Drum Logos, Chuo-ku, Fukuoka, Japan
Soundcheck: Live and Let Die Jam, 007 Theme Jam, Windora Bug (with alternate “Carini” lyrics), Funky Bitch
 Trey altered the lyrics in Cities to reference noodles.
 Segment based on the intro to Ghost.
Noteworthy Jams: Carini, Cities, Gumbo, Back on the Train (highly recommended), Twist (highly recommended), Jam (highly recommended), Walk Away (highly recommended), Also Sprach Zarathustra (highly recommended)
Average Song Gap: 15.67
Notes: Trey altered the lyrics in Cities to reference noodles. Gumbo contained a Mystery Achievement tease from Mike. Fee included a tease of the old Charlie Chan signal lick from Fish, who played it on the woodblock during one of his breaks. The jam between Twist and Walk Away included a segment based on the intro to Ghost. Sleep was played by request. This show was officially released as Live Phish 04. The soundcheck's Funky Bitch contained Spanish Moon teases from Mike.
Songs by Debut Year:
This show was part of the "2000 Summer Japan Tour."
This was the favorite show that I ever attended. The day was beautiful after a few days of rain in Japan. The venue was in the thick of downtown Fukuoka and there were tons of extras because not a lot of folks wanted to take the six hour train ride (even on the Shinkansen) from Nagoya the night before to get there. The small venue was painted entirely in black, the crowd was primarily Japanese. Folks go in by ticket number in Japan and I very fortuitously had #10 so I got a spot right in front of Trey on the rail. The vibe inside was at first a little raucous with excitement but due to the song choice and the obvious thoughtful vibe of the band both in playing and stage presence the crowd settled down almost immediately. What followed was extraordinary to behold in person. I have NEVER been to any "rock" concert where everyone was so quiet. People were intently listening and the symbiosis between band and audience was perfect. Loud applause at precisely the right moment, dead silence otherwise. The beginning of the second set felt like seeing Phish in a rehearsal and was almost obscenely intimate. The band interplay was so telepathic and the audience so enraptured that the room started to feel downright holy. It was wondrous to witness and everybody knew it. When the lights came on after the show, nobody moved. They, including myself, were entranced; it was just that hypnotic and magical. It was like a spell had been broken and we had come back to earth/Kansas/Kansai(?).
I had dinner with a new Japanese friend I met that night that would become the best man at my wedding three years later in Japan. I met my wife-to-be the next night in Osaka after the show. She's a Japanese and we have traveled back to Japan many times since then to visit the friends I met there on that tour and they have come to the U.S. many times to travel and of course see Phish. To get a feel for what the show was like, listen by yourself cause it was one of those nights that the material world pleasantly disappeared and the self was transported to the astral plane. Domo Arigatou Gozaimasu, Sakana-bandu ("Phish-band" in Japanese)
I can only enjoy the simulacrum. With a solid FOB I picked up about six years ago, I come back to this show more than almost any other in my collection. Why?
One can feel the dissipation, here, yet due to the small venue and novelty of Japan, there's a compressed concision of yore balanced with the high tech eerie of whiz bang e-jam. Trey pulls out some "scratch" sounds, there's a night club vibe, and yet there's a dream drifting, too.
Compared to the band at the same time one year or 10 months before, this is definitely the "other side of the peak." I always did like the after-burn, though. It's that moment when you can finally draw a deep breath and reorient yourself, maybe even find your car. It's definitely a floating home vibe, and that's where I am listening to this right now.
A must have.
Highlights include set one and set two. More specifically, a tragic Gumbo (personal favorite), an intergalactic Twist and following jam, and a solid Walk Away and following jam, and 2001, and a great encore, even if Trey sounds entirely worn out.
Get this show immediately if you've never experienced it. Because, after all, one does not simply "listen" to Fukuoka. One "lives" Fukuoka.
In other parts of the set, Walk Away is always a great cover to hear, one of Page's best vocal turns. The Back on the Train opener is an unexpected groove fest.
Amazing show that features a very patient Phish.
Anything I could say about the 2nd set has already been covered. What a hell of a show.
I bought this show back when the LivePhish series started purely because I thought it would be interesting to listen to a Phish performance from Japan. Since then it has remained my unchallenged favorite of all the shows I've seen live or heard secondhand.
The energy here is beyond special: contained but intense, measured but adventurous, and sonically slick to an otherworldly degree rarely achieved by the group even at their considerable best. *Definitely* almost as good as James Brown on a bad night.
The core of the show is the "Twist." Not only is it the Mother of All "Twists," I believe it represents the zenith of the band's achievement in collective improvisation, the pinnacle of the guys' 15+ years of musicianship and friendship at home and on the road. It may not be your favorite mood, and it may not go to your favorite places. But from a standpoint of fairly objective musicianship and craft, this "Twist" is as good as it gets. The jam, spacious without ever seeming empty and jam-packed with telepathy, serenely drifts off into the deep space of an ambient C major. The situation seems irretrievable, like going under sedation. Just when the "Ghost" motif enters and you are wondering how -- or if -- they will get back to "Twist's" native key of G, it happens almost before you can perceive it: like an electric stove eye showing the first signs of an eerie red glow, the friendly warmth of Trey's guitar carefully summons the song's main riff from the abyss and then crescendos to a jubilant, defiant snarl as the band begins to sing the final chorus. It is a stupendous feat of collective musicianship, and the jam-surrounded Stones cover that follows is a fitting compliment delivered in total solidarity.
There are many other fine experiences to be had in this show. Though there are a few minor flubs and sound problems scattered across the first set, "The Curtain" and "Cities" are among the finest renditions of those songs in the catalog; the "Llama" guitar solo is particularly fierce, marked by a heavy chase delay; and "Back On the Train" and "Also Sprach" are concise but energetic explorations of those favorites in which Trey's guitar work particularly shines with an unusually suave and polished sophistication. The whole show simply *sounds* unbelievable, largely thanks to Paul's expert mix.
When Page brings "The Squirming Coil" to a close, you can tell beyond question that he realizes he is putting the finishing touches on a real milestone in the band's personal journey and professional career. It is musically gorgeous and emotionally quite moving to hear in the context of the whole performance.
This is a show to enjoy from start to finish in peace and quiet. I have read that the small audience was transfixed and largely silent through the entire show, and I have no problem believing it.
'SOM' to close the set. 'Twist' is in it's truest form; slithering all over the place and weaving in and out of bass lumps which keep the tune balanced and in perfect harmony. The quality is solid and gives the listener a very thorough and defined listening experience. All fits on 80 minute disc!
Also- Corrini and Curtain deserve the highest praise for just setting the tone of the show...just listened to this while splitting wood outside...nice!