Long Beach Arena, Long Beach, CA
Noteworthy Jams: Rock and Roll
Average Song Gap: 4.56
Notes: Kill Devil Falls contained a Whole Lotta Love tease from Trey. Ghost contained a Dirt tease and a Roggae tease and vocal quote from Fish.
Songs by Debut Year:
This show was part of the "2012 Late Summer Tour."
Rock and Roll
5:00 Lift off jam...
6:30 Trey settles into a very 2.0 sounding chord progression but this eventually gets funky with Mike and
Fishman having some nice interplay.
8:00 Page comes in with the organ and the vibe suddenly shifts..he lays some piano over it and Gordo drops some dark riffs.
9:10 Mike starts dropping bombs with his meatball. At this point it gets very funky, Trey is basically just playing rhythm lines with Mike and Fish leading the charge
10:20 Trey and Page have some nice interplay here with arpeggios from Trey.
11:00 Trey settles on a riff and Mike comes in with a great bass line.
11:30 Trey plays a melody over the progression they have built. Trey has some delays going on. Mike throws a meatball bomb in there.
12:00 Fishman keeps a beat but its gets spacey. More meatball soul shaking bombs from Mike. Page on his keyboard(fukouka style…clav?moog?).
13:00 Page finds a riff on his Rhodes. I feel like Page has done this during jams in the Alpine Fee and Blossom Twist; everyone kind of fades to space and he continues the beat and finds a nice sounding progression. The rest of the band just builds on it, Trey is especially patient during this segment.
14:45 Transient Phish style jamming. Trey being extremely patient and Fishman coming in with creative and polyrhythmic fills.
15:30 Trey takes charge with a blissful yet driving melody. Personally love this segment of jamming.
18:30 Trey starts to reach for some chords and him and Page build a nice little crescendo to keep the jam driving
19:10 Trey comes in with some a nice line that reminds me of 2/28/03 Tweezer, redirecting the jam.
21:00 Jam climaxes a bit but Gordo and Fishman refuse to let the beat die.
21:32 Mike puts on some delay, Trey scratches, Fishman becomes very percussive. This jam reminded me of '96 type of weird percussive jam..then it took a turn into storage jam territory. Some seriously amazing stuff coming out of this segment.
23:00-Fishman drops out, Mike on meatball, Trey making Floyd calls..very storage jam -esque. Fishman
working in various beats and fills
24:30-Trey starts these "Izabella" type dissonant riffs...settles into space.
Fans of Fishman should love the latter segment of this jam
3:30 Lift off jam. Some unique jamming with Trey trills and tasty Mike basslines.
4:40 Jam settles in. Page plays some great lines on his Rhodes. Then things get a bit weird but stay cohesive. Everyone starts to play outside just a bit and then come back together.
6:10 Seriously thick groove starts to appear here. Fishman just locks in and the band is locked in tight.
7:10 Trey comes in with some trills and Gordo really steps it up a notch here, locking into Fishman and driving the beat.
7:52 Trey comes in with some power chords and solidifies the new progression.
8:22 Page goes off on the said progression, Trey follows and hose is unleashed. The jam is very gin-esque. And energy continues to build.
10:00 Flashes of machine gun Trey. With Page holding the organ and hammering the keys the jam really takes off.
11:16 Massive peak. Trey plays a triplet pattern and some very nice fills.
11:24 Empathetic chords from Trey that lead into a vamp
12:00 Fishman changes the beat and Mike drops his bass down and the jam suddenly becomes dark. Mike has this marching beat and Fishman comes in with some Roggae quotes as the jam ends with 30 seconds of weirdness, especially Fishman’s fills and Treys wall of noise. Trey kind of emerges with the limb x limb progression and it’s onward. . .
I felt the Ghost jam is really a Gin jam, the way it builds. Hose!
Of course...second set was pretty amazing from a jamming stand point. Haven't heard them get this outside the box in a long time. It almost looks like 97 or 98 setlist...sounds like it too. Great night, i can't wait to relisten to this show.
RIDIC second set with an astoundingly creative and experimental Rock N Roll, a raging Ghost and a especially impressively played Guyute.
top it off with a fun Julius encore and that my friends is how you start a leg 2.
what a second set, man.... good things are in store
5:00 Trey’s solo begins to lead the band away from the song structure.
5:50 Trey strikes a chord and lets it ring for two measures while Mike and Page fill in the space. This repeats a few times.
6:10 Trey starts varying his chords and, after a short period of time, begins to play a lead over the space created.
7:30 Trey and Page alternate ascending phrases as Mike and Fish continue driving the beat.
8:30 The band lays into a nice funky progression that mellows out into…
9:30 Trey plays some very well constructed ambient phrases that move the sound to a less groove-driven rock jam but a more relaxed space jam (the movie).
9:50 In an incredibly fluid transition, the melody shifts to Page as Trey provides very subtle but well-fitting accompaniment.
10:30 The sound mellows out completely at this point and the music begins to head towards new territory.
10:45 Trey is constructing a nice layer of sound with his delay while Mike plays somewhat consistent lines centered around the same notes, in effect anchoring down the jam and giving it room to develop.
10:50 Trey plays three absolutely beautiful phrases from here to 11:20 that Page somehow predicts and accompanies with nearly identical lines.
11:20 Page and Mike play sweeping sustained notes here that envelop the music, while Page also provides a few sparse lines below it. Trey complements with a layer of delay and Fishman quiets down a bit.
11:50 Page plays a descending synthesizer line and whammys up an octave for a couple notes, eventually landing on a single note. Mike plays a note at the beginning of the section that he lets sustain throughout.
12:30 Fishman is playing only on his cymbals now, rolling on the ride and accenting with cymbal splashes. Page begins with a simple theme that provides direction. Trey plays a distorted and wah’d descending line.
12:55 Trey lets a note sustain shortly, Mike comes back in beautifully and complements Page’s theme. Fishman provides a rhythmic accompaniment and accents the rhythm with crash hits. Trey adds a sparse layer over top.
13:30 The theme opens up now that everyone is locked and variation begin to develop.
13:45 Page begins some arpeggiated phrases as Trey provides melody by riffing off the theme earlier developed. Mike stays somewhat constant with a bass line that gives Trey and Page something to work off of melodically. Fishman begins incorporating tom hits into his cymbal rolling.
14:30 The lines Trey plays here are some of the most delicately chosen and played phrases I’ve ever heard from him. Page is on the grand piano at this point, and his accompaniment is beautiful.
15:10 Page takes over here shortly and plays a melody, and then switches to playing chords. Mike plays a couple short melodic phrases, and Trey comes back in with a melody.
15:30 A new theme has begun to develop with Mike as a driving force moving the jam forward.
15:45 Trey and Page play short phrases with few notes as Mike and Fishman fill the space beautifully, and the music becomes more powerful. Fishman is playing very well at this point, allowing the music to flow freely while also providing an interesting rhythm.
16:00 Trey’s melodies become more complex at this point, very pretty and well thought out. The music continues to rise in power.
16:45 Trey lands on a note and lets Page take over. Page plays ascending chords while Trey accompanies with the root note of the mode.
17:10 Page lands on a chord and stops ascending. Trey begins to accompany with upper range chords now.
17:50 Page starts these pretty arpeggiated phrases. Trey, rather than play along with this exactly, comes in with a short phrase that creates tension. Page immediately catches on and begins to ascend and stray from the Bb mixolydian scale that they are playing in. Trey does the same, but at different intervals. Their playing here creates some interesting tension before settling back into the Bb mixolydian.
18:10 Trey and Page trade melodies for a bit and then at…
18:30 Page plays three ascending chords and Fishman complements with four quarter note triplets on the toms which opens the music up immensely. Page plays a descending arpeggio and right as it seems he’s about to resolve, Trey comes in with a melody over-top that creates tension. Page accompanies this shortly and the resolves to a major chord.
18:55 Trey joins Page and develops a short line that he forms melodies around for a bit.
19:35 Trey begins to open the sound by playing some minor key runs. Page hears and starts varying his playing and begins ascending with chords. Trey and Page create tension while ascending and then resolve.
20:30 Page repeats a cool line twice and then Trey begins scratching.
21:05 Very percussive music as Fishman begins to take over and lay into the snare. Trey and Fishman are playing off each other and making very cool noise. Fishman fades a bit.
22:30 Fishman begins to take over again with chaotic playing. Page is making dark sounds along with Trey and Mike letting his notes sustain.
24:00 Trey is trilling and Fishman lays into the bell of a cymbal. He comes back on the drums and the music begins to peter out as everybody makes a few individual runs. The music further fades and a familiar scratch begins…
28:20 The energy here is great after a well executed drop in. Trey descends into a nice funky riff and stays for a while.
28:40 Mike plays an ascending phrase that moves the jam in a lighter direction, and Trey follows with trilling that opens up the music. Page fills in the space with some funky clav action.
29:00 Fuuuuuuuuunk. Trey lays into a sweeeet chord and rhythm here and Page fills in with clavinet.
29:20 Trey transitions to playing lead, he and Mike are each playing long phrases that intertwine and move beautifully.
30:00 The music is meandering a bit, but in the very best way. Interesting melodic lines and involved accompaniment from Mike.
30:10 Mike plays this descending line that Trey mimics immediately. One of those short moments where I have to pause and just think about how impressive the music I just heard was. It’s amazing how quickly Trey latches on and figures out what Mike was playing.
30:20 Page has moved to playing chords and is using a very smooth sound, which adds a consistent layer of sound to the music. Trey holds a note and then Mike comes in with a very cool bluesy riff that keeps the jam moving.
30:50 The band is looking for a direction now. Fish and Trey are laying down a solid base to play with. Page starts playing and Trey joins in. Their playing is flowing and weaving in and out of each other.
31:10 Not much to say here, just wanted to point out how cool Fishman’s beat is right now.
31:45 Trey starts trilling. Page soon joins in with similar playing. Beautiful music here.
32:40 Trey breaks away from trilling and begins building a peak by playing chords. The rest of the band fills in space behind.
33:15 Page is on grand piano now which brings the jam into an entirely new level. Once again, absolutely beautiful playing. Trey plays a line right here that he revisits multiple times in the following couple minutes.
34:40 Trey starts playing more notes here creating a great, very uplifting sound. Page is playing a chord repeatedly here and power is building.
35:20 Release. Trey plays very pretty lines here and Page varies his chords.
35:50 The peak is peaking! Trey is playing three rising notes over and over again and the music swells with power. Beautiful and tight playing.
36:45 Trey starts playing a C-D chord progression. Page follows and starts varying his playing and throwing in atonal notes. Trey follows and the jam dissipates into a very odd and dark segment.
37:40 Fishman starts quoting “Roggae,” very cool stuff. The music crumbles from here and Trey comes in with Limb by Limb chords.
Set two's opening trio, which constitutes well over half the length of the set, is as good a jam sequence as you will find in 2012. I have not heard a more blissful jam than this Rock and Roll. It's not necessarily the most ambient (Fukuoka set II), patient (half the jams from Cypress), or minimalistic (also Fukuoka set II), but I'll be damned if there is a jam that features more empathetic and beautiful playing from Trey and Page. There's a solid 10+ minutes in the middle of this jam where Trey and Page just play these absolutely gorgeous melodies back and forth over a superb foundation laid down by Mike and Fish. After that it dissolves into five minutes of awesome and eery space.
Following Rock and Roll is one of my three favorite 3.0 Ghosts (along with MSG '10 and Albany '09). While I wouldn't call the transition from the Rock and Roll jam into Ghost a segue, the two songs fit together perfectly, like two puzzle pieces. The Rock and Roll jam delicately fades out and Trey delicately starts chunking Ghost, it's absolutely superb. The jam itself is great and the ending features some sick playing from Fish. The Limb to follow foreshadows the hose that would go down in St. Louis 13 days later. This Limb isn't anywhere near as good as the St. Louis version, but it is way better than average and has a different energy than most. The beginning of jams of these two versions actually sound quite similar. The rest of the set is gravy. A very well played Guyute, a great Hood, and a rockin' closer. It would be unreasonable to ask for more.
This is must hear Phish.
Now on to the second set. Anytime Phish launches into RnR, it feels special to me. Maybe because the last RnR that I saw was the Gorge (8/5/11), but I had a feeling from the start that this could be something big. About 10 minutes into RnR and things start to get groovy. What makes this RnR special to me is that the band really puts themselves out there and experiments with new sounds and grooves. They took a lot of chances, and it paid off. Experiencing this live was unbelievable. Anytime it seemed like they might be tapering off and about to launch into a new song, they just turned a musical corner and continued into new space with the jam. They explored so many different melodies and kept adding layers to an already astounding jam.
When RnR finally wrapped up after 25 minutes of near-perfect ambient-style jamming and dropped into Ghost, I nearly lost my sh*t. It was the perfect song to continue the groove. I thoroughly enjoyed the Ghost, and when LxL came, I thought it was the most perfect placement for a LxL. Guyute always gets me going; there's something about the composed pieces of music that I absolutely love. This Guyute was executed quite well, and I think it adds a lot of energy to the set.
Dirt. If there had to be a slow song in this set, Dirt is definitely it. I couldn't have asked for a more appropriate slow song to cool it off for a few minutes before that Hood. I actually remember saying, "Are they gonna play a slow song?? I need to stop dancing so hard." Dirt will always work for me, it's a pretty song and I enjoy the message it sends. Closing the set with Hood>GTBT...I don't think I need to say anything else.
Probably one of the best second sets of 3.0. It will definitely get compared to the Crosseyed sandwich from 8/19/12 and that whole second set, but as I re-listen to this show, I'm slowing moving it closer to the top of my list. There seems to be a real FLOW in this set that perhaps wasn't totally in the 8/19 second set..either way, both pieces of music are outstanding and worth a listen. I like the Julius encore, getting the phans ready to rage for 3 nights in SF. Rock on people!
The first set was above average with excellent versions of Gin and Quinn.
The second set reached a level I haven't witnessed since Pine Knob last summer.
From start to finish this is arguably a more complete performance than Pine Knob and superior to San Francisco night three.
The second set had an uninterrupted flow from start to finish. I consider it one piece of music rather than seven songs.
It is the reason I keep coming back for more.
phenomenal type-2 jamming, with a full breakdown to near-silence, a raging build-up to a sonic space COMPLETELY DIFFERENT than your typical Hood peak, and then... perfect slam into the old-school Hood ending chords, with a little extra energy to boot.
first listened while driving through the Rocky Mountains west of Denver, and you better believe i had the most ridiculous shiz-eating grin on my face the whole time. listen and be amazed!
I'd be as happy as a pig in dirt
Played seven times in phistory
played 1 in 51 shows since its debut
That right there qualifies for bustout status
Now, granted they have played the song twice this summer, once in 2010 and once in 2009, one might be able to make an argument for perennial.
But it is still a bustout song and great to hear! Thank you Phish!
How about perennial bustout?
I finally realized the meaning.
From this time forth, Phish are going to be so great on a consistent basis that you do not have enough storage on your computer or even in the hours of your life to hear it all. If you thought the past was great, get a load of what's likely to come next!
They're promoting Hampton '97 with long jams this year, and the jams are incredibly meaningful again and again. Hell, there's that moment Mike Gordon had where the compositions and jams blended into perfect balance and he had something like a religious experience. Now we get this chapter of Phish that conveys that feeling in a way I can appreciate.
I'm listening for the first time, and I'm at the first spacey turn of the jam, and it's really questing and gorgeous. I love Phish 2012!
Check out this Gin: I'm hearing some "Tequila" teases from Page (and Mike joins in) beginning at 3:59...and then this jam wastes no time. Trey stays within the theme and even quotes it over the next couple of minutes, but Fishman quickly tightens up the beat and leans into the high-hat a little more, and the rest of them follow into an aggressive tear through the next portion. Trey gives us some of his classic tremolo that usually signals the end--but then we get another build up (ending with some great, really uncharacteristic improv!!!) which carries over into the very last run-through of the phrase before returning to the jam. In these last few moments before the theme returns, the bass is especially stunning!! This Gin is one of the best examples of collective (i.e., not "Trey-led" or "DoMIKEnated") jamming I've seen from this band.
We finally got one! You could feel it through out the night that everyone could feel the energy.
From beginning to end the best socal show I've ever seen! Sucks that I have to likely wait another year to see my favorite group of musicians...
My buddies were a little disappointed with the second set, but I really dug the jams after the high-energy first set. RnR was a great way to kick things off, and then they settled into a really groovy Ghost. Limb also surprised me, pleasantly, and meshed well with the Guyute follow-up. Dirt for some people isn't what they want to hear live, but I love that song and I was happy to see it, especially in that part of the show. Of course, as with Cool It Down, we were just getting a break before a nasty, funktastic Hood and a solid GTBT closer.
It's my first review, so I don't want to create a rep as a whiner. I'm not one of those people as I think you see above. But I have to say that the Julius encore was a bit of a downer, if only because I've literally heard Julius live more than any other song. It's fun, it was a fun encore, don't get me wrong. Maybe they just know I'm in the house and think I love Julius I guess I should appreciate the awesome show instead of saying I wished they would have given us a second song or a YEM encore, right?
Seriously, this show rocked in a big way. I'm glad to be here with what seems like a really good group of fans.
Bustout-Cool it Down
Fast and Ferocious-KDF
Bustout (at least a rarity)-Dirt
Extended Jam-Rock N' Roll>Ghost
Fast and Ferocious-Good Times Bad Times
2.0 Flashback (Trey's tone)-Hood
I know everyone's raving over the Rock n' Roll > Ghost, and so will I! Holy balls, what an experience. The longest, most delicate and amazing space jam I've ever heard live, and one of my favorites ever. Who would have guessed it would have come out of Rock n' Roll? NO ONE! Brilliant. Ghost was equally trance inducing and was the first I had seen live. Wouldn't trade it for the world.
Basically, the entire second set was pure fire. I can't recommend hearing it enough.
BUT THE FIRST SET WAS GREAT TOO! Kill Devil Falls, Guelah, Stash, a Cool It Down bust-out and Quinn The Eskimo all were phenomenal. The band was locked in the whole time. CHECK THIS SHOW OUT!
NOT Rock and Roll > Ghost.
That was NOT a segue.