Permalink for Comment #1339629034 by ScottyB

, comment by ScottyB
ScottyB This wasn't a show aimed for diehard fans. Probably the only one they'll play all year. The proof is in the pudding - nearly every review from Bonnaroo outside of the Phish community gives the band kudos for their set(s).

http://www.spin.com/articles/phish-noodle-bonnaroo-finish-line-12-key-sunday-sets />
The band's performance worked on both micro and macro levels. Zero in on the details — keyboardist Page McConnell's soul-jazz comping; drummer Jon Fishman's skittering cymbals — and you could get wonderfully lost. Pan back to frontman Trey Anastasio's guitar heroics and (not to mention a guest spot from Kenny Rogers, who sang "The Gambler" with the band), and Phish was all big-gesture rock thrills stretched to epic length

http://consequenceofsound.net/2012/06/festival-review-cos-at-bonnaroo-2012/ />
I know that all the Phish purists out there will probably have a gripe with the lack of extended jamming and the favoring of their radio-friendly songs like “Sample in a Jar” and “Character Zero”, but you’ve got to respect Anastasio & co. for at least trying not to be exclusionary. Of course, Bonnaroo began as a jam-centric entity, but it’s a different monster now, one where Skrillex can fly in on a spaceship and blast his EDM across the same stage mere hours after a band like Dispatch. Sunday night, Phish was in a true festival mindset in that their aim was to please as many people as possible — to reach across the aisle, if you will. And in that sense they succeeded as only a group with their storied history and skill set could have.

http://artsbeat.blogs.nytimes.com/2012/06/11/bonnaroo-final-thoughts/ />
In about three hours of music, Phish touched on most of its bases, but by and large this was not jazzy Phish or progressive-rock Phish but happy Phish — and downright euphoric at that, in two borrowed songs that hail from New York City. They were Lou Reed’s Velvet Underground classic “Rock and Roll” and TV on the Radio’s determinedly hopeful “Golden Age,” which probably wasn’t envisioned as a rock-festival rouser. But it sounded just right, praising “the age of miracles/the age of sound.”

You'll notice there was a break between Bonnaroo and Atlantic City. IMO, the band used Worcester as a dress rehearsal for Bonnaroo, hence all the repeats. But of course they know their audience and sprinkled bustouts and jams throughout the DCU Center performances. Let's not forget, this is a group that had played four shows in 10 months leading up to the festival. I feel they didn't want to embarrass themselves on a technical level, hence giving most of the tunes from the Bonnaroo set a run-through in Massachusetts.
Score: 8    
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