As we promised several months ago, this is the second installment of a contest to win a pair of tickets to Mike's Friday January 29th show at the Fonda Theatre in Los Angeles, courtesy of the promoter, Goldenvoice.

Like the first, perhaps too easy contest which was quickly solved and might have had too many clues within the question, the question is about Mike's non-musical artistic endeavors, this time, about the opening reception of a gallery exhibition of colored acrylic scupltures Mike did in collaboration with his mother who is an artist and sculptor. Here are the questions, answer in the comments below, first correct answer wins (or closest if no totally correct answers in the decision of the judges):

1. Explain what is going on here.

2. Approximately when (month, year) and where (place) was this photo taken?

3. What eponymous artwork related to Phish is Mike's mother also known for?

A larger version of this image can be seen at http://i.imgur.com/1wEXtWxh.jpg

[Editor's Note: We'd like to welcome phish.net contributor Craig Hillwig for this recap of 1/17/16 Phish @ Riviera Maya. -Read more...

Welcome to the 207th edition of Phish.Net's Mystery Jam Monday. Pete is away this week visiting the inlaws in Mexico, but unfortunately for him, he's in the wrong region of Mexico to catch any of the Phish action there. Anyway, he asked me to step in for him this week - big shoes to fill, but I'll give it a spin, and here we go. The winner will receive an MP3 code good for a free download of any show, courtesy of our friends at LivePhish.com / Nugs.Net. To win, be the first person to identify the song and date of the mystery jam clip. Each person gets one guess per day, with the second “day” starting after I post the hint. A hint will be posted on Tuesday if necessary, with the answer to follow on Wednesday.

Answer: Congratulations to @schvice for correctly identifying the 8/21/93 Runaway Jim, his third MJM victory. To his credit, @schvice pegged the unusual (or wacky) nature of the jamming as belonging to 1993, particularly August '93, and began digging from there. I have newfound respect for @ucpete and the challenge he faces each week trying to stump you guys! Fortunately for you, Pete will be back next Monday with MJM 208, and being the competitive guy he is, he's not going to tolerate the blog getting trounced week in and week out forever. So hopefully he'll spin you a real zinger. Good luck and thanks to all for participating.

[Editor's Note: We'd like to welcome one of our longstanding .net users, Robert Fisher, for this recap of 1/16/16 Phish @ Riviera Maya. -PZ]

Bienvenidos from Mexico!! I have bruises running up and down my arm reflecting the number of times I’ve pinched myself to assure that I’m not dreaming. Phish. In Mexico. On the beach. Surrounded by close friends. This is literally a dream come true. Either that or I’ve died and gone to Phish Heaven. Last year my wife and I came down for Strings & Sol, which was at the time one of the best musical experiences of my life. One of the first things I said to my wife after we settled in was, “Can you imagine what it would be like if Phish did this?!?” In my wildest imagination, I never thought it would happen. But we’re here. It’s not everyday that one can frolic in the turquoise waves in the shadow of Mayan ruins and a few hours later, walk down the beach to see a Phish show.

Typically the purpose of these recaps is to provide an immediate post-show view of the music, both its highlights and low points, allowing those not in attendance a chance to read about what they missed. 95% of the recaps focus on the music alone, with the occasional commentary reserved for the set and setting, or the crowd energy, or the vibe. But these shows are different in that respect. I was asked to recap this show, not because of the number of shows I’ve seen, or my musical background, or my extensive experience reviewing musical performances. No, it’s largely because I’m here, on the ground, in a position to share with people what it’s like to be here, on the beach seeing Phish in Mexico. These Riviera Maya resort shows account for a mere .0016% of all Phish shows, and the setting and vibe take on far more importance than usual.

Photo © @Phish_FTR

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By Noah Cole (@col_forbin)

So. Much. Anticipation. Phish’s first tropical destination show, the first all-inclusive Phish experience, the first show in Mexico. What would the band have in store to welcome 5000 of their friends to the Mayan Rivera?

Like most Phish experiences, the lead up to the event can be all-consuming with planning and questions – especially when nobody really knows what to expect for a first time event. The discussion on Facebook groups dedicated to connecting the thousands of fans following the lines going south rose to a fever pitch in the days before, as feeds were filled with selfies from smiling faces on flights from every possible point to Cancun. As people landed in the Cancun airport, they were whisked away on charter buses to one of six resorts – two at the host, Barcelo Maya Beach, and four in the surrounding towns.


Photo © Noah Cole

Photo by Rene Huemer © Phish From the Road

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You asked, they delivered.

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Welcome to the 206th edition of Phish.Net's Mystery Jam Monday. This week, we have a daily double edition, and we'll be giving away two prizes for two different puzzles. Each winner will receive an MP3 code good for a free download of any show, courtesy of our friends at LivePhish.com / Nugs.Net. To win the first prize, be the first person to identify the song and date of the first part ​(i.e., the first 30 seconds) of the mystery jam clip. To win the second prize, be the first person to identify each of the 14 song titles in the clip -- you do not need to identify the dates of each of the 14 clips to win the second prize. A push in the right direction for the megaclip: each song is a Phish original, though most are rarities (and one has never been played live). Each person gets one guess per day per puzzle, with the second “day” starting after I post the hint. A hint will be posted on Tuesday if necessary, with the answers to follow on Wednesday.

Technical note: Like MJM200, on some devices, the longer track skips back to the beggining a minute or two in. Use the Souncloud link for more reliable playback if you can't hear all 14 clips.

Answers: The Blog bites the dust again -- twice, on two touchdowns (and PATs) worth of clips! Congratulations to @justino, who in 9 minutes (mere seconds before @P0opyw0opy) managed to identify the 8/6/10 Simple from the Greek Theatre in Berkeley, CA. In doing so, he takes home a download code good at LivePhish.com. And congratulations to bust-out maestro @obliviousfool17 who was neither oblivious nor foolish in figuring out the song titles for 14 clips of Phish originals going back 30 years; he (w)ent to the b(l)og and got himself a LivePhish.com download code too. For those on the quest, I'm guessing you know by now that most MJMs spell something, but if not, you can view all 14 answers in a row in the MJM Results spreadsheet below. I'm off next week, but in my stead will be a special guest and colleague of mine from the Jam Charts Team, who has sat back and watched me fail to stump you repeatedly, so he's ready to pick up the slack. MJM 3.0: keeps it rollin'!

Welcome to the 205th edition of Phish.Net's Mystery Jam Monday, and first of 2016. The winner will receive an MP3 code good for a free download of any show, courtesy of our friends at LivePhish.com / Nugs.Net. To win, be the first person to identify the song and date of the mystery jam clip. Each person gets one guess per day, with the second “day” starting after I post the hint. A hint will be posted on Tuesday if necessary, with the answer to follow on Wednesday. Happy New Year!

Tuesday Update: No hint needed, it's been identified.

Answer: Congrats to now four-time winner @WayIFeel, who by identifying the 7/20/13 Light from Northerly Island, Chicago, wins an MP3 code good for the download of an entire show from LivePhish.com. There seems to have been some confusion about the MJM prize, so let me reiterate that folks can use their winning codes to download any single show from the LivePhish.com archives. Stay tuned for next week's MMMJM, where we'll get both meta- and multi- with our clips.

“What’s up, 2016 Phish?

“It was a pleasure making your mellow, care-free acquaintance last night.

“You may be able to tell by the fact that I shaved my face and put on my Important Show Sneaks With Funky-Assed Day-Glo Laces that I am looking forward to getting to know you a little better tonight, baby. Please feel free to let your hair down and do the whole Garden thing you do. I’ll be stuck to you the whole time. Like groundscore on your shoe.

“Requests? De moi? Wouldn’t dream of it. Play what you want, but by all means feel free to add some nutmeg and other spice to the “Tweezer” cider you’ve got brewing. Some like it hot, you know what I’m sayin’?

“What’s that, you ask? Why, of course you can dim the lights.”

Photo © @Phish_FTR

The final act of this MSG holiday run boots up with what almost feels like a tease of “Your Pet Cat,” versus a performance. It’s gotten shorter than “Tube” way faster than it took “Tube” to get as short as “Tube” is. Actual statistics may or may not bear me out.

“AC/DC Bag” slips into the two slot at what can only be described as a Weir-esque tempo. Message: the quartet from Vermont is going to storm the castle on their own time tonight. Page swings it out on the grand for a few measures, then Kuroda’s HAL 9000 Sentient Wizard Pod sends lighted signals that instruct Trey when to start the climactic trilling. He obeys. He must.

The song... is over.

Gently, Trey begins chording “NICU” on his Ocelot Languedoc (sometimes called “OcelDoc” by rig-nerds and collector types who are so busy buffing pickups that they can’t spare three syllables). “NICU” does not go very well, I’m afraid, possibly owing to the not-having-rehearsed-the-song-at-all thing, or, like, other factors. When properly cared for, this song can propel a set forward and rarely even birth lovely wee jamlets (see: 10/30/98 II). When it’s being crossed off a to-do list, it tends to underachieve.

Photo © @hersch

That makes the selection of “It’s Ice” all the more mysterious. If the relatively elementary changes in “NICU” defy mastery, why dig a deeper hole? Yes, we are sensing a pattern here.

But now, what is this? A “Divided Sky” through yonder window breaks, and despite some missteps, it’s almost as if the Pause in “Divided” is the reset button on this flagging set. The band collectively breathes out the old and breathes in the new, and the music between this moment and the set break is infused with an extra measure of the good stuff.

After a powerful conclusion to “Divided,” a muscular “Axilla” sets the table for “Maze.” While it always has potential to light fire to the building, this “Maze” keeps the pot at a rolling simmer, with the highlight of the song once again arriving before the final peak as Trey transforms into a comp player and serves his Chairman dutifully through the organ run with slashing, atonal chords.

“Train Song” marks yet another brief retreat into precious atmospherics, but a deliberate “Julius” punctuates this mostly-wobbly first set with some legit emphasis.

Onto the second, where “Tweezer” is not a question of “if” but “when.” That question is answered promptly – “Tweezer” is NOW.

Through the composed section of this “Tweezer,” my legs withstand beatings from flailing children dancing their little bottoms off, careening here-then-there-then-here. Mike and Page share some lewd instrumental pillow talk during the pre-Ebeneezer funk breakdown, and we are propelled forth into the jam at warp speed.

Photo © Jake Silco

Trey’s hot take is at first quite staccato, leaping from eighth note to eighth note with barely a touch to each string as Mike weaves a bed of luxurious, sustained tones behind him. Both players are pulling the other two behind them, creating an undercurrent of tension as they try to force their way to escape velocity. Fishman, demigod that he may be, can only hold back so long before the floodgates finally burst, and Trey gushes forth with a deeply satisfying blitzkrieg of pentatonic goodness.

There’s another virtual huddle, then a transitional passage with Page in the lead on clav, and finally a frenzied conversation in octaves that precipitates a shift to the major. The first measures of this blissout sound like the Big Cypress Sand jam on 78 rpm, and it’s apparent by now that this “Tweezer” is playing for the win. The band effortlessly moves from a 3-chord major key meditation to monochromatic and then back again, and then once again into blues rock territory, where they craft another peak of sorts with a stop-start jam.

As a bona fide sucker for the breakdown, I wish this could go on longer, but we have other places to go yet! A climbing four-pack of chords generates a jam somewhat akin to “Tweeprise” for a minute or so before “Sand” announces itself. At first and second blush, this is a truly spectacular, must-hear “Tweezer” that for my money may be the jam of the holiday run. Finger-licking great.

“Sand,” while mostly straightforward, is “Tweezer’s” note-perfect disco chaser, and deliciously funky. Just before the 8 minute mark, it is apparent that Mike wants to take this one out there, but Trey ain’t having it. He ties a proper bow on Sand in another minute or two, and introduces “Limb By Limb.” This “Limb” and the “Suzy Greenberg” that follow it don’t pretend to go anyplace special – they’re just solid readings of tried and true utility tunes that glide home easily on the froth and foam of the “Tweezer -> Sand” segment.

The fourth quarter is anchored capably by “Harry Hood” and “You Enjoy Myself,” both of which you can see coming around the corner. Mike assumes a commanding role in the early moments of this “Hood” jam while Fishman dances across his snare. Page moves to his Rhodes, suggesting a moodier direction, and the band slides agreeably into the minor, where they map their rapid ascent. Trey makes something of a tactical blunder in moving to his Whammy for some whale-calls, though, and this takes the wind out of the sails as “Hood” rather clunks to its unremarkable end.

Photo © @Phish_FTR

[Curfew is a factor at this point, in fairness, and it seems Trey wants to let the “YEM” breathe. Fair enough.]

And breathe it does! Versions of this song that contain soloing from Trey are now the exception versus the rule, but this one has a pretty good one with lots of greasy wah. Mike and Fish nail the drums-and-bass section, and this is suddenly one of my favorite straightforward “YEMs” in quite a while.

“Lizards,” as always, is bloody gorgeous, its melodies perfect for conjuring a mood of gratitude. Tonight, in this placement and this setting, it feels like a carol, or a benediction. And the ever-thunderous “Tweezer Reprise” is there to make sure those smiles stay chiseled on our faces as we shuffle back – sated – to Our Normal Lives.

A happy, healthy, and prosperous 2016 to all of you, from all of us here at Phish.net! Nos vemos en Mexico!

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Our next puzzle will have you spinning. All you need, is on the label - though click through, if you're playing, for a higher-quality image.

Concert images (clockwise from bottom left) by Andrew Blackstein (8/23/15 and 10/31/14) and Jake Silco (7/12/14 and 8/23/15) used by permission.

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Nobody throws parties on New Year's Day. Why would you? You probably went pretty hard the night before. Most of your friends probably did too. You have nothing left to drink in the house; you drank all the beverages. Some careless person knocked over the ficus plant. The carpet is fucked. Who is the couple asleep in the bathtub? When you wake up on January 1 you don't want more bright lights and loud music, you want pancakes.

Photo © @UNOlkerPhoto

Phish played Friday night at Madison Square Garden with an understanding of and respect for this dynamic. If you were looking for reasons to think this might not be a high-energy affair, you didn't have to search far. The previous January 1, in Miami, Phish had played the most generic and geriatric show of the entire 2014(-15) touring calendar. Then again, there's a ready counterexample! Their only 1/1 show previous to 2015, wrapping up the odd two-city, five-show run from 2010(-11) was actually pretty good, with an all-beef second set highlighted by a charming "Simple."

Both in terms of energy and overall quality, this show fell in between those two. It didn't explode out of the gate, or explode at all, really. The tempos were slow and swingy from the opening "Stealing Time from the Faulty Plan." The band was loose like a shaggy dog. The jams moved away from aggro rock blare toward the spare and the smooth; especially early on, Trey seemed to be trying to play as few notes as possible. Phish wasn't aspiring to take us on a boundary-demolishing psychedelic magic carpet ride with this performance; they were making pancakes. The audience were the convalescents nursing headaches on the sectional, sipping coffee and/or a Greyhound while watching college football. The band was the one motivated friend in the kitchen, flipping pancakes and frying bacon. The pancakes and bacon were good, guys! Even in the first set, somewhat.

"Undermind" was good! Trey for some reason refused to play the main guitar riff, and his initial solo was a little sleepy, but this is where things got interesting. Instead of hammering to an ending with Fishman's drum fills like a typical first-set version, they went into a Second Jam that eventually resolved into a tease medley. Reminding me of one of those set-closing 1991-93 Bowies, Trey cycled through the riffs of songs already played in the set, "Stash," then "Stealing Time," and finally "How Many People Are You?"

Photo © @Phish_FTR

"Ocelot" was good! It started at a whisper and faded up gradually, tempo again slow and swaggering. Trey's solo—again, not a ton of notes, but his notes were stated with force and commitment and the sequence he played them in made sense.

"Wingsuit" was pretty and nice because that's just how that song is.

"Run Like an Antelope" was good! Page coaxed the band into a fun little major-key modulation early in the jam. Page McConnell was a beast throughout the show, strong left hand, always contributing both musical ideas and energy. This "Antelope" never threatened to get out of control really, but it was masterful and energetic and a good time. Also: more teases.

"How Many People Are You" is a good song! You haters can sit n' rotate on this one. Its generous bpm alone makes it a standout in Phish's army of mid-tempo rock snoozers. Yes, it sounds like Tom Petty, but we're talkin' about the good Tom Petty, from "Refugee" and "Even the Losers" and "Listen to Her Heart," not the lousy Tom Petty from "Free Fallin'" and the Johnny Depp video. This jam could go places if the band ever cares to try.

Photo © @hersch

The second set didn't reach the heights of the first two nights of this run. There was no challenging, moody "Chalk Dust," no balls-out insane "Twist," no ecstatic hose spraying the assembled masses with "Bathtub Gin." Truth be told, even the secondary highlights from the first two nights—I'm thinking the "What's the Use?" interjection in Wednesday's "Weekapaug" or last night's excellent but instantly overshadowed "Kill Devil Falls"—surpassed anything from show #3, with one possible exception (more on that in a minute).

That said, the money set was still basically good value. "Down with Disease" is hard to resist, a familiar and trusted friend, still batting cleanup after all these years. The jam out of "Disease," as least initially, was as raucous as usual, but the band got all night, and after about 10 minutes they let some air into the room. Mike, who had seemed a little disengaged during the first set, came alive to provide the jam its glorious closing moments. Trey disagreed and downshifted into "Dirt." By this point the band seemed warmed up, finally. Trey's first-set struggles—missing sixteenth-notes in "Stash" and doing even worse to poor "Rift," which should be retired—resurfaced only in the bridge to a shreddy and stomping "Theme from the Bottom," which suffered its usual fate.

The final quarter of the show was the best one. If MSG3 has a contender for year-end playlists, it's this "Light." Trey stayed away from the pitch shifter, avoiding the dissonant harmonics he often uses as a springboard at the start of the "Light" jam. Instead, Page took the wheel, left hand rumbling, setting the pace and flirting repeatedly with the "Linus and Lucy" riff, leaving Trey no choice but to defer. The key moment comes around 7 minutes in, when Fish locks into a "Manteca" style shuffle, which carries the band for almost the entire remainder of this jam. Trey alternates between defining parameters with chords and exploring them with notes; Page shifts to the Rhodes and things get a little moodier; Mike emerges once again from his sarcophagus, temporarily. If you want a warning that the jam is about to peak and go nuts, listen for Trey's "Manteca" quote, then hold onto your hat. Certainly the highlight of this show, this version of "Light" is absolutely worth hearing by any standard, if you haven't already, which I suspect you have.

Photo © @Phish_FTR

As the jam dwindles, Page's piano seems to signal "Wading in the Velvet Sea," but that's still on the table for you guys tomorrow night. Instead we get "Fuego," which narrowly beat the 11-minute over/under thanks to a playful stop-tempo sludge-rock coda, and then a perfectly serviceable "Slave" closer. The stand-alone "Farmhouse" encore is one final reminder that this ain't last call at the party or disco, it's one last splash of champagne in your glass at a quiet New Year's Day pancake breakfast, and you don't have to do anything afterward except tuck yourself into bed. One thing's for sure, though: Saturday night will rage.

*****

DAN'S KULINARY KORNER: Basic pork ragu

I don't have a pancake recipe. We eat waffles in this house, and the waffle recipe is proprietary.

Preheat the oven to 325 degrees. Season a 2 lb (more or less) hunk of pork shoulder heavily on all sides with salt and pepper. Melt 2 T olive oil and 2 T butter in a dutch oven, then brown the pork shoulder on all sides over high heat, about 2 or 2 1/2 minutes per side. Remove pork shoulder from the pot and set it aside for a bit.

Add 1 medium yellow or Spanish onion, chopped, to the dutch oven. Reduce heat to medium-low and saute for 2 minutes or so, or longer if you want more caramelization. Just be careful not to burn them; you can always reduce the heat or stir. Add 2 cloves garlic, minced, and saute the garlic with the onion for a minute or so.

Then add back the browned pork shoulder, along with 1 can (26 oz.) San Marzano tomatoes, 1 cup red wine, 1 small handful fennel seed, 5 sprigs thyme, 5 sprigs oregano and/or sage, and 1-2 T hot sauce (sriracha or Tabasco or Crystal or whatever). Bring to a boil, then put into the oven for 4 hours, flipping the pork shoulder every hour and checking the braising liquid, which should be about 1/3 of the way up the side of the pork shoulder. If you need more braising liquid, you can use red wine, tomato sauce, water, or some combination of those liquids.

When the pork shoulder is cooked, remove it from the dutch oven, take off the string tying the shoulder together (if there is one), and shred the meat. If you prefer a smoother texture (I do), strain the braising liquid to remove any solids, like spent tomato husks. At the very least you should pick out the herb stems, which are not strictly speaking "edible." Then return the shredded pork to the braising liquid.

Personally I think the best way to serve this is the obvious way, with pasta. You take a cup or so of the ragu and heat it at medium-low in a sauce pan. Then you boil some pappardelle in salty water for 2-3 minutes. While the noodles are still a little firm, take them out, then add them to the ragu in the sauce pan. Combine the noodles and the ragu and cook for another 30 seconds to a minute until the noodles are coated. Then put that on a plate, shred a ton of Parmesan or pecorino on it, and eat.

Pork Ragu with Pappardelle

If that sounds like too much trouble, you could also put it on a roll with mayo, lettuce, tomato, pickles, etc., sloppy joe style. Or you could add some fried potatoes or other tubers and turn it into a breakfast hash, topped with a fried egg. Or serve it over cannellini beans with some broccoli rabe or other bitter greens; the sweetness of the ragu should counterbalance any bitterness.

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The coming of a new year has been celebrated for over 4,000 years as a moment to actively look back on the past while marking the arrival of the new. It was in 46 B.C. that Julius Caesar instituted January 1st as the first day of the year, partially as an acknowledgment of the two-faced god Janus, name-sake for January. And in 1528, Pope Gregory XIII made January 1st a religious holiday, solidifying its significance. January 1st. One-one. Essentially, this holiday is the celebration of numbers. How does one keep track of time except through numbers? Another rotation around the sun, the year clicking forward like the slow turn of an odometer. We celebrate making it through the past 365 days and welcome the next set.

Photo © @Phish_FTR

And we Phish fans are fascinated by numbers. Show dates. The number of shows seen. Gaps between times-played. The length of songs as a measuring stick. Types I and II. 1.0/2.0/3.0. Wrapping the two together, Phish concerts begun the 31st of December have always been moments of joy and spectacle. Big Cypress. The 1995 Mike’s Groove Time Factory. 1993 and the “Down With Disease Jam.” Of course, balloons were hung from the ceiling. The one additional element was an inverted cone, or funnel, suspended over the soundboard area. What was in store for 2015?

Last night marked the thirty-third time Phish played Madison Square Garden, the twentieth New Year's Eve show, and the ninth such show played at “The World’s Most Famous Arena.” And the tenth time “The Moma Dance” opened a show. The slow, loping funk of “Moma” was followed by the bounciness of “Possum,” which in turn lead to the funk of “Wolfman’s Brother.” “Wolfman’s,” while not extended, seemed to exhibit just a bit of gusto. After some pause and conversation, the band decided on a standard “Birds of a Feather.”

Photo © @Phish_FTR

A celebration of the Fishman family was to follow, with “The Man Mulcahy” demonstrating his vacuum skills on “I Didn’t Know.” Then at the request of Fishman, the crowd (and band) sang an arena-filling “Happy Birthday to You” to his daughter Ella for her 14th birthday, celebrated the day before.

“Martian Monster” was followed by standard-great version of “Reba.” Trey made it through the fugue-like middle section relatively unscathed to deliver on the “Reba” jam that some fans have compared to oxygen — hard to live without. This would mark the first of many moments throughout the evening when Trey faced skyward toward the balloons hanging with anticipation, channeling the “hose.”

Photo © @hersch

“Walls of the Cave” would close the opening set. (Interestingly, “Walls” has closed a set the last fourteen times it has been played.) As the song built to its rawkus “silent trees”close, the floor of the arena actually began to undulate. With the restrained first section and the energetic second, the song and its structure could be offered as an analog for the show as we would discover.

The second set of the evening began with “The Wedge,” followed by the crowd participatory “Wilson.” “Wilson” then transitioned into “A Song I Heard the Ocean Sing.” With Trey acknowledging the changing of time, “10 years before the mast,” “ASIHTOS” was stretched ever so slightly.

After “Yarmouth Road,” the opening notes of “Kill Devil Falls” reinforced this feel that a standard “first set” had extended deep into the second, and some fans were becoming anxious. A shift needed to occur. Little did we know that this shift would happen in “KDF” — “this time will be different” indeed. The song opened up into the first Type II territory of the evening with Mike dropping bass bombs that made the arena rumble. The jam featured a bit of “plinko” as well as this loose seven-noted repeated riff. Arguably the most exploratory “KDF” since Bonnaroo 2012. The jam dissolves into the opening notes of “Piper,” which was driving and fiery as expected — albeit on the shorter side.

With the successful shift in tenor, the band was free to open things up and the set closing “Twist” would prove to be one of the highlights of 2015 (see 7/24 and 8/12). The jam once again featured Trey staring upwards, reaching for inspiration (or at least to Cream with a couple “Strange Brew” teases). As with “KDF,” Mike would once again lead the charge, dropping meatballs and leading the band on a dark and nasty course that would feature two distinct jams. The last thirty-seven minutes of music certainly lifted everyone’s excitement for what was to come in the third set and the transition into the new year.

Photo © @Phish_FTR

As noted above, the only sign of a “gag” or spectacle was the white shape suspended over an area immediately behind the soundboard. During set break, it was observed that a drum kit was arranged and gear was introduced. It became clear the band would perform beneath the shape. It just wasn’t clear for how long, or what else would happen. Around 20 til midnight, the band took to the floor and began to play the 2015 debut “No Men In No Man’s Land.” (A confident betting man would have put money on that new fan favorite being part of the NYE festivities.) The structure of the song quickly dissolved into what could be described as sounding like a “fourth” or “secret set” — ambient, without specific structure, setting a mood rather than taking us on a journey. And while that was happening, the shape slowly began to lower itself from the ceiling while images were projected against the translucent fabric. After reaching a certain point, another section of fabric dropped from the shape and covered the band, forming an hourglass shape. The projections then began to feature an hourglass with sand marking the passage of time, with various items passing across the surface — flying wings, wolves, blocks. It was reminiscent of Terry Gilliam’s animations.

At some point with only a few minutes before Midnight, the band made a stealthy escape from below the hourglass and situated themselves on the darkened stage — they appear to have pre-recorded a piece of music to play over the PA leading into the countdown (“Thirty, “Twenty,” “Ten . . . “ booming over the speakers), as it did not appear they were performing until the balloons dropped and “Auld Lang Syne” began. A second fan favorite from 2015, the aptly titled “Blaze On” brought us all into 2016. Another highlight of the evening, as the jam freed itself into Type II territory after seven minutes, reaching a gorgeous, buttery peak. Happy New Year indeed!

The “Carini” that followed featured a short, patient section of improv in contrast to the songs darker, chaotic melody. And that section dissolved into a “David Bowie” that once again featured quite a bit of Mike, through a quiet section through a great peak before returning to “Bowie” proper.

Photo © @languagestrange

The obligatory New Year’s “The Horse” into “Silent In the Morning” (played at seven New Year’s Eve shows; “I think that this exact thing happened to me, just last year”) was a nice cool down from the earlier spectacle. The set closing “Backwards Down the Number Line” was almost as obligatory as the preceding “Silent,” with allusions to the past and birthdays, “somewhere between the past and future.”

A pairing of “Tube” and “Cavern” was offered as a feel-good encore. Even short “Tubes” work.

Last evening, twenty-six songs were played over the course of four hours. The longest song was “No Men in No Man’s Land,” clocking in at 21:32 (based on the Live Phish tracking). With the exception of “Happy Birthday” and “Auld Lang Syne,” the song with the longest gap was “Kill Devil Falls,” at 16 shows (8/5/15). One could go on and on. But despite this fascination with numbers, what really keeps fans coming back, year after year, every 365 days, is the joy of the old (rather, those melodies and lyrics we know and enjoy) and the celebration of the new (exploration, improvisation, and the unknown). And last night’s New Year’s celebration delivered on both accounts, in spades. And we are just halfway through. (Two out of four shows, for those who like numbers.)

(For the “tl; dr” crowd: Listen to the “KDF,” “Twist,” “NMINML,” and “Blaze On”)

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Nine of the sixteen Phish shows that have occurred on December 30th have been located at Madison Square Garden. In each of the eight MSG performances that preceded last night’s show, the December 30th gig had fallen on night three of the New Year’s Eve run. This placement has typically allowed the band to use the previous two shows to get loose, build up a good head of steam, and then udderly crush some skulls on the 30th. Counter to this trend of strong performances occurring in this particular place in space-time is the band’s historic tendency to be more tentative and less adventurous on the opening night of a given set of shows, especially after an extended period of time away from each other. Last night’s show thus represented the ongoing battle between two equally strong and opposable forces that wrestle for control of the band of Jedi each time they take the stage. Which side would win the day… the dark or the light? I haven’t seen the movie yet… but I’m guessing the good guys currently have the advantage.

By now you have hopefully read @lumpblockclod’s MSG precap and seen his rankings of all the 12/30 shows on twitter… you’ve talked to your crew about it and probably relistened to the gig a time or two. Therefore you already know that the show was pretty great (#6 all time) as far as those performed on the 30th go, and probably top two or three for holiday run openers. But that’s not why you’re here, is it? You come to these recaps for the chum in the water. The feeding frenzy of the sharks hungry for the battle over the bloody entrails and rotting, oily, flotsam is about to begin as we dissect this Phish and throw it back overboard before the next one is hooked.

Photo © @Phish_FTR

“Sample in a Jar” is a great opener. It is a safe song that most people love. Nailed it… confidence built, let’s see what we can do to build some swagger. “Free”... yeah… you like that? YOU LIKE THAT! Very smooth and sexy. The interplay between Trey and Page as the booty bounces to the rhythm is delicious. Great muscle tone and an awesome build. Short but studly… like the drummer. We got a couple of great performances of “Simple” in 2015, listen to Bend (7/22/15) or Magnaball (8/21/15) again after you hear this one. This version is not at all as adventurous and it dissolves before a real jam can develop, but the composed section is tidy and well decorated. “Back on the Train” is upbeat and rocking as a general rule and this one is no different. The track this one takes veers alarmingly close to “Alaska” right around the “5:15” mark but stays safely within the confines of the Yukon Territories as it chugs eastward to Yellowknife in the Northwest Territories.

“Waiting All Night” offers a breather… and nothing more… pretty sloppy fingering on Trey’s part in the early going, but at least he said he was sorry, very much sorry, and he said it a lot. Let’s sail on.

The “555” is the next train through the yard. This one is all about Fishman people… wowza the drumming is on point. Great support from Page throughout. Big bombs from Mike. Trey does some drippy finger painting in the mud towards the end and gets pretty dirty in the process… but seriously focus in and check Fish on those sick beats. “Roggae” is maddeningly delicate and this one moves like incredibly viscous lava on a low incline. Sooooo sloooooow...but gorgeous. Blazing rivulets of incandescence making stars on it’s dark undulating surface as it proceeds inexorably downslope toward the haunted house at the bottom.

Photo © @BoneyDiego

The ghost of Laura Olsher explains why we are afraid of “Dogs” and this one lurches out of the front gate with plenty of bark, gives a cursory bite or two, but scampers away before any serious damage is done. Solid three minutes of headbanging if you are into that kind of thing. I am… but I could stand to do it for a little longer if you know what I’m saying. “46 Days” offers more of the same, albeit at a slower tempo. Great opportunity for my signature dance move (the fisty stomp) and the first set is over. Clocking in at just over an hour. Which… other than the sloppy “Waiting All Night” is my only real complaint about the set. I’m guessing the boys delayed their start due to the long lines at entry. Maybe open the gates earlier tonight?

I had “Chalk Dust Torture” for my FIRST set opener in the tour tournament guys… thanks! That’s my bad of course. They have been CRUSHING this song in second sets all year...why change now? I Chip Kelly’d my fantasy team in the playoffs. Not smart. This one is chaotic and feels like “David Bowie” riding a “Llama” chasing an “Antelope” during the composed section. The jam which follows is nothing like that at all. It is an undulating groove that is both spellbinding and mesmerizing. Deep brain massage. This stuff makes you smarter just listening to it… it’s like an aural version of that Limitless pill. Set this on repeat and you will be in Stephen Hawking’s league in no time. Strong hints of “After Midnight” then “Light” are presented and deconstructed before the jam decays through some stunning ambience into “Ghost.” Pretty awesome. Must listen.

“Ghost” is just the bread in the old song > new song > old song reprise sandwich. The fresh meat “Can’t Always Listen” is an amalgamation of “Going Down the Road Feeling Bad” and “My Problem Right There” with a touch of the Dude of Life. The song has a message. Things aren’t as bad as people say. The stars are still shining and the world keeps spinning. Don’t worry...be happy! Project the positive into your universe and that is what you will get in return. Stop barking at the shadows. They aren’t real. The spectral form of “Ghost” reprises and dissolves into the aether. Which is of course comprised of a stunning array of electromagnetic “Waves” and energized particles that coalesce into an outro jam of lush textural ambience that soothes the soul. Bartender...get me a drink!

"Ghost" -> "Waves" – Photo © @UNOlkerPhoto

This “Bathtub Gin” is delicious. Once again cannot say enough about the stick work of Tubbs the hairy beast man. Dude is a monster. The soaring reconstruction of the song from the jam is outstanding. Great communication between all four. Every piece put in it’s right place. Late set “Mike’s Song” is always a good sign. When Page stands up it is time to get down. Dirty dirty tricks. Nasty nasty licks. Fishman crushing AGAIN. “Bouncing” - like Heineken - is for the ladies. This “Weekapaug Groove” would have been a solid set closer on it’s own… but you wanna go seamlessly fuse a “What’s the Use?” into that crease… I’m sure as hell not going to stop you. So deep. So quiet. So empty, yet so full, simultaneously. Hyperdimensional. Space. Man. Far. Out. Back into the groove, an “Auld Lang Syne” tease, more sick Fish beats, back to “What’s the Use?” and end set. “Character Zero” is widely held as a cock-punch encore but I love it soooo… yeah. A great start to the run. Another lap around the sun is complete.

Happy and healthy 2016 to you all… have fun tonight.

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