Song Gap: 7.94
Notes: Ghost began the first of two nights of the infamous "Worm" banter, with Fishman saying "I think you know where you are" and Trey responding with "You're on the back of the worm!" The "Worm" was also mentioned in Ya Mar, Saw It Again, and the jam out of Cities, which also included When the Saints Go Marching In and Santa Claus is Coming to Town teases by Trey. Dirt was introduced as "Green Grass High Tides Forever." The second set began with a Fishman piano solo that evolved into a jam, as the rest of the band eventually joined the stage and Fishman moved to his drum kit. Bathtub Gin contained a Little Drummer Boy tease from Trey. Loving Cup contained a Frankenstein tease from Mike.
Songs by Debut Year:
This show was part of the "1997 Summer European Tour."
Timber roams all over, covering that awesome, dark, space that Timber so often explores, and the ensuing Gin has got to be one of the darkest, scary-psychedelic Gins of all time. Creepy as hell Little Drummer Boy tease (influenced by Hendrix's LDB tease from 12/31/69, a show Trey said he listened to all the time in 1997?) in there -- I'd love to know what really happened on the proverbial 31st of June when Trey got trapped in time... speaking of creepy, that segue from the dust of Gin into Cities is painstakingly beautiful. Talk about a sneak attack! This is a slow Cities -- contrast this one to the last one they played on 6/20 and you have two different tunes altogether. This one pretty much ends before giving way to a far out there psychedelic story highly affected by the worms, with some more creepy teases: Santa Claus is Coming to Town and When the Saints Go Marching In. Is there another Phish show like this, where they randomly drift off to faraway lands, almost like they have no control over what they're doing and songs as we know them are escaping them altogether?! This is fucking amazing. The post-Cities jam IS a ride on the back of a worm cast into an improvised piece of music. Close your eyes and enjoy the ride. After what sounds like the beginning of Taste, that idea is trashed and Loving Cup brings us back to earth, and a slow-building, majestic Slave brings us to a close. As @waxbanks points out, Circus works *so well* here. The Circus definitely was in town this weekend in Amsterdam, and for the benefit of Mr. Mike, they melted some fucking faces onto the floor. This show is 5 stars, straight up. Oh, and there's a remastered AUD floating around out there that is top grade dank. Find that, turn it up, and tune out. Did I mention they played another show on 7/2 as well?
First of all, the Paradiso is an old church that has been converted into a performance space, replete with stained glass windows and an ornate double balcony, all in the confines of a building that holds no more than a thousand people. It was a very intimate place indeed, and the energy of the crowd was intense and intent.
The opener, "Ghost", got things off to an easy, "Wolfman's"-type groove. The jam out of this tune developed significantly, and altogether "Ghost" clocked in just over twenty minutes. At one point, Trey and Fish were singing their favorite brand-new lyric over a jammed groove, "I think you know where you are"...you're on the back of a worm!" It was an auspicious start to the show, even shutting up some of the cynics around me that were sick of seeing the new tunes over and over.
"Horn" was next and then "Ya Mar" followed, with a particularly cool drum segment featuring delicate work by Fishman and a hushed audience. "Limb By Limb" was next, which also proved to be an excellent new song. The vocals are all divergent while at the same time convergent, and the lyrics are actually quite cool. Mike has a really cool background vocal that totally stands out in a killer way. The jam out of this tune was damn impressive; I was finding myself lost in rhythms that are not typical to your standard Phish jam.
After a brief respite in bass space, with Mike doing washes of sound while Page tweaked his Moogs, they segued into the vaguely Celtic lullaby cadence of "Funny As It Seems". Frankly, this song is a disappointment. The J.J. Cale lyrics have just too much of a straight-ahead cheese "lovey-dovey" feel to them, especially coming from a funkster like Mike. Still, it provided some rest for the next selection, "Saw it Again". This tune kicks, with two separate sections. In the first, there are killer "wah" effects from Trey and a totally punchy arrangement of the background vocals. The second section features a slower, harder groove with everyone singing with gospel's conviction, "I saw it again!" An absolutely killer rock and roll song! Trey was yelling about being on the back of the worm again during this one also.
"Dirt" followed, a Beatles sounding-ballad that was maybe placed a little closer to the also-slow "Funny as it Seems" than I would've preferred. "Dirt" has a nice instrumental ending with Trey following the lyric melody. Of all the songs that seem appropriate for the mention of worms, "Dirt" didn't get one.
Next, they broke into the old bag of tricks and pulled out a magical "Reba". Trey was just soaring as Chris Kuroda began involving the stained glass for the first time, lighting up the glass from behind with pulses of light. Full of nuance and melodic expression, this was a truly heavenly "Reba". Which brings me to a digression: is Trey God?
"Dogs Stole Things" closed out the exhaustive eighty-nine-minute set. This is a standard rocker that doesn't seem like it has much room to go anywhere; the groove didn't even seem that cool, kind of stale. Maybe Trey isn't God.
The music of Set II was so good, it surpasses my ability to be objective. Being in Amsterdam brings with it certain advantages, and those advantages tend to manifest themselves most intensely during a set break. So take my review with a grain of salt, or whatever else is handy.
To begin the second set, Fishman stepped out alone on stage, walked over to Page's electric piano, and started playing a little repetitive ditty. At first I thought that it was actually John Medeski (MMW were playing a week later at a Dutch jazz festival) because Fishman looks like him now, with his crewcut. This is the first time that I've heard Fishman play keyboards in a way that is listenable. Improvement is a good thing.
The rest of the guys then came out, and Trey began the opening to "Timber Ho" while Fishman made his way back to his set. "Timber Ho" was just ridiculous, with Trey busting out otherworldly noises and fat chunks, along with killer support from the Chairman of the Boards.
I was floored that my favorite cover tune of theirs ("Timber") would be followed by one of my favorite originals, "Bathtub Gin"! In forty-five shows, I have only seen "Bathtub" three times, so I'm still totally batty when they start into it. This version is truly a top five of all-time - type affair - full-on "synthoslinky" bass from Mike at one point that will blow your mind when you hear the tape. The syncopated beats that Mike found late in this jam is just further evidence that the man is grounded in his own, uniquely satisfying groove.
The "Bathtub" jam then led into a superslow sex-groove jam version of "Cities", slowed down considerably. In fact, the "Bathtub" jam was just kind of going along, slowing down, and then Trey just kept hammering this one chord slower and slower (it was the "Cities" chord, but with the effects it sounded totally different) and then eventually he just spoke into the mic, "Think of London!" and the roof just about came down.
Aside from playing it at such a slow beat, they were leaving a lot of space around the music (not spacey, but sparse) of the composed part and the initial part of the jam followed this effect. It had sort of a slow blues feel, again, with nice space around the music. The blues feel then sort of absorbed the psychedelic vibe in the room and began mutating into a jam that reminded me of the liquid blues feel that they had in the thirty-five-minute "Free" from 11/22/95 Landover, MD.
Eight minutes into "Cities" the jam loses the more straightforward feeling of the blues jam and sinks down into another wash of sounds, similar to the Mike and Page volume-swell jam from the legendary Providence 12/29/94 "Bowie". There were massive blocks of sound swelling out and in, sometimes with simulated Doppler effect. At one point, when the jam was getting that "weeble-wobble" feel, Trey yelled out, to everyone's bewilderment (once again), "I think you know where you are"...you're on the back of the worm!"
So, twenty minutes after "Cities" began, we're still rolling with this whacked jam happening and no clear direction in sight. It was sweet! "Cities" wound up clocking in at twenty-three minutes, but it's hard to tell if the last fifteen minutes might have been something distinct. The "back of the worm jam" perhaps? Raging versions of "Loving Cup" and "Slave" closed out the set. Not a weak link in Set II! I could have sworn they were putting more emphasis on "Oh, what a beautiful buzz." Ahh, Amsterdam"...
"When the Circus Comes" seemed like an appropriately laid-back encore for such an exhausting evening. Sent home for a night of rest, we were psyched that we still had one more to go.
Night One kicks off in audacious fashion with Ghost, then still a new song (only its seventh airing, although they were playing it with a frequency that would make Fuego blush), and it moves from funk into a churning, dark jam (with the infamous Worm yelling) and back to melodic upbeat hose - lots of it, too, like it's 2004 or something - before clanging to a fine finish. But don't skip the rest of the set - Ya Mar is fun, LxL soars before cooling down and segueing masterfully into Ain't Love Funny, and the Reba really does find a nice peak to make us forget the composed section bobbles. Lots of shows would kill for a second set that matches this first one.
Set 2 starts with a "solo" from Fish on the organ that morphs into a deliberate and typically dark Timber, then gives way to a monster Gin, and I use the term "monster" in the scary sense rather than the massive sense. Things move along at the usual Gin speed before Trey flips on his "1980s hair metal" effect and the band moves into a darker and funkier and very Europe '97 space before segueing wonderfully into Cities. And this Cities is one for the record books and the night's highlight, as they first run through a molasses-slow version of the tune, then kick into a pulsing, downright *weird* jam that rolls forward with an unhurried menace before Trey moves things into a more upbeat zone (it's here that you get the teases mentioned above) and the band charges to the finish line with another dose of funk. Loving Cup and a ghostly, ethereal Slave make a fine finish to the set, and Circus is the cherry on top.
Final thoughts: the better of the two shows; really one of their finest shows, and one as out of step with Phish's usual methodology as Fukuoka or 7/27/14 or even any of the Gamehendge shows are. Strongest possible recommendation - hell, this and the next night all by themselves are arguments for why you need to listen to AUDs.