Rock Bottom Brewery in Chicago is once again fundraising for The Mockingbird Foundation!

If you're planning to attend one or more of the shows this weekend, or even if you're not, we hope you're able to support this fundraiser by visiting Rock Bottom and drinking some fine ales. They will be serving a strong, hoppy red ale, called "Sample in a Jar," throughout this weekend, and a portion of the proceeds from each sale will benefit Mockingbird. This ale has a "pungent heady hop aroma from loads of Citra and Simcoe hops," and it will be sold in mason jars with the Foundation's logo (as well as Rock Bottom's logo) on them.

Here are the details:

Thursday, July 17th: Summer Honey Tapping Party beginning at 6pm. $1.00 from every "Sample in a Jar" that is sold will benefit The Mockingbird Foundation! There will be live music from Whiskey Jezebel.

Friday, July 18th through Sunday, July 20th: The party at Rock Bottom continues... $0.50 from every jar of "Sample in a Jar" sold goes to The Mockingbird Foundation.

You can purchase the mason jar for just $2.00 from your bartender, server or host! Feel free to stop by to pick up your jar after the show as well for the same price.

The brewery's hours are 11 am until 2 am, and all ages are welcome. There are two main bars, as well as a rooftop beer garden. Please hit them pre and post show, if you can, and support this effort. They are right off the Grand stop - CTA Red Line, at One West Grand. From the venue, you walk about twenty minutes to the Red line at Roosevelt (the closest stop to the venue) and then head towards Howard. They're 5 stops away (7 or 8 minutes).

Phish.Net and The Mockingbird Foundation cannot thank Rock Bottom Brewery - Chicago enough for their generosity. This is the second year that they have hosted this fundraiser, and we are blown away. We hope you all support this effort. Thank you!

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A three-night run of Phish at the same venue breeds familiarity. A beginning, middle, and an end. By Sunday night, the end, each fan knew the quickest (or most convenient) way to get to this island in the East River. Each fan had their ticket ready at the check-points, knew which beer line was shortest, where to refill the water bottles. And for those of us who were more particular than others (pun intended), the most optimal location to enjoy the show. For our crew, it was on the pavement in front of the soundboard, “just to the right of Mike, even with the first aid tent to the west.” Something to be said for being surrounded by friends, both old and new, from New York City and abroad. Smiling, familiar faces. This particular spot of ours sounded pristine, with just that extra bit of Mike. We were able to soak in some amazing breeze. It provided us with a view of that gorgeous Full Buck Moon on Saturday night. Familiar. A place to call “ours” if only for a few hours.

Phish also breeds familiarity, particularly over a run. What sort of mood is the band in, how nimble are Trey’s fingers, what fashion statement will Mike offer us. With each show, fans check off songs knowing they will not return, shrinking the list of possibilities (by only so much). But with the yin of familiarity is the wonderful yang of the unknown. What keeps us coming back. Knowing that "it" could happen at any time. Well, it happened on Sunday. In such a huge way.

The pre-show music was a mixture of Al Green and some jazz. Good Sunday afternoon music. While, a bit sparser than the night before, there seemed to be a lot of chatter. It could have been due to the projected forecast of rain and lightning -- a forecast carrying enough weight such that @phish tweeted earlier in the day that the 7:00 show would start at 7:15 rather than the understood 7:20. The heavy breeze even felt as though weather was on its way. (Glad that ended up being wrong.)

"Promptly" at 7:23, the band took the stage. We should have known we were in for a unique night as "Sand" opened the show; while “Sand” had begun second sets in the past, I believe this was the first time this song was ever chosen to open a show. It started things off where "First Tube" had left us all the night before. A song with origins in Trey's Tony & Russ trio, centered around a groove. A good song to loosen up the fingers and settle in (rather than, say, a right-out-of-the gates "Buried Alive"). And yes, there was a little extra mustard thrown in there to get us all engaged.

After the eight-minute "Sand,” the eighth selection off of Fuego for the run was played, "Winterqueen." I should admit I've been a fan since I heard the debut last Halloween. It was odd, though, to hear the second song of the set begin without any acknowledgment from the crowd with the exception of some polite applause. Maybe a different placement next time? (::coughWadingcough::) I quite enjoyed Page's utilization of what I would call "that calliope sounding keyboard" a few times during the song.

Aside: I should mention the transition into the closing section was a bit rough. And if I was going to criticize Trey's playing at all this past weekend, it would be centered on the lack of nimbleness in transitioning back into the ends of songs. There seemed to be small hiccups each night at these specific moments.

During the song discussion following “Winterqueen,” I could pick up on some chanting in the crowd coming from in front of us, to the left (Trey side). You could see Trey leaning over that direction, giving that familiar grin and head bob. And just as soon as I made out “Reba, Reba, Reba,” Trey kicked in to the opening notes. I felt this was an average-great version of a song I had been wanting to hear all weekend. I felt the composed section was successfully navigated, sailing into the expected bliss. I quite enjoyed Page’s work on the Rhodes leading into the peak and the “normal” whistling. Trey afterwards: "Thanks you guys. Thanks for the suggestion." You were more than welcome, Trey.

Another aside: I should take a brief moment to comment on how Page’s playing this weekend (among other shows I have heard from the tour) has really impressed me. It just seems he is picking the right instrument at the right time, the right notes and fills, leading jams when needed. Not that other band members haven’t, mind you -- we benefited from standing in front of Mike all three nights -- but something about Page is standing out.

“Birds!! of a Feather” was next, despite the large green pig balloons which had appeared at the front of the crowd, with “Guyute” written on them. As Scott Marks noted at the time, Angry Birds won over Angry Pigs

First thing I heard with the opening notes of “Water In the Sky” was “Don't jinx us, Phish!” Thankfully, they didn’t. I should have had more faith.

With “Water,” I decided to take a walk and see how grass felt beneath my feet. I was surprised that once I left the pavement (with the exception of the beer lines), how spacious and comfortable the lawn felt. Room to walk and stroll, people walk, and run into friends. “Possum” was enjoyable enough (I had written “more organ” in my notes. I believe that was a positive thing.) “Runaway Jim” followed. As with “Reba,” this was a song I was pulling for -- I have always loved “Jim.” While I prefer it to be selected as an opener -- as I appreciate the “driving” nature of its structure, with Trey trilling out notes along with Page on the piano -- it still put a smile on my face (despite slight issues, again, transitioning into the ending). “Bouncing Around the Room” seemed more enjoyable on the grass than it would have on pavement. And by the time I made my way back up front, Phish was on to “Maze,” where it seemed Page was conjuring more breeze with his always-full organ solo.

Aside: It would be natural to wonder about the energy of both the crowd and band alike following the three nights. If Sunday, “for the band,” would be able to keep up. And it appeared to me the setlist was constructed with songs that assisted in keeping up momentum: “Sand,” “Birds,” “Jim,” and “Maze.” Each projecting forward. The closing song was also in that vein.

For some reason “Split Open and Melt” was a song completely off my radar when it started at 8:37; just one of those times when other wants and wishes took up space. But that all quickly dissipated like a “steam dream" as it plunged dark and deep. With Trey on the delay and the chanting from the band, one might compare it to early 90s versions. Strong build of tension and dissonance, accented by Kuroda’s work on the lights. The background changed each evening, from a transparent mesh the first night, to a mesh with a white backdrop the second, to the all black on Sunday. It provided a great backdrop to the band, bathed in red light, with moments of color dancing around the stage in time with the music. Trey making his guitar howl as Page banged away, over and over, drawing out the evil like a guitar salve. Or something like that. Let’s settle on a damn good “Split” to close the set.

All in all, a good first as we are growing to expect them these days. A series of stand-alone songs with one or two highlights. I feel the “Bathtub Gin” from night one was the first set highlight of the run, but the “Melt” may be second if I was forced to choose. The setbreak was highlighted by the Bill Withers being played over the PA, complete with a “Lean On Me” sing-along by the crowd around us.

Down came the lights at 9:10. The opening notes of “Chalk Dust Torture” took me a little off guard. And let me say that I remained wonderfully off guard for the next 56 minutes. The opening hour of Sunday night’s show may be my favorite hour of Phish since Big Cypress. Relistens may temper my hyperbole, but I am still glowing from what we all witnessed, with what Phish performed for us. While Mike Hamad illustrates the musicality of “CDT” in a way I can not even attempt to equal, I am simply going to share with you the notes I took in the moment:

Chalkdust - five minutes in starts to get stretched with this great upbeat jam led by Page "butter jam", desk flip; slowly stumbles into darkness as the rain drops fall (Mike led) but not too dark; rhythmic section, darker, then back to the "buttery" section (9:27) Baby Elephant Walk like; Page leading it another direction ; red lights mean dark CK5 :30; Trey feedback with Mike and Page banging away; whale screeches; bombs :34 rumbling bliss as Trey starts playing pretty; Mike teases? Fishman shuffling along as it slowly dies into . . .

What that all means is that you need to listen. A must-hear, hands down. Best “CDT” of 3.0? Give it a whirl and compare away. I will just say that jaws were dropped, grins were plastered, and “Wtf?” laughter all occurred. (FYI: Through the wonders of immediate relistening, it appears there were also teases of the “Piper” from Dick’s ‘11, aka “Roadrunner Tease.” Just something for you geeks to discuss.)

Fishman shuffling along as it slowly dies into “Light,” twenty-eight minutes after the set began. And what a perfect choice to follow the wonder what we just experienced. “The light is growing brighter now,” matched by Trey's piercing guitar that came out of the vocals. I loved how Trey popped in the tease of Sonny Rollins’ “St. Thomas” (thanks, Dan) in the middle of the beautiful jamming -- sometimes teases just fit. The beautiful jamming transitioned into “Harry Hood” territory about nine minutes in. Only to be followed by a jam structured around a descending melody that immediately brought to mind “Mind Left Body” (see here or here). While it may not have been a tease, or quote, it was close enough and had the desired effect -- more joy. Building to a huge climax around ten minutes in.

To be followed by “Tweezer.” Why a one-two punch when you can have a one-two-three punch? It began slow and funky, dripping like we all were. At one point, the band slid in and out of tempos, slowing down as if someone was playing with a turntable, making it even stickier than it already was. Once that was over, Page brought the jam to this soulful section, reminding me what he did with the “Down With Disease” two nights earlier. The jam really began to soar after twelve minutes, building to a huge peak -- complete with me punching the air over and over again. It was that kind of hour of music -- where you lose control of your (sober) body and let the music guide your limbs. A slow old-school Tweezer ending after about sixteen minutes.

Whew. Breather. Times for high-fives and quick exclamations of hyperbole with friends and strangers alike.

The band felt the need for a breather as well, it appears, and offered up “Wading In the Velvet Sea.” Despite any internal groans I may have tried to suppress, I did find myself swaying to the music. See above re: losing control of one’s body. The “Sing Monica” which followed was not what I would have selected. Sounding to me like some 60s Bay Area pop song, it would have come low on my list of song choices. But hey, I was not in a complaining mood and I did appreciate the little reprise of the melody following the vocals-only chorus.

The beauty of “Slave to the Traffic Light” was a fitting choice to wrap-up a run of music in NYC. And I always enjoy Mike's lead, ringing out so clear. Even with its proximity to “Wading,” it felt right.

Before they began their encore, Page took a moment to thank everyone for coming out, noting that they play “for us.” Sentimentality must have been flowing as the encore began with “Backwards Down the Number Line.” A song about friendship and familiarity. “Do you know why we’re still friends? / Laughing all these many years” -- because of the music, Trey. The expected “Tweeprise” that followed, complete with the Mike bombs, put an exclamation point on the evening, the weekend, the first of hopefully many runs on Randall’s Island.

Continuing with the theme, the walk-out music was the Rolling Stones’ “Waiting on a Friend.”

Even before the expected “Tweeprise,” superlatives were being tossed around regarding this three-night run, with many in agreement that this could have been the best run of 3.0 after Dick’s ‘12. Another offered this evening’s “Chalk Dust Torture” > “Light” as the best one-two song combination of 3.0 since the Albany ‘09 “Seven Below” > “Ghost.” I will let those with the knowledge bases and ability to compare such things prepare a blog post. All I will say is that I am happy we can even have these discussions. That this band, after all these years and countless shows, can still create music that some of feel are “Best evers,” topping previous versions. That through all our familiarity and expectations, they can surprise and fill us with such great joy.

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Good morning, and welcome to the one-hundred-and-seventy-ninth running of Phish.Net's Mystery Jam Monday. The winner will receive an MP3 download 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. Fire when ready...

Answer: @yunkfunk wasted no time and wins his third MJM by IDing the 6/9/94 It's Ice. Congrats!

[For this recap we'd like to welcome guest blogger David M. Goldstein) -lbc]

The first thing to note about seeing Phish on Randall’s Island was that given the encouragement to use mass transit and the limited amount of parking passes, the lot scene was virtually non-existent. But in a city with as many culinary delights as New York, this could actually be used to one’s advantage. Why limit yourself to heady grilled cheese and ice cold Sammy Smiths on lot when you can do what my party did and gorge yourself on delicious barbeque in the Red Hook section of Brooklyn and then chase it with key lime pie and views of the Statute of Liberty?

© Scott Harris Photography.

But what seems like a delicious idea at the time turns far more sinister when you’re in the throes of the meat sweats while waiting over forty minutes for a bus that will supposedly take you to the venue. This process was a stark reminder that what appears to be ridiculously easy on a Friday evening can become a slog on Saturday, when the casual listener reigns supreme and results in a New York City crowd three times the size of the one the night prior. I didn’t speak with anyone who arrived via the ferry, but to be frank, the Saturday bus situation was somewhat of a pain in the nether regions, especially when you’re oozing beef brisket and pulled pork out of your pores.

But upon arrival at the venue, all was forgiven, and we largely have Mother Nature to thank. Remember the hypothermia inducing, Noah’s Ark summoning, deluge that was last summer’s concert at Jones Beach? What’s the complete opposite of that? It was a steady 80 degrees with low humidity and a light breeze, and the incredible weather allowed fans to enjoy Randall’s Island for the green urban oasis that the NYC Parks Department always paints it as – not the mud-centric apocalypse that results from the slightest of drizzles. Food vendors were plentiful and varied, and the beer lines, while just as long, moved quicker than the night before; Sixpoint’s exclusive “Vlad the ImPaler” was a tasty brew indeed – a crisp wheat ale bearing a pleasant similarity to a Bell’s Oberon.

A sunny evening with plentiful food and drink in a lovely park environment might have been enough in and of itself. But apparently Phish was playing, too! The pre-show music was a fitting salute to the CBGB Class of ’77, a mixture of early Talking Heads and The Ramones, likely in tribute to the recently deceased Tommy Ramone. And after kicking off with the first “AC/DC Bag” of the tour, the remainder of the first set wasn’t exactly ‘bad,’ per se, just standard 3.0 to a tee; a variety of six minute rock songs stacked in no particular order like a cord of firewood with an inevitable “Antelope” closer that you could see from a mile off.

Unlike the previous night, the highlight of the first set wasn’t an 18 minute Type II maelstrom that came out of nowhere, but rather a touch of comedy. After a somewhat botched ending to “Back on the Train,” Trey opted to play it for laughs, reprising the muddled conclusion not once, but twice, and then proceeding to state it was planned all along, as was his butchering of the intro to “You Enjoy Myself” one week prior. Was this perhaps a sly jab at social media gadflies who critique his every brain cramp with an eagle eye (and guilty as charged)? Elsewhere, “A Song I Heard the Ocean Sing” seemed slightly more aggressive than usual, with Trey living out his My Bloody Valentine shoegaze fantasies with extra peals of white noise. I find “The Line” far more tolerable when it’s placed in the first set, and “Sparkle” always brings back pleasant memories of me being a gawky 14-year old at a Jewish youth group social. But for the most part, the first set sounds exactly like it looks on paper, and stand-up comedy bits aside, will not account for many repeat spins in this household.

Continuing the regional NYC theme, the setbreak music consisted of Curtis Mayfield’s classic “Superfly” soundtrack, transferring the proceedings from 1977 East Village to 1972 Harlem. This also provided my party with the opportunity to perform a version of “meat sweats reprise;” eating jalapeno corn dogs because that vendor had the shortest line, but also because batter-fried meat on a stick is awesome.

The opening “Punch You in the Eye” was the first one played on Summer Tour, and never, EVER unwelcome in that slot. It wisely makes far more sense as a second set opener at summer shows simply because utilizing Kuroda’s swirling lights in broad daylight pre-HEY! would be a colossal waste of electricity. Trey played the “Landlady” section with aplomb, and then it was time for the man with the lumpiest of heads. Moving from dark, wah-infused metal in which many a whale was harpooned to Page McConnell Rhodes warmth, this “Carini” would have been the undisputed highlight in many an average to good Phish set; especially when it also contained wook destroying Gordon bombs like this one did. But this is New York City. Much like the 20 year old Doc Gooden on the ’85 Mets, the boys were just toying with us; you expect the fastball, then your knees buckle at the curve.

© Scott Harris Photography.

The ensuing combo of “Ghost” and “Wingsuit” comprised the strongest consecutive 26 minutes of summer 2014 thus far. When the band completely nails the drop, it augurs well for the rest of the song, and when Trey steers the jam into D Major, as he so recently (and awesomely) did on 10/25/13 in Worcester, all bets are off. It’s hardly a secret that Phish D Major jams are loaded with money and golden hose, and this “Ghost” was aces in that regard; my handwritten scrawl appeared to read “BIG D. HAPPY JAM BRIGHT.” And as it proceeded to wind down via a discordant funk jam with lots of Page clavinet and a hearty dose of N’awlins swamp, we realized a contender for a Top Ten jam of summer ’14 was afoot.

From its auspicious debut on Halloween to its recent placement as the conclusion of Phish’s newest album, nobody will dispute that “Wingsuit” is a very high quality composition for a band that’s been around over 30 years. The Randall’s Island version was the fourth played since Halloween, but perhaps the first in which its potential as a teary-eyed jam vehicle with towering peaks has been realized. Whether it was the presence of a bright orange “Super Moon” over the East River, the lights of the Triboro Bridge, or simply a huge burst of inspiration, I can only properly describe this “Wingsuit” as “epic,” transporting the listener to a huge European field in the late 70’s where David Gilmour is completely re-arranging your genetic makeup. It was even better than that afternoon’s beef rib, something I did not believe humanly possible.

The rest, as they say, was pure gravy. The “Rock and Roll” was a tour debut, and a nice little rager to properly welcome us back to planet Earth. And the “Hood” was unique in that it was an interesting amalgamation of Type I and Type II jamming (Type 1.5 maybe?), never straying from its major key, but still containing all kinds of tasty McConnell Lil Pumpkin licks and sly noodling from Trey that are generally not part of the song proper. “Tube” picked up where the Mann version left off; which is to say under five minutes, but still flecked with some ridiculously hard clavinet funk, and the ending “First Tube” was a nice cap to the evening because you knew they weren’t going to end off with “Joy,” and “Tube Sando Encore” just sounds cool.

Photo by Andrea Z Nusinov

Leaving Randall’s Island via MTA bus was far easier than getting there, though it would have been nice had somebody alerted us to the fact that the ‘4’ subway train we had painfully squeezed our bodies into was running on the local track. But transportation issues can be excused when a second set is as elegantly constructed and contains as much goodness as the Saturday night Randall’s one did. The “Ghost” and “Wingsuit” were both near-classic versions that made standing through an epic “Yarmouth Road” and “Devotion to a Dream” one-two punch tolerable in hindsight, and the entirety of the Randall’s venue experience was incredibly pleasant. Eighty degrees and sunny while drunk on smoked meats tends to have that effect.

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Picked up pieces from the first night at Randall’s Island from PZ and LMo.

PZ: Only a little over a week ago I noted in this space that the functional role “Fuego” would assume in Phish’s ever-expanding repertoire was still very much an open question. Opener / early set compact rocker? A launching point for set-defining improvisational exploration? Late game / set closing heroics? The question seems almost silly now, because in that short time we’ve learned the answer rather decisively: much like Phish as a whole currently, “Fuego” does it all. “Fuego” is the tabula rasa onto which Phish’s creative muscle is currently being flexed, joining the likes of “Ghost,” “Tweezer” and “Down with Disease” as the canvass of legacy. Not bad for your new single, right?

LMo: This was a most excellent first set. I could hear the urban city vibe I love so much throughput the concert. “Bathtub Gin” went absolutely over the top of excellence. Trey takes it out of the park and into the sky with Page fast supporting the flight. Page is carrying sound into some very interesting places these days, the piano just soars into unique melodies invented in the moment, improvisations confidently and gloriously asserted.

PZ: When me and my buddies shoot the shit about the Phish, geek-ing it up comparing shows and eras and versions of songs – as we will sometimes do for no better reason than to simply amuse ourselves – the only factor that puts any distance between where Phish is currently versus past eras is the quality and volume of improvisation in the first set. Example, the amazing fall ‘13 tour, which was as good as any… you want to say since Big Cypress, or at least I do. But that’s a hard case to make based on the differentiator that 2003 in particular had so many shows where they fired all cylinders throughout the gig. The prime output from current shows is demonstrating Phish playing at a career peak, but often times there is a sense of a bifurcation where the first set is the “compulsories” and the second set is the free skate.

So when Phish starts to peel off epic (I chose that word carefully, not flippantly) versions of “Bathtub Gin,” as they did during Friday's first set, and follow it with the second soaring, flowering of “Stash” in the first ten days of tour, the “not as good as [whatever]” argument starts to get wicked flimsy. First blush, the “Gin” is right up there with Gorge ‘09 and the Bethel Gin-Teca as the best of 3.0.

LMo: I love to be as close as possible to the stage but there was scarcely room to plant my feet in our spot close in front of Mike. There was not much space for dancing in this crowd but everyone around me was quiet and I like that. “Steam” was truly wonderful and amazing, a lot of brilliant moments that seemed as if they could go on and on... the shift into “Down with Disease” was seamless. The “Dwd” jam was over the top wonderful. We really all went out there to the sound space many of us are looking for with the Phish. Sadly, I was brought to a full stop with the crowd chanting "woo." So, oh well... I will just say it knocked me out my own auditory flight and made me fall back to earth for a little while. So I took a moment to write a sidenote poem in my notebook about something not related to the event.

Solar garlic #stash #phish #randalls – Photo by Andrea Z Nusinov.

Page rocks the “Golden Age” with sweet piano riffs throughout. Awesome Page-side love, thank you. “Limb by Limb” got interesting too. “Fuego” is our summer song this year, just rocking the house every time, big time. I personally enjoyed the experience of sharing this song again after the Atlantic City introduction of it with my buddy Marco, who aptly said to me, "if you build it they will come," just as the “Fuego” started to build the momentum. “Fuego” is “Tweezer” in another outfit.

“David Bowie” was all about CK5. I so enjoyed Kuroda's lights. I tend to close my eyes a lot at a show and just listen to the huge sound, but the lights in “Bowie” really got me last night and I noted a glorious full lightbulb of a white moon hovering over our dear gathering at Randall's. The moon and CK5 were really in sync last night. Cheers to Chris Kuroda for always bringing the best effect. The "Character Zero” encore rocked it out for the finale of a beautiful magic night in New York City and we are right where we should be at this juncture. I felt truly free, let loose of all cares and worries.

Updated MAP! Saturday Randall's Island #phish
Image from Coventry Music

PZ: The reason Phish is better than any other Rock and Roll band is because our band’s drummer, Jon Fishman, is better than your band’s drummer. If your drummer sucks, your band sucks, no matter who you put around him or her. Our drummer doesn't suck. As good an example as any of this Fish Drives Phish phenomenon is the Randall’s “Down with Disease” – when you get a chance, listen to this version, and focus just on Fish. Follow him, listen in awe as he simultaneously anchors and drives and cajoles, then retreats and listens and ponders as the next idea percolates, like the most engaging conversationalist.

The remainder of the set was incredibly balanced with no meaningful downtime, comparatively compact versions of songs that flowed with balance, ease, grace, charm and power. “Steam” ended kinda oddly but seemingly because they had better ideas with the “Disease.” The “Golden Age” jam offered tons of mind candy in a compact package. “Fuego” saw its first fourth quarter action, where it simply works, big jam or otherwise. “Limb By Limb” was elegant and perfectly placed. The set construction was masterful, so much so that stock footage “Cavern” and “Character Zero” were enjoyable even for the JadedVet™.

Randall's Island last night. Photo by Dana (distortion) Yavin.
Photo courtesy © Phish From the Road.

Phish plays again tonight and tomorrow, same time same station. They are a great band offering a high quality adult entertainment experience and playing at the peak of their powers, so if you are driving around the stadium, think about popping by. Lots of trippy stuff, festival-level entertainment everywhere, build some time in before or after to walk the grounds, you are sure to find something unique and cool. While the New Yorker OCD Phish fan crew was hysterically flummoxed by the logistical idiosyncrasies of this venue, all in all it was pretty awesome and easy experience by most accounts. Walk the bridge if you can, at least once – it is really quite something, a vantage point that most of us have sailed over hundreds of times without much thought, yet one that is well worth a moment of your time and reflection.

Gotta run, we are in our spot 20-ppl back straight in front of Mike, if you are in the neighborhood by all means stop by and say hey. Go Phish!

Photo courtesy © Phish From the Road.

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[For this recap we'd like to welcome guest blogger Craig Hillwig) -PZ]

Sometimes Phish foreshadows the fireworks in its opening sequence, although it’s often not clear except in retrospect and after much contemplation. Mann night two was that type of show.

As a show opener, “Glide” is an appetizer. It makes you wait for the “real” opener. My mind wandered back in time to Madison Square Garden last New Years Eve, when Phish made all our dreams come true with the Truck Set. Was it going to be THAT kind of show? Of course not – each show is its own unique expression and deserves to be received as such. There would be no follow-up “Llama.” But there would be a tie-in to NYE and also to local Phish lore in the second stanza.

Photo by Andrea Z Nusinov

“Glide” finished awkwardly, with Trey laughing and adding, “that’s our own interpretation of that song … thank you goodnight! …. we hope that rocked your faces as much as you’re rocking ours at this very moment.” “Sing Monica” followed, the first of the three Trey/Tom compositions from Fuego that would be played this night. It’s too early tell whether “Monica” will settle in as a first set standard in light of the SPAC encore placement. However, it was not well-placed in this instance. The crowd was looking to release some pent-up excitement after “Glide,” but that would have to wait.

“Birds of a Feather” and “Wolfman’s Brother” followed, both of the standard set one variety. “Wolfman’s” featured Trey sitting back in the pocket for much of the jam, leaving ample room for Mike and Fish to syncopate with Page’s signature staccato clavinet, and the crowd was appreciative about finally being able to get their dance on. These were followed by “Sugar Shack,” a tough tune to play only once a tour due to its deceptively different time signature (13/8 or 9/8 depending on who you talk to on the Twitter). It may have been the best version to date, if only because Trey nailed the transitional guitar parts that have tended to trip him up in the past.

“Alaska”...

Photo courtesy Phish From the Road © Phish, Inc.

Then we got the goods. There’s a certain visceral feeling you get as soon as you hear the first chords of “McGrupp” rise out of the nothingness. It’s a song that has become exceedingly rare in 3.0 (only nine played), and like most of the older composed works it benefits from practice and repetition. It seemed clear that they had practiced it – indeed, the band seemed to be toying with some very Watchful themes during the sprawling “Fuego” jam that anchored the prior night’s second set. There were still some rough transitions, but all in all it was a beautiful rendition.

The second “Stealing Time from the Faulty Plan” of the tour was next. By the sixth show of the tour, we’re getting a sense of which songs are heavily weighted in the rotation, and “Stealing Time” seems to be a perennial favorite of Trey’s. This was followed by a gorgeous version of “Horn,” a rock anthem about a human doormat with a driver’s license and bad taste in wine.

The dysfunctional-love-song theme continued with “Devotion to a Dream” and “Silent in the Morning,” with huge placement points for both. For those keeping count, that’s nine consecutive “Horse”-less versions of “Silent in the Morning,” so this trend officially appears to be “a thing.” Interestingly, the “Horse”/”Silent” combination was originally conceived as a single composition, only to inexplicably be tracked separately on Rift. It’s as if the song was cleaved in half, an incomplete musical thought. Any mourning for the Horse was quickly forgotten once the huge, set-closing “Run Like an Antelope” got under way.

Set two was brought to us largely by the letters “C” and “W” starting with a monster “Chalk Dust Torture,” possibly in tribute to the legendary version they played in Camden nearly fifteen years earlier to the day – the same version that was featured so prominently in the emotional retrospective video played at MSG before the NYE truck set. The “Glide” opener now made a lot more sense, in context. This version of “Chalk Dust” had it all – from dark dissonance to melodic bliss. Page was the star here, starting off on L’il Punkin and working his way clockwise around his rig as the jam changed tone and structure.

Photo courtesy Phish From the Road © Phish, Inc.

“Wingsuit” and “Winterqueen” followed for back to back W’s – an odd but bold pairing of two of the moodier tracks on Fuego. Their presentation together felt like a suite in many respects, and worked well in my view. However, if you didn’t want a fifteen minute cool-down segment so early in the second set, your milage probably varied greatly. A spirited “Twist” brought us back up part of the way with a standard, Santana-inflected version that clearly had no intention of blowing up and came to a virtually complete stop. The band was keeping its powder dry, and we would soon learn why.

“C” also stands for “covers,” and If there were any lingering speculation about a “no-covers rule” after Tuesday night’s “Also Sprach Zarathustra,” Phish demolished it convincingly with compact but fiery “Crosseyed and Painless” that included a smattering of soaring echoplex and some “Birds of a Feather” phrasing by Trey. The venue instantly erupted when the song burst from the nothingness, perhaps due to a realization that any perceived shackles had been broken. Let there be covers!

Photo courtesy Phish From the Road © Phish, Inc.

A wafer-thin “Waste” provided the second cooldown of the set, and it was just exactly perfect.

The “Mike’s Song” that followed was strictly by the books, save for some additional “Birds of a Feather” licks, and seemed destined to finish with a walk-off “I Am Hydrogen” > “Weekapaug Groove.” Instead, Trey abruptly dropped into “Sneakin’ Sally Through the Alley” to close the set, a combination not seen since 7/24/88 at Nectar’s. And then there were covers.

The choice of a “Julius” encore created more than a little doubt about whether they would play “Weekapaug.” But of course, this was a set of C’s and W’s, and so of course they did. Final Score: C’s - 2; W’s-4. Next stop - Randall’s Island.

Photo by Elliot Byron

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[For this recap we'd like to welcome guest bloggers @2chix1fightbell (Kristen and Kate) -PZ]

We had to be here for Phish’s return to The Mann Center for the first time since 1995. There wasn’t another option.

We walked into a breezy, beautiful venue tonight without the knowledge of quite the X factor on the way: storm. Big one headed directly towards us. It was so bad that the crowd on the lawn and terrace were asked to return to their cars in order to protect their own safety. This is a crowd that doesn’t exactly like being told what to do. Or people getting in the way of their Phish experience. But we waited out the storm without choice, comforted by the knowledge that ‘X factors’ have produced great Phish shows plenty of times in this band’s history. Page thanked the fan base early in the first set for riding out the storm and reminded us all that it’s not their fault.

© Photo by Eliot Byron

The storm and crowd shuffling produced a bit of an eerie and uneasy vibe in the crowd. “Axilla” as the opener matched this perfectly and was a welcome release of tension. Followed by “Gumbo,” Phish started simmering a pot of funk that would burble over onto us here and there throughout the first set. The first version of “Taste” since Reading ’13 was welcomed. Fog that surrounds nods to the steam building in the venue. Hey speaking of “Steam”… thought we might get our first of 2014 tonight. Still waiting.

“555,” the third version in first five shows of summer ’14, was dark and dank. It was very appropriate for what was happening at the Mann. While it held true to form, it certainly has potential to go beyond that and be a completely unique jam vehicle. “Tube” – who doesn’t get pumped as soon as this song drops and then wonder if it is going to sizzle out to a three minute set filler these days? While it hasn’t made its return to the golden era, this “Tube” was highlighted by digital age playing, fueled with Trey loops & toys and just enough funk to maintain some integrity.

© Photo by Elliot Byron

“Halfway to the Moon” – although this song is the oldest of all the new album material, fans are still getting used to this deep Page tune. Still finding its place, it fit well with the other songs flow-wise in the set. Skip to the meat though after the lyrics and explore the deep Trey tones more… we want it, know it’s there and ready. You clearly hear a fan yelling, “Camel Walk,” over and over in the space between songs. To that fan's credit, Trey also hears it and obliges the request, saying that this was for him. Solid funky version that didn’t stray. Do we have to talk about “Sparkle?” It’s just that it’s been the third one of 2014. “Halley’s” was played followed by “It’s Ice” that continued little song winks at the evening’s storm, and also birthed a funk jam that we always welcome. Fishman is playing like a man on fire, so no one cares that he had a little mis-start in the midsection of “Walls of the Cave.” This was an energetic set closer as it always is in this spot.

Skipping over the "46 Days" second set opener as we really want to talk about “Fuego” as apparently the band did as well. The second version of this song to break form brought us more highly encouraging jamming. It’s great to see the crowd enthusiasm supporting this song, and Phish took the opportunity to patiently craft a deep space jam out of the initial fiery energy that the song naturally produces. The title track of Phish’s newest album is primed for versions to top themselves over and over for the rest of summer tour and beyond. This “Fuego” channeled everything in the Phish catalogue from “Free” to “Two Versions of Me” to “What’s the Use?” Let’s throw a “Cars, Trucks Buses” tease in there for good measure.

© Photo courtesy Phish From the Road

“The Line” > “Backwards Down the Number Line”... if you hate that kind of thing, you probably really hated that.

Then the the thunder was brought directly inside the venue with a “Tweezer” -> “Ghost” > “2001” > “Hood” > “Tweezer Reprise” setlist that fans dream of. The “Tweezer” was starting to go in its now-a-days, typical direction, lighting the crowd on fire, slow and steady. But it ended up a bit brief (shortest version since 2011) and churning out what became one of our highlights of the show, “Ghost.” After the choppy transition, they let each other get to the meat of the jam pretty quickly, and we soon forgot that they were stepping on each other’s toes for a minute there and they began to dance instead. Then we soared in unison.

“2001” was a nice little pop of more funk… completely unexpected, but very much wanted. When they dropped into “Hood” it we knew we just witnessed a second set with a lot of big players. How could this “Hood” compare to what transpired a few shows before at Great Woods? Instead of breaking form like its predecessor, this was them nailing it. When we reached full saturation point in the evening and couldn’t get sweatier, goosebumps poured all over as they slowed this down to intricate, patient and building that brought tears to our eyes and of course, more sweat. “Hood” > “Tweeprise.” Perfection. A “Possum” encore sent the fans home happy.

© Photo courtesy Phish From the Road

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Welcome to another edition of Phish.Net's, ahem, "weekly" Mystery Jam Monday contest. The winner will receive an MP3 download 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. Good luck!

Hint (Posted 2014-07-08 10:23 am):

Answer: First-time winner @GhostDawg came up with the correct identity of this week's clip: the 11/8/91 Jam that followed Jesus Just Left Chicago, which itself followed the "slice of pizza, bucket of lard" Weekapaug Groove. It might technically be a loss, but as it was hint-aided, the Blog breaks its seven-month-long losing streak. Check back here Monday for the next installment of MJM.

For today's recap we welcome guest blogger Dianna Hank.

Being a native New Yorker, the announcement of SPAC shows is always a little bittersweet for me. Sure, it’s easy enough to get to and the crowd will be full of people I know; but it will also be full of a lot of people I don’t want to know who only come up to the shows to party at Lee’s for three days and annoy the rest of us who actually show up to listen to music. Imagine? That being said, after a soggy yet incredibly fun dance party on the lawn the first night with only minor disturbances, this year I was lucky enough to be able to take in the second and third shows of the run from the pavilion. While I am a SPAC lawn defender – the sound and view are great as long as you get a good spot up front and don’t have to deal with obnoxious drunk kids – seeing a show from four rows back in the pavilion is a whole other ballgame. Because of the structure of the pavilion, the sound up there seems to engulf you and vibrate through your entire body. It’s loud but not in a painful way. It’s clear, crisp, and precise and “it feels good.”

Going into night three of the run, I was pretty excited about what was still left for Phish to play. The prior two nights had delivered a number of seriously impressive jams that I can’t wait to go back and listen to over and over again and I assumed and hoped that night three would be no different. My only hopes for the evening were a raging “David Bowie," a blissful “Slave to the Traffic Light” and a funky “Wombat” to complete the track list of Fuego songs that had already been played this tour. Lucky for me, I got not only these three things but so much more!

© Scott Harris Photography.

The show kicked off with one of my favorite show openers, “Crowd Control.” While on the softer, poppier side of Phish, it also gets the show started off in a positive, joyful way and usually brings about something short yet sweet from Trey. Next up was “My Friend, My Friend," bringing the crowd energy up significantly and showing us that they meant business. “Scent of a Mule” continued the energy build, getting everyone doing their best do-si-dos. Page provides a fiery intro to a marimba lumina solo by Fish which makes this version one to definitely check out. While the marimba solo sounded a bit like Phish’s attempt at EDM, I was just happy to see it being used. A few composed sections of songs (such as Mule’s ending) were a bit flubbed by Trey, but the energy and creativity which he brought to the table for the jams made those flubs seem insignificant.

A standard yet clean “Undermind” showed that the boys were still having fun, with Trey introducing Fishman as “Moses Heaps” for the first time since 1988 Short yet efficient, “A Song I Heard the Ocean Sing” brought some heat before we got back to silly Phish with “I Didn’t Know.” Trey introduces Fish as “Moses DeWitt” for the first time since 1991 and Trey’s face during the vacuum solo further proved just how much fun they were all having on stage. “Foam”’s first appearance since last summer was a pleasant surprise followed by the drop into “Wombat” which evoked a huge cheer from the crowd. A massive funk dance party erupted as the final song off of Fuego finally made a 2014 appearance and the only complaint I have was that I wished it was twice as long. “Divided Sky” was standard and beautiful, with a huge glowstick war erupting throughout the venue during the overly extended pause. As someone who has been disappointed by its placement many times in the past, I was actually pretty ok with this slot for “Wading in the Velvet Sea.” It gave the crowd a little chance to breathe after a high energy “Divided Sky” and before the raging, set-closing “David Bowie."

The real meat of this show came in the second set. As soon as the band got back on stage after setbreak, they got to work, quickly bursting into “Carini” and evoking a massive roar from the crowd. After the last balcony-shaking performance of this song, hopes were high that this one would pack as much punch as the Letterman version did. As a “Carini” convert who prefers blissful, beautiful Phish to dark, scary Phish most of the time, this Carini did exactly what most recent “Carinis” have been doing – brought the fire in the beginning of the song before lifting off and floating away into the serene abyss. While seemingly cut a little short by the > “Waves," it was a welcome transition and this segment of music set the tone for the rest of the set. Similarly ethereal, this “Waves” fit perfectly after the euphoric “Carini” jam.

© Scott Harris Photography.

Next up, “Wingsuit” continued this airy theme while delivering a powerful punch in the second half of the tune. After two satisfying jams with “Carini” and “Waves,” this “Wingsuit” was a bit more well received than the Mansfield version, promising to be a bit more jammed out considering its place in the second set. A beautiful “Piper” continued this dreamlike setlist, followed by a well executed “Fluffhead.” “Heavy Things” threw me for a bit of a loop, coming late in the second set. While this tune can contain a short but sweet little jam from Trey, it seemed to me that it was only in response to the onslaught of glowsticks that rained down on the crowd during the “Fluffhead” peak. Back to business after “Heavy Things," the band dropped into “Slave to the Traffic Light” which I assumed would be the set closer. A personal favorite song of mine, this “Slave” provides all the heart-warming, soul-opening, major chord bliss that most if not all other Slaves do. I’ve never met a Slave I didn’t like.

After a glorious peak, Phish did what they do best and surprised us with yet another tune, the crowd favorite “You Enjoy Myself.” Few things feel better than realizing that not only is the set not over yet, but that it won’t be over for another 20 minutes or so. This “YEM” was the perfect set closer to a dare I say epic set of music from Phish. If it wasn’t apparent through their playing, Trey’s dance moves during Mike’s solo proved just how much fun these guys were having on stage. This is one of those second sets I think I will be listening to straight through over and over again for a while.

“Suzy Greenberg” closed out the show and while not particularly a special encore, it felt appropriately celebratory after a weekend of great music. With the first four shows of the tour in the books and highlights from each already evident, I can’t wait to see what else is in store for this summer.

© Scott Harris Photography.

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"Friday is for the fans, Saturday is for the bros, Sunday is for the band. Think about it." – Ancient Wook Proverb

DISCLAIMER: The author watched the webcast from his home last night, after smoking pure DMT crystals off a katana he got from Sharper Image, using an arc welder formerly owned by Tommy Chong. He had spent the week leading up to the show sending messages to other phish.net Working Group members about his plans to "brutally savage" Friday's show in this recap, promising "carnage" and expressing an intention "to tear the show a third asshole, since it's so full of shit it already has two." He apologizes for not getting this recap up sooner, but it's the World Cup quarterfinals for Christ's sake, give him a break.

Two big questions hung over the middle SPAC show like ominous twin stalactites, and both got answered with "hell yes, apparently." The first question was, is Phish ever going to play a good show this year. No, no, I'm just playing.

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Photo by Dave Vann © Phish 2014. All rights reserved.

The first question was, how legit is "Fuego" going to be? We all were hoping. Each of us has his or her favorites, but it's fair to say "Fuego" was the consensus best-in-show and most-likely-to-succeed from the Wingsuit set. The band seemed to think so anyway, changing the name of the ensuing LP release to Fuego and slotting in the now-title track in the favored spot after "Auld Lang Syne" on New Year's Eve, like NBC premiering The A-Team right after the Super Bowl. It seemed designed to be the next "Down with Disease" or "Ghost," an open-ended jam that can carry an entire set on its shoulders. But there was no real jam on New Year's, and the other night's limp performance at Great Woods had some posing the disquieting question whether "Fuego" was going to be "DwD" or "Ghost," or if it was more like "Walls of the Cave," which gets plenty fiery but apart from some early exploratory versions has always colored reliably within the lines.

But there was no need to worry, and now those of us that did maybe feel a little silly. Remembering that Phish doesn't go far out when it plays "Down with Disease" in the first set either, the Great Woods performance was no omen. Sure, last night's "Fuego" eased into the chilly evening waters with almost comical hesitancy, feinting and building, probing and dying down. But they stayed with it, and then as often forms the basis of great Phish improvisational moments these days, Trey found a simple ascending progression and the band surged patiently to a deliberate but awesome peak. I actually found the subsequent "Down with Disease" more satisfying than the "Fuego," but they've been playing "Disease" twenty years as opposed to eight months, so this is no slight on the first exploratory "Fuego." I am sure we will get many more over the next few weeks.

Photo by Dave Vann © Phish 2014. All rights reserved.

The rest of the second set was your basic throwdown, without ballads or breathers, along the lines of the third show from last fall's Hampton run. A spare and patient "Twist" didn't overstay its welcome but gave way to "Light" – why does Trey have trouble finding the right key at the start of "Light"? – which did what "Light" does, generating huge momentum through weird harmonics. "First Tube" was the sledgehammer driving the last spike.

Which brings me to the second question: this no covers thing is for real, huh? Yeah, homie, it appears to be. Don't quibble like a pedant about "The Star-Spangled Banner." It's essentially a traditional like "Auld Lang Syne" and they do it once a year on a particular day. It doesn't count. Other than the odd exception of "Funky Bitch" Phish hasn't played a cover since the "Sneaking Sally" encore that closed Phish.net's consensus favorite show of last year.

And this year it's not just no covers. No Gamehendge songs except for "Possum," which isn't really part of the narrative anyway. Also and more significantly, no Junta songs. No "YEM," though tonight seemed poised for a big one following "Theme." We haven't seen my personal second-favorite Phish song "David Bowie" close any first sets. Again, they could have gone that way Friday night, but they turned left with "Split Open and Melt" instead. No "Divided Sky" or "Fluffhead" or "Golgi." Nobody can imagine all these songs staying out of the rotation for long, but Trey has talked in interviews about the frustrations created by such a large repertoire, with too many children vying for the attention of an older, less intense band that plays fewer shows these days. If limiting the repertoire, even arbitrarily, is a way to keep the band focused, I say roll with it. As long as they're playing music together Phish is always going to play awesome jams, and it's okay with me if those jams come out of "Fuego" or "Seven Below" or "Twenty Years Later" rather than "Crosseyed" or "Rock and Roll" or "Golden Age."

I'm not going to assign last night's show a number. You could quibble with certain things. Sure, the first sets could be stronger, more improvisational. I am not going to defend another lifeless "Moma Dance" at this point and I can take or leave "Kill Devil Falls" and I have hated "Rift" forever. The "Jim" and "46 Days" were perfunctory. But the "Reba" jam was gorgeous, with burbling melody and surging in temperature until its brutal Fishcording. And take your hat off to the tone-perfect 1993-era closing sequence, with a dark and viscous "Split" jam (listen to Page!) that even stuck the landing, then the brisk early-morning jog and long cooldown of "The Squirming Coil." It has come to my attention that some people think "Coil" is a buzzkill, and you can't see me but I'm shaking my head at all of you right now. Don't like "Backwards Down the Number Line" deep in the fourth quarter? I'm not going to fight about it, but today actually is my birthday so I'm pretty sure Trey was playing it specifically for me. This version actually raged, also. Bottom line, this was a very, very good Phish show, right up there with the best of last fall's incredibly strong nor'easter.

Photo by Dave Vann © Phish 2014. All rights reserved.

CHEERS to Jon Fishman, who is playing his ass off, dictating the scope and tempo of jams, slowing "The Moma Dance" to a crawl, which didn't really work, but later catching "Split" on the hook of his wrecker and dragging it bodily into the swamp, and shutting the place down by bringing a little New Orleans (or maybe Nashville) to a swaggering "Character Zero."

CHEERS to Chris Kuroda, constantly reinventing himself to the point where it's not clear if he's an obsessive perfectionist or just gets bored easily. He's now rocking four stations across the stage, one for each band member, with a horizontal grid up high and a rack descending vertically toward the floor, plus big racks on each side. Last year's setup is gone. His go-to look last night seemed to be big, bold horizontal stripes of immaculate color across the white backdrop.

JEERS to vodka-enthusiast turd man Billy Joel for too many reasons to count, but I guess if his oafish self-regard leads Phish to a career reinvention by focusing on their own idiosyncratic repertoire, then possibly also CHEERS to Billy Joel, America's beloved "Piano Man."

JEERS to the LivePhish app, last updated during the Eisenhower Administration.

CHEERS to the Randall's tickets sitting next to me on the desk.

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As the Tour De Phish entered its second stage, its riders, of the rail variety or otherwise were faced with some stormy conditions. The weather was severe enough that the venue doors were opened late as a safety precaution. As far as the recapper’s experience goes, I was faced with technical difficulties associated with a poor wifi connection in my Lake Tahoe vacation rental. The webcast was therefore unwatchable and the following will be based entirely on listening to the show when I awoke this morning to find out that my wife and I had managed to chase off her parents, leaving us to celebrate our Independence. What follows is a live blogged relistening as I chug coffee in advance of some fireworks.

The “Farmhouse” opener is a warm welcome with a semi-awkward embrace and a soothing backrub to get some blood flowing and some feeling back into the soggy appendages. This slow warm-up was the perfect prelude to the funktastic “Wolfman’s Brother” which followed. It found a killer groove and is edgy and raw. I would imagine I would have been dancing as hard to this one as I did in Bangor a year ago. Walking into the “Maze” I was expecting the energy to remain elevated but this version is quite a mess. The interplay between Page and Trey for the bulk of the song reminds me of the conversation my wife and I had with her parents last night...everybody has something to say...but nobody was doing any listening. Just poor communication. Jarring, wonky, not really a good time.

Things did not improve with the traverse along “Yarmouth Road” unfortunately. The whole band sounds really tired...which is not a good thing four songs into the first set. “Strange Design”...simply describes the setlist so far. The energy is already low...so please pour this molasses on my head as I chug some sizzurp. I’m not saying it wasn’t played well. It’s just doing nothing to keep me awake. Perhaps even lulling me to sleep, perchance to “Devotion to a Dream.” The first of four Fuego tracks to be performed this evening finally breathes some life back into the set. “Ocelot” then slouches back down into another shady glen for another completely unnecessary mellow breather. It’s like being on a hike at altitude, getting oxygen deprived and lungless from very minimal exertion. Where is the fire? Please get me some “Chalkdust” to end this torture. Energetic but discordant. I feel alive but uncomfortable. Heart rate elevated sufficiently. Now lets do something with this renewed vitality. Yeah! We can climb this “Mound” and find out what both we and it are made of. Quite an interesting version, a chaotic jumble of angular blocks of deep thought that shouldn’t quite fit together in one place but somehow do in a very pleasing manner. A fitting counterpoint to the soothing deep brain massage offered by the “Roggae” which follows. Glossy and smooth with a patiently building groove that is only slightly marred by some minor flubbery on Trey’s part. I would have dropped this into the “Strange Design” slot above. Relaxed but glowing and alive. Back on track...just in time to end the set. I love “Possum” and would be happy hearing it at every show. This specimen features some sweet piano work and a little bit of machine gun fire. You got me again...I’ll stick around for the second set...just in case things get more interesting.

“Bathtub Gin” to open the second set? Alright, things just got more interesting. The first pour is a slooooow gin fizz. A rhapsody in Sapphire. Shaken and stirred. Cool and refreshing. Well balanced and smooth. An aromatic blend of rich exotic spices with a hypnotic finish that fades to a stunning “Limb by Limb.” Definitely a must hear version of the song. The jam goes way out beyond the trail markers to find a pulsing mass of thick phosphorescent goo which stands a menacing guard at the gates to the land of the “Winterqueen.” The second Fuego tune of the night is perfectly placed, well played, and does nothing to mar the magnificence of what preceded it. It is a moment to breathe deep and admire all which surrounds in the circus of light...as we step to “The Line.”

Considering the subject matter of the song and the nature of Trey’s time spent in the Saratoga area...hearing this third Fuego track of the night during the SPAC run is not a surprise. A great reminder that we can overcome our failures. Even those as recent as a largely lifeless and disjointed first set. Especially when you are going to drop a late game “Tweezer” after an already solid third quarter. The “Tweezer” jam is average great. Which is to say it treads no new ground...but there is still nothing I would rather listen to than this song. Play it every show, every set, I’m loving it every time. It always touches me in my “no-no square” whenever it appears. The late-game butt fumble for this show is the rather perfunctory “Prince Caspian” paired with a typically cracked out “Sparkle” which followed. The fumble is recovered by a high energy “Antelope” and returned the length of the field for a potentially game winning touchdown to close the set. The success of the PAT conversion during the encore would make the difference between a win, loss, or tie for this contest. Obviously we should be getting a “Tweezer Reprise” but with what would it be paired? I had been calling for a “Showprise” conclusion all day but instead we got the fourth Fuego song of the night an awkward thank you from Page and “Sing Monica” as our prize. It was a solid performance of the song they wrote about a girl they don’t know. I know I don’t have to tell you that “Tweeprise” was FUCKING AWESOME. So the encore was scored as a solid kick right between the uprights earning a single point and a tie for the game. As the saying goes...it’s like kissing your sister.

Expecting drier conditions and some fireworks tonight. I’ll be raging Lights on the Lake with an estimated crowd of a million that will undoubtedly be dispersed by national guard troops before the evening concludes. Be safe. Murica!

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