Weekapaug included an In-A-Gadda-Da-Vida tease. The tease may have been homage to Iron Butterfly guitarist Erik Braunn, who passed away two days before.
Noteworthy Jams
Teases
In-A-Gadda-Da-Vida tease in Weekapaug Groove
Debut Years (Average: 1992)

This show was part of the "2003 Summer Tour"

Show Reviews

, attached to 2003-07-31

Review by Anonymous

(Published in the second edition of The Phish Companion...)

The next night, I felt the need to give back. I knew I couldn't find that man who gave me the miracle; I didn't want to. But I had to give back to the community. So I bought an extra ticket at face value and looked around for someone with his/her finger in the air, someone that looked like they needed this ticket, and they needed it for free.
I chose a girl in her early thirties, late twenties. I handed her the ticket, and she gave me a huge hug, extremely excited about her miracle. That day, I was wearing a “Harry Hood” shirt, and upon seeing this she started to flip out.
"I can't believe you're wearing a ‘Harry Hood’ shirt!" she screamed. She explained that she was from out West. She was doing the entire tour and has not been to the Philly/Camden area since Winter 1999. The last time she was here was for Phish's two-night stay at the Spectrum (12/10-11/99). I told her that I personally couldn't make it to the 10th, but I was at the 11th. This fact seemed to blow her away even more. After the show on the 10th, she continued to explain, she got a call from her Mom back West. Her father had passed away that night. His name was Harry. The next night marked the first “Harry Hood” opener since 1985 (10/30/85 at Hunt's), which was the first time the song was played. She felt like they opened the show with that just for her. She had not returned to the Philly area since then, and when she finally did, she is given a miracle from a kid in a “Harry Hood” shirt. We both stood there, stunned. Having such a strong connection to a person within five minutes of meeting her was overwhelming - and also what Phish is all about.
The show rocked, to put it simply. A classic setlist, with no huge surprises (although “Moma Dance” is always exciting). Still, every song was simply pumping. A sick way to end the tour and ready us for IT. And of course, they closed the second set with “Harry Hood”.
I can only wonder if she made it to the Boston anniversary show...
, attached to 2003-07-31

Review by waxbanks

waxbanks As usual for Phish in summer, the second set under the stars easily overtakes the sing-songy sunset opener. And what a set! The XXL Piper opener dissolves into a beautiful ambient interlude before a filthy improvised segue into Mike's Song (which is appropriately raunchy). Weekapaug zips along per usual until the closing lyrics, but the band skips the final vocal line and keeps the rhythm going for a few minutes. Fishman drops some half-time nastiness on the assembly and we get yet another muted-scratching segue into Free. (Why doesn't Trey segue into the song's opening riff anymore? These rhythmic segues get boring when you're, y'know, an obsessive live recording collector...)

Free > Friday, blah blah blah, but the stretched-out Hood takes this show over the top. This version starts to head out into rock-riffing territory like the infamous 7/25 performance, but around 14:00 in (and far from the home key if I remember correctly), Trey tilts from straight-up rock to some eerie iii-I changes, and things get quietly spooky. Mike starts in with some sympathetic upper-register ostinato action, Page throws in some space-age keyboard textures, and we're in an intense musical zone halfway between Hood's standard major-chord lilt and the zonked-out uptempo haze of so many other summer 2003 jams. If (like me) you came to Phish fandom via the Hood from 'A Live One,' the ensuing build and lighthearted return to the standard Hood progression will seem like the logical extension of what you've long known and loved. Good as the other second-set tunes are, the Hood is the thing to write home about.
, attached to 2003-07-31

Review by whatstheuse324

whatstheuse324 I had an amazing show experience from 7/31/2003 in Camden. My wife and I were staying in a Philly hotel and had the day to kill, so we caught Pirates of the Caribbean in the movie theater before hitting the lot early. We were hanging with friends in the lot closest to the Ben Franklin Bridge for a while before heading in. We had seats for this show, and even though they were three rows from the back, it was still enough to be inside when the skies opened up and poured down rain.

This night seemed like a complete rebound from the previous night. Llama kicked things off and raged out of the gates. Moma Dance quickly took the reins and got funky right away. Moma Dance started blending into an ambient space when the opening chords to Divided Sky chimed in. This was my first Divided Sky, and I had been craving this song at every show I had ever been to. It was and is my favorite song and a pivotal reason that I learned to love Phish in the first place. Anyway, I was in my glory, Divided Sky was EXCELLENT, and Phish could have played a three hour long Brian and Robert to close the show and I still would have been fine. Fortunately for everyone else, this was not the case.

Dirt was a nice and mellow breather from the raging Divided Sky, and a slightly-lengthy Seven Below ensued afterwards. The Sloth was spot-on, Water in the Sky reminded everyone on the lawn that they were no longer dry, Wolfman's Brother soared to type-1 peaks as did Possum to close the set.

Set two opened with a twenty-two minute Piper that trudged along in a dark and mucky groove. Mike's came out of the dark Piper and took the classic approach, segueing into Hydrogen and then Weekapaug. The transition from Weekapaug to Free was obvious in the moment and signaled that the band wasn't pulling out any stops for the rest of the night. Friday was another breather, I don't like to hear Mike sound so sad. Hood was an epic, especially for 2.0. Frankenstein gave us all a little energy for the all night driving most of us were about to endure on our way up to Limestone, Maine for the IT Festival. I loved this show.
, attached to 2003-07-31

Review by FunkyCFunkyDo

FunkyCFunkyDo Interesting how musical moods can change from 24 to 48 hours. Take for instance, conveniently, these last three shows - July 29, 30, and 31. The 29th was everything you could want in a Phish show. Bustouts, long jams, narration, flow - and all played with a pop and tenacity of newly exploded supernovae. It was brilliant; both in construction and execution. Then take a look at the 30th. Dark and brooding. Each song a singularity in and of itself. An introspective psychedelic journey that probably left most in attendance saying, "Am I die?" Then you have the 31st. A near 50/50 combo of the previous two. Allow me to elaborate...

The first set is right up my alley. A rampaging Llama (do llama's rampage normally, maybe frolic, but rampage... ahem, that's neither here nor there, back to the music) ... a rampaging Llama starts the evening off the bold typeface exclamation point. My single favorite opener in Phish's repertoire, this is the *perfect* way to start a show, in my funky opinion. Played with great zeal and gusto, this Llama leaves nothing to be desired. In fact, it's a perfect table setter for the entire set! Moma Dance drips in as soon as Llama closes out and this one follows a similar progression to 7.10.03's. That is to say, after a furious Trey-led guitar explosion, the jam slinks into an organic, Mike-infused deep funk jam. This isn't James Brown funk, no, this is dark funk. Highly danceable, but even moreso trippy. A great combination of attitude and sex appeal. Trey plays textures rather than notes, Mike plays an an engine, rather than a bass, and Page and Fish fill in the tapestry with impeccable space and timing. A near flawless 1-2 opening combo. The jam evaporates into Divided Sky, continuing the perfect flow of the set. The energy levels remain in the red, the needle tilting to plaid, and with one push, off it goes. A fury of notes from Trey turns this Divided Sky jam from ordinary into "Well that was pretty sweet!." A very well-placed Dirt continues the exceptional feel and flow of this set. Heartfelt and empathetic, this Dirt is great release early on in the set. Phish sprinkles in another delightful little jam with Seven Below. Twinkling and tiptoeing, this nimble little Seven Below climbs several peaks in dainty fashion. It is not a smoking hot jam, nor is it boring. It just flutters along with grace and style - a really, really solid first set type 1 jam. Since the Seven Below was lacking a little bit of an edge (not a knock on the jam) Phish decided to pack a punch with The Sloth. Again, the flow of this set is fantastic up to this point. Perfect song selection, perfect disbursement of jams and songs, and very adept playing from compositions to jams. Water in the Sky is the one "Hmmm" choice in the set, but Phish LOVED playing this song in 2003, and generally it features some lightning fast playing from Trey. This one was definitely the weakest version of the year, not really bringing much to the proverbial dinner table (Phish, it's what's for dinner) but undaunted, the band blasts into a standard-great Wolfman's Brother. Nothing mind blowing here, expect that it continues to exceptional energy and flow of the set sans WITS. Groovy grooves, wowy-wahs, and sexy splashing all permeate this hairy beast. As I stated earlier, a fantastic "standard-great" Wolfman's. Speaking of which, as was the norm in 2003, a standard-white-hot Possum closes the set. And I do mean white hot. Possums kind of have lost their luster in the 2009-2016 years, save a few outliers, but 2003 was a year where Possum melted faces EVERY SINGLE. TIME. This one melted my face. Phish should have, at least, a couple volcanoes named after them which how they played Possum in 2003...

So here we are. A really fantastic, bright, flowing, engaging set 1. Just like the 29th, but not quite as "epic." Still following the same pattern of fantastic flow and fantastic energy. Now we are on the eve of the final set before IT.

A Piper opener is promising, especially in the context of 2003. 2003 was a great year for many songs, in some particular order: Bathtub Gin, You Enjoy Myself, Piper, Taste, Possum, Divided Sky, and so on... so when you pull up your playlist and see a "03" next to a "Piper" you know you're about to go on an excursion. However (don't you hate it when I say that? Yeah, me too) this one is, well ... it just kinda drones on. It's not dark and scary and dissonant like the 7.30 show. It's definitely not spritely and motivated like Vegas. It's this quasi spacey, trying-to-find-a-groove-for-20-minute-jam that, for me, doesn't do much of anything. I see the little headphones next to it on the setlist page and I genuinely ask, "Why?" With all the amazing Pipers of 2003, this one, again for me personally, is extremely boring. It comes no where near the deep psychedelic episodes of Shoreline or Atlanta. It doesn't hold a candle to the short but raucous Cinci version. Heck, even the NYE opener has way more bite than this one. Maybe someone saw the length of it and said, "f*** it. Headphones." I digress... as you can tell, I am not a fan of this Piper. But apparently someone is. The jam eventually bleeds out into a standard-dark Mike's Song. This doesn't do anything to up the energy levels, but it doesn't hurt the set either. This Mike's has nothing in particular to write about, so I will leave it at that. Hydrogen is always a treat, ESPECIALLY when Trey hits his notes (he does) and ESPECIALLY when it sets up Weekapaug (it does). Weekapaug itself is two-parter. The first part is standard good Weekapaug. Playful slap-bass intermingling with playful jazzy-drums. A feel-good, fast paced jam gets reeled in at about 9 minutes, including the refrain, and... BUT WAIT, THERE'S MORE! Someone must have been the lucky #9 caller because Trey immediately threw in the BONUS JAM! Woohoo! The bands sprints off on a up-tempo, extremellllllly dancey groove that is the highlight of the set (to this point). It glides along like a warm sea breeze and eventually settles nicely -> Free. This Free is, stop me if you've heard this before, standard-good. Some sultry Mike work adds some flair to this otherwise normalized version. The next song is the worst song ever written. Let us never speak of it again. The second monster Harry Hood comes in next. This version is much more airy than the heavy, almost orchestral version of the 25th (the better of the two IMO). Still, this version is inspiring. It magnificently glides and meanders (in a good way) through musical meadows. It is not as multi-faceted as the 25th, that is to say, the 25th gets deeply type-2, whereas this one you can usually kinda tell it's still Harry Hood, but that is not said with any sort of malice or complaint for this version - it is truly majestic. It also, fortunately, culminates in a huge peak! Very special Phish in this Hood. Frankenstein encore puts a dramatic exclamation-point-of-continuity brought forth with the Llama opener.

So here we are. Summer tour nearly complete, with only Phish's first festival since Cypress looming a mere 2 nights away. This tour was not nearly as consistently-amazeballs as Winter 03, but it if you look past the obvious gems, you will be quite surprised to find the high-quality improvisational exploration of Phish hidden in shows and sets and songs you might have overlooked. I will do a tour breakdown after IT, so buyer beware, this is an everything-must-go sale! Be prepared to listen to songs you may well have written off, and be prepared to find your shopping list devoid of jams (ahem, tonight's Piper) that some folks might say you simply must splurge for.

Must-hear jams: Weekapaug Groove, Harry Hood
Probably-should-listen-to jams: Moma Dance, Seven Below, Wolfman's Brother, Possum, Piper (I guess)
, attached to 2003-07-31

Review by FunkyCFunkyDo

FunkyCFunkyDo Interesting how musical moods can change from 24 to 48 hours. Take for instance, conveniently, these last three shows - July 29, 30, and 31. The 29th was everything you could want in a Phish show. Bustouts, long jams, narration, flow - and all played with a pop and tenacity of newly exploded supernovae. It was brilliant; both in construction and execution. Then take a look at the 30th. Dark and brooding. Each song a singularity in and of itself. An introspective psychedelic journey that probably left most in attendance saying, "Am I die?" Then you have the 31st. A near 50/50 combo of the previous two. Allow me to elaborate...

The first set is right up my alley. A rampaging Llama (do llama's rampage normally, maybe frolic, but rampage... ahem, that's neither here nor there, back to the music) ... a rampaging Llama starts the evening off the bold typeface exclamation point. My single favorite opener in Phish's repertoire, this is the *perfect* way to start a show, in my funky opinion. Played with great zeal and gusto, this Llama leaves nothing to be desired. In fact, it's a perfect table setter for the entire set! Moma Dance drips in as soon as Llama closes out and this one follows a similar progression to 7.10.03's. That is to say, after a furious Trey-led guitar explosion, the jam slinks into an organic, Mike-infused deep funk jam. This isn't James Brown funk, no, this is dark funk. Highly danceable, but even moreso trippy. A great combination of attitude and sex appeal. Trey plays textures rather than notes, Mike plays an an engine, rather than a bass, and Page and Fish fill in the tapestry with impeccable space and timing. A near flawless 1-2 opening combo. The jam evaporates into Divided Sky, continuing the perfect flow of the set. The energy levels remain in the red, the needle tilting to plaid, and with one push, off it goes. A fury of notes from Trey turns this Divided Sky jam from ordinary into "Well that was pretty sweet!." A very well-placed Dirt continues the exceptional feel and flow of this set. Heartfelt and empathetic, this Dirt is great release early on in the set. Phish sprinkles in another delightful little jam with Seven Below. Twinkling and tiptoeing, this nimble little Seven Below climbs several peaks in dainty fashion. It is not a smoking hot jam, nor is it boring. It just flutters along with grace and style - a really, really solid first set type 1 jam. Since the Seven Below was lacking a little bit of an edge (not a knock on the jam) Phish decided to pack a punch with The Sloth. Again, the flow of this set is fantastic up to this point. Perfect song selection, perfect disbursement of jams and songs, and very adept playing from compositions to jams. Water in the Sky is the one "Hmmm" choice in the set, but Phish LOVED playing this song in 2003, and generally it features some lightning fast playing from Trey. This one was definitely the weakest version of the year, not really bringing much to the proverbial dinner table (Phish, it's what's for dinner) but undaunted, the band blasts into a standard-great Wolfman's Brother. Nothing mind blowing here, expect that it continues to exceptional energy and flow of the set sans WITS. Groovy grooves, wowy-wahs, and sexy splashing all permeate this hairy beast. As I stated earlier, a fantastic "standard-great" Wolfman's. Speaking of which, as was the norm in 2003, a standard-white-hot Possum closes the set. And I do mean white hot. Possums kind of have lost their luster in the 2009-2016 years, save a few outliers, but 2003 was a year where Possum melted faces EVERY SINGLE. TIME. This one melted my face. Phish should have, at least, a couple volcanoes named after them which how they played Possum in 2003...

So here we are. A really fantastic, bright, flowing, engaging set 1. Just like the 29th, but not quite as "epic." Still following the same pattern of fantastic flow and fantastic energy. Now we are on the eve of the final set before IT.

A Piper opener is promising, especially in the context of 2003. 2003 was a great year for many songs, in some particular order: Bathtub Gin, You Enjoy Myself, Piper, Taste, Possum, Divided Sky, and so on... so when you pull up your playlist and see a "03" next to a "Piper" you know you're about to go on an excursion. However (don't you hate it when I say that? Yeah, me too) this one is, well ... it just kinda drones on. It's not dark and scary and dissonant like the 7.30 show. It's definitely not spritely and motivated like Vegas. It's this quasi spacey, trying-to-find-a-groove-for-20-minute-jam that, for me, doesn't do much of anything. I see the little headphones next to it on the setlist page and I genuinely ask, "Why?" With all the amazing Pipers of 2003, this one, again for me personally, is extremely boring. It comes no where near the deep psychedelic episodes of Shoreline or Atlanta. It doesn't hold a candle to the short but raucous Cinci version. Heck, even the NYE opener has way more bite than this one. Maybe someone saw the length of it and said, "f*** it. Headphones." I digress... as you can tell, I am not a fan of this Piper. But apparently someone is. The jam eventually bleeds out into a standard-dark Mike's Song. This doesn't do anything to up the energy levels, but it doesn't hurt the set either. This Mike's has nothing in particular to write about, so I will leave it at that. Hydrogen is always a treat, ESPECIALLY when Trey hits his notes (he does) and ESPECIALLY when it sets up Weekapaug (it does). Weekapaug itself is two-parter. The first part is standard good Weekapaug. Playful slap-bass intermingling with playful jazzy-drums. A feel-good, fast paced jam gets reeled in at about 9 minutes, including the refrain, and... BUT WAIT, THERE'S MORE! Someone must have been the lucky #9 caller because Trey immediately threw in the BONUS JAM! Woohoo! The bands sprints off on a up-tempo, extremellllllly dancey groove that is the highlight of the set (to this point). It glides along like a warm sea breeze and eventually settles nicely -> Free. This Free is, stop me if you've heard this before, standard-good. Some sultry Mike work adds some flair to this otherwise normalized version. The next song is the worst song ever written. Let us never speak of it again. The second monster Harry Hood comes in next. This version is much more airy than the heavy, almost orchestral version of the 25th (the better of the two IMO). Still, this version is inspiring. It magnificently glides and meanders (in a good way) through musical meadows. It is not as multi-faceted as the 25th, that is to say, the 25th gets deeply type-2, whereas this one you can usually kinda tell it's still Harry Hood, but that is not said with any sort of malice or complaint for this version - it is truly majestic. It also, fortunately, culminates in a huge peak! Very special Phish in this Hood. Frankenstein encore puts a dramatic exclamation-point-of-continuity brought forth with the Llama opener.

So here we are. Summer tour nearly complete, with only Phish's first festival since Cypress looming a mere 2 nights away. This tour was not nearly as consistently-amazeballs as Winter 03, but it if you look past the obvious gems, you will be quite surprised to find the high-quality improvisational exploration of Phish hidden in shows and sets and songs you might have overlooked. I will do a tour breakdown after IT, so buyer beware, this is an everything-must-go sale! Be prepared to listen to songs you may well have written off, and be prepared to find your shopping list devoid of jams (ahem, tonight's Piper) that some folks might say you simply must splurge for.

Must-hear jams: Weekapaug Groove, Harry Hood
Probably-should-listen-to jams: Moma Dance, Seven Below, Wolfman's Brother, Possum, Piper (I guess)
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Fun with Setlists

December 09, 1997
19 years ago
Bryce Jordan Center, Penn State University

Set 1: Mike's Song > Chalk Dust Torture, My Soul, Stash > I Am Hydrogen > Weekapaug Groove, Dogs Stole Things, Beauty of My Dreams, Horn > Loving Cup

Set 2: Julius > Simple -> Timber (Jerry) > Contact, Axilla > Harry Hood[1]

Encore: Fire

[1] Brief return to the Axilla theme.

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