Loved this show! I saw TAB here in 2014. Was initially a bit disappointed that the structure was changed upon hearing the Milkman wasn't able to make this tour work. What resulted was a monstrous throwback to 1998 only with some beautiful new content taboot! The Trio was focused and took all their material seriously. Jibboo opener was perfect to kickoff this tour (and they've been playing it, Sand & First Tube pretty much every night since... how appropriate). 46 Days, Steam and Sand were tremendous anchors to a stellar 2nd set with beautiful peaks and valleys. Also good to see Trey is throwing in some acoustic licks in the encore slot during this tour as well. Waste was very well received here. If you've got TAT coming through your town over the next week or so.. I highly recommend seeing these guys. Might not have this come around again for awhile. Thanks!

Incredible review by Pholy. I'll just add that Set 1 may be the first ever Phish set that had no breaks. The "," between AC/DC Bag and Fluffhead is very short, and could be considered a ">" that includes very brief moments of silence as part of the segue. The result is one of the best sets I've heard up to this point in Phish's career. Every song is imbued with a very strong potency, including high levels of tension in Tweezer, one of the best Esther's I've heard to date, as well as one of the most celebratory arrivals in Fluffhead. The segues between songs are also extra interesting, especially the beginning of the Tweezer, the segue from Esther > OKP, and Bag > Fluffhead. Phish was on a roll. I think the second set gets a bit looser, with a few technical mistakes that seem to throw the band off just a hair, but still an above average set for the time. The Icculus is a fantastic bustout to end their first tour of the west coast. If you want something from '91, listen to this show, especially the first set.

I think the "Most Shows Spell Something" gimmick on 8/30 took a bit of wind out of the sails of the setlist construction this weekend at Dick's. There are a few flashes of inspiration in the setlists, but for the most part, an artifice detracted from the thematic consistency. Anyway, no real jamming highlight in the first set, and the Type II in the second set is limited to Carini and Piper, which [i]are[/i] admittedly brilliant. Phans discuss transitional [i]years[/i] in Phishtory, and this run feels a bit like a transitional [i]run[/i]. Fall 2013 would bring some much-needed piquancy to the mix, and possibly portend greater heights to scale over the next few years, crystallising particularly in 2015 and 2017.

Firmly average-great show, although the second-set-opening Chalk Dust Torture is amazing, a jam that I like better than the month-prior "Tahoe Tweezer," in part because it's mercifully free of woo-ing (though there's one in every crowd!) Wolfman's Brother and Bathtub Gin in the first set are extended a bit each, and worth hearing, but the big jam is the big draw. Light -> 46 Days and Steam -> Free are great segues, though, even if Steam was abbreviated to fewer than 6 minutes to accomplish the latter. Tweezer towards the end of the set only features about 2 minutes of Type II. On the Road Again is a nice Phish debut, foreshadowing the excellent Fall 2013 tour and its Hallowe'en Run.

Much like 9/2/11, the first Dick's setlist-gimmick show, this show suffers a bit from the limitations of (in this case) spelling something (backwards, no less): Phish has a deep catalogue, but they have to make some critical decisions on song diction to fit within the spelling. This is probably one reason why Harry Hood is one of the shortest versions ever, or at the very least the shortest in 3.0. But the show opens with a great Ghost, and there are some nifty rarities in Icculus and Esther, as well as the Phish debut of Little Feat's Easy to Slip and a now-neglected reading of Mike's Say Something. The Sand jam features some great playing by Page, but after that, aside from the segue between Hood -> Silent in the Morning and the bustout of Oh! Sweet Nuthin', this show is less memorable for the jamming or even the 2013-vintage Type I than it is for continuing the popular Dick's tradition.

The craic in this show occurs in the opening combination of the second set (average-great Bathtub Gin in the first set notwithstanding.) But before that... it's nice to see the classic Runaway Jim, Foam pairing, as well as the bustout of Mexican Cousin. A Song I Heard the Ocean Sing also makes a welcome appearance, though strictly Type I. Now, the Chalk Dust Torture features some really strong clavinetting from Page > Piper which is a thematic (teary-eyed, @Icculus?) jam that is one of the most noteworthy versions in recent memory, along with being a rarely stretched-out version of the song. From there, if you're a big fan of You Enjoy Myself you have 28:12 of it (on the soundboard, including pre-encore crowd noise) including all four members on percussion. The Moma Dance makes a rare encore appearance > Slave to the Traffic Light and there you have a show that I will mostly remember for the Chalkdust > Piper.

At the very least, this show boasts a top-tier version of Light... it's really an amazing jam that you should hear if you like that song. The rest of the show is played really well, but an interesting thing about it is that it seems almost "themed," in that Horn > Frankie Says initiates a sprinkling of laid-back and swirling psychedelia in the Type-I songs that can also be observed in Roggae, Wingsuit (and maybe the song preceding it, Birds of a Feather), Twist > Wading in the Velvet Sea, and Waiting All Night. The show feels very The-Story-of-the-Ghost to me, which is not to say that it feels very The-Siket-Disc, but there's 12/31/99 for that. Also notable are the rarities Dog Faced Boy, Fuck Your Face, and Lengthwise. Throw in an average-great Harry Hood and you're in cider town!

Perhaps doesn't scale the sheer sustained thrills of the previous night or the precocious intimacy of the Wingsuit costume, but this is still an outstanding show. Everything is played to a degree that bespeaks the veracity of many phans' contention that Fall 2013 was an all-time high point in Phishtory; some moments wouldn't feel out of place in a Summer '94 show, as far as tightness and being locked in. Theme From the Bottom is a must-hear version, in my opinion, if you're a Theme lover. It establishes a funk theme that would pervade this show through to the last few minutes of the Down with Disease jam as well as the other jamming highlight: Tweezer (featuring the old-school slowing wind-down ending!) Most of the remainder of the show is short and concise, but concision isn't at all a weak point when it comes to Phish, and especially when they're jamming like they did in this show.

I can hear the phun in this show. From the John Cactus-infused Runaway Jim, to a great latter-day Sand, to the Mike bass-synth effects in Halfway to the Moon, to the rare Jesus Just Left Chicago, the first set has got a lot going for it. Everything is played stylishly and the band seems rejuvenated by the previous night's debut of what was then to be their album Wingsuit (which became their album Fuego.) Twist to open the second set is certainly long, but the Under Pressure antics have worn thin upon this relisten, though the Light jam is very stimulating. They revisit the Shaft antics in the Sneakin' Sally Through the Alley encore. I'm not much of a scenemaker so I don't necessarily know whereof I speak, but this weekend in Las Vegas feels as if it was a highpoint in Phishtory for the band and the audience both.

This show rates a solid 4-out-of-5 stars on the 3-is-average-great scale, according to me! The setlist is totally stacked, especially in contrast to the previous night's Alaska, Let Me Lie segment three and four songs into the second set (here that space is occupied by Halley's Comet > Rock and Roll!) All the playing is on point compositionally, as it was throughout this first year of Phish 3.0 (or, the "common era.") Anything But Me is encouraging to hear rendered so lovingly at this point in Phishtory, debuted at a time when the band and the scene were going through growing pains. Cars Trucks Buses, incidentally, has always struck me since I got one at my first show as a quintessential summer song. Maybe yours is Ya Mar but I like the intensity of CTB a lot better. Backwards Down the Number Line gets its first 20-min. jam to open Set II with a segue into Twenty Years Later... admirable showing for those two then-new tunes, and the BDTNL jam is actually pretty exploratory considering the frame it comes from, with a modulation and everything (which Trey is on record as loving when we notice!) Harpua, what can I say? It's funny to me that you don't hear the crowd really "get" I Kissed a Girl until the refrain... I had heard it ad nauseam because at the time I was listening to popular radio. It was kind of ubiquitous in 2009. You Enjoy Myself set-closer, as I say: stacked! I Been Around debuts in the encore surrounded by the lovable Grind and the enthusiastic Highway to Hell, I'd just have to say this is an outstanding tour-closer of a show!

The crowd certainly did wan'na hear Tube for crying out loud, LOL! Crowd Control opener is energetic and parlays into a well-played show with a few notable moments or highlights: Foam and Esther are played pretty well if not note-perfectly, Ha Ha Ha is a fun rarity, you get your debut of Party Time and some banter surrounding that trio of songs (with Tube), and Time Turns Elastic closes the set, my favorite Phish song debuted since the reunion. Tweezer to open Set II doesn't get that wild, really, and Alaska, Let Me Lie in a second set might've seemed kind of head-scratchy at the time (though those kinds of song choices have become a lot more common since then), but 46 Days has a great outing, with synth from Page and a display of the jamming tendencies inherent to early 3.0, which were pretty wide-ranging in retrospect. Finally, Oh! Sweet Nuthin' which I think has only been played once more since this version > Harry Hood, again not a really wild version but good, and Good Times Bad Times, Tweezer Reprise to close the show. I think the Tube calls in the audience were kind of annoying the band, but stuff like that catches on with ordinary people and the madness of crowds.

One of the great cases for "setlist flow" making a show. The big highlight of the first set is the post Horn jam that could almost be a Siket disc outtake with its effortless ambient chill. Second set highlight is the Tweezer -> Free. In my mind calling it a "California Love Jam" is a little bit much. It goes on for under two minutes and just sort of interprets the chorus of California Love. At any rate its a standard/great Tweezer with a flawless "->" one of the best Free's there is. Free just gets funkier, slower, and more sparse as it goes. Truly a version to seek out. [b] If you only take two things away from this show it should be the post Horn jam and Free[/b]. Having said all that, this is a curious choice to have been one of the first LivePhish releases. A solid show with a couple of highlights, but there are several still unreleased shows from 98 that are more deserving of the LivePhish treatment (either night of the Gorge, hello?). 3.8/5 Solid B+/A- Phish.

So, I've been listening to 1994 Fall in its entirety and in order, and here we arrive at the second Great show of the tour! Highlights... SET 1: Stash -> Catapult -> Stash, Tela > Maze - Two outstanding jams with Tela in between... very nice. SET 2: Bouncing Around the Room -> Halley's Comet > You Enjoy Myself -> The Vibration of Life -> You Enjoy Myself - This is a weird conglomeration of segued songs, but it really works well. And the YEM is a monster. Down with Disease - Short, but it's a growler. Harry Hood - This is the ridiculously good Hood from ALO. Good Times Bad Times - Really nice closer with a ton of punch. ENCORE: The Squirming Coil - Page gets way, way off on the piano ending.

My first and only show that I've caught. I've listened to plenty of LP, though, to know that while this wasn't the best Phish around, it was still pretty solid. I'm no musician, so while maybe the band wasn't connecting like I've seen in other reviews, I thought it was still a solid effort, and I wasn't disappointed. My brother-in-law, who's been a Phan for years, really enjoyed this one as well. Highlights were The Moma Dance, DwD, and Light > Cities > 46 Days > Sand (which IMO was the best part of the show - great segment). Could've lived with the > BDTNL, but they can't all be zingers, right? Anyways, solid, if unspectacular, show. My Key Arena experience was a blast.

I really really like this show, and have listened to it almost 3 times start to finish this month alone. The style of play in this show is unlike any other show on the tour (Loosely knitted, patient, true psychadelia, wierd). I've heard a lot of people talking about Phish trying to make a name for themselves here at Deer Creek in the shadow of the Grateful Dead, and judging by the way they played on this night, there may be something to that. This was, bar none, an intentional performance, put on with delicate care and attention to not over-do. Either way, i think its a 5-star. Highly recommended.

The jam charts got it just right... this is an INTENSE Melt. Trey's playing is chaotic, dissonant, and deranged, but some of his shards of notes are simply demonic jaw droppers. Fishman gets absolutely savage for the last three or four minutes. The Bag is played with equal intensity too, and again, Fish is an absolute beast. Wowza.

Hah! That opinions-from-the-audience bit is great. How cool would it be if they did that again sometime?! Also cool would be them coming out before the show begins and answering questions from the audience like Carol Burnett did on her show ... if that reference means the slightest thing to you. While I'm here, the Split is top-shelf, up-tempo, lightning bolt-thowing, and should be checked out by connoisseurs of Melt's glory days, when Trey packed more into 9 minutes than he'll give you in 20 anymore. He opens that manic, musical hose on this one. My kind of stuff.

New phans should keep in mind a few caveats about .Net show reviews: they're either coming from people who are still emphatically obsessed with everything about Phish (perhaps also known as noobs) or from phans who have been around the block a few times and tend to compare shows to one another (jaded vets.) This show is phun, for sure, but it's not especially noteworthy in the full view of Phishtory, and that's good to understand not necessarily in the moment in attendance, when perhaps such bias should be discarded, but in retrospect when considering which shows to revisit, or as in the old days, to trade for. It's a diminishing return that's happening now with the availability of each and every show near-immediately, because in bygones past we had to carefully review setlists and jam reviews to find out "where it was really at" in regards to shows or tours. I'm certainly glad that all shows are available in soundboard quality since 2002, but there tends to be a sort of inflation of acclaim for shows that years ago would've been swept under the rug. This is just an average-great show.

Feels like a solidly average-great show. Maybe by this point in 2009 Phish were experiencing a temporary lull in inspiration, that would be resolved in spades by the New Year's Run. Heavy Things opens the show without the ping loop, which in my opinion is essential to the execution of the song. Glide makes a post-Coventry appearance. 46 Days is pretty brief. Reba, Guyute, and Maze all tend to underwhelm. Scents and Subtle Sounds is a promising second-set opener, but it doesn't have the Intro and peters out into a Rock and Roll that--"MSG Jam" intact--doesn't really thrill, -> Seven Below, and the remainder of the set is just standard fare for this era in Phishtory, but without the particularly riveting compositional acumen or jamming prowess that distinguish other, more highly rated shows from 2009. Maybe Phish was careful this time out at Madison Square Garden, but I feel unremiss in saying you could do without this show when accumulating a serious Phish 2009 collection. I'm well-satisfied that it was a worthy night out for attendees, though.

It's kind of astounding that Phish could play a second set featuring Cities, Halley's Comet, and 2001 in rapid succession with only Cities going even slightly outside of the box, but whatevs. Taste and Time Turns Elastic in the first set--and to a Type-I'er extent, Back on the Train and Julius--are my personal recommendations, whereas Stash kind of pussyfoots its way through a brief and relatively unincendiary Type-I jam. Down with Disease reaches some interesting synthspace to open Set I towards the last few minutes of the jam, and Piper boasts some intriguing funk, but as mentioned above, Cities, Halley's, and 2001 should be jaded-indifferent highlights but here are dare I say uninspired? David Bowie closes the set with a version that wouldn't be out of place in an early 1990s show.

Nice average-great show, with glimpses of above-average jamming in Light. The second set is certainly stacked, and with the exception of my personal nemesis Ocelot in the first set that set is also chock-full. This isn't particularly a standout show for 2009 or for 3.0 as an whole, and with no legitimate -> segues it falls short in that regard as well, but you might want to check out the second set. 2009 is kind of a renaissance year for me, with clever adherence to the composed portions that couldn't be found in 2.0, but the jamming highlights are pretty clearly defined and this show is just another night along the journey to the heights scaled later in the Phishtorical era that could be found later in 3.0.

Above average-great show, 4 out of 5 stars, in my opinion. As with the previous night at the same venue, the setlist is on point, especially the song choices in the first set. The Bathtub Gin to open Set II is about 24 minutes long and ranges over a lot of movements, including a segment that feels similar to the "millennial" jamming we'd hear the next year at Big Cypress. The Moma Dance > Slave to the Traffic Light > You Enjoy Myself is a very strong way to close the show, too, and the "Fake Light Tease" (house lights went on temporarily on purpose before the encore) is funny with Frankenstein and Free Bird to send us on our way.

Rates as 4-out-of-5 stars for me. Taste is .Netted as a Noteworthy Jam, but I'd contend that the Stash and Chalk Dust Torture should be, as well. At the very least, the crowd is crunk to be hearing Phish, audible on the recording on phish.in'. I love the song choices in the first set, with a short-and-sweet Carini, Love Me, the rare Ride Captain Ride, and Paul and Silas among the highlights. The second set is where the jammier tunes are, for the most part--Stash in the first set is about 14 minutes long--and although Trey has an interesting effect working throughout this show, the "songier" parts of the show feel more rewarding to me. Jane's Addiction encore, it's just an above average-great show.

I’ve made my way through the first six shows of this tour. Things turned up the previous night and the band continues to put on a strong performance here. Much of the show includes solid Fall ‘94 versions. I really like the set list and am highlighting just a few things. Overall, however, this show is worthy of your time. It’s nice to get ATR here in the 1st set which was still being played occasionally but was on its way to being shelved as it was only played 8 more times after this one. I really miss Foam being in the regular rotation. Listening to this stellar version was a treat, as the band takes their time with this one. I love the quiet parts, and then subsequent build up is really fun. This is one of the more exploratory versions I’ve heard and I’m pleased to see it recognized as a highly recommended version. If you’re a Foam fan and unfamiliar with this version I’d give it a listen, or ten. Stash to close out the first set is an interesting and fairly uncommon set closing choice which works well here. It’s a solid version. The Antelope and Mike’s Simple sandwich are both enjoyable, and I particularly like when Antelope is played in any spot other than as a set closer. This is the second appearance in a row of the Mike’s > Simple > Mike’s combination and I like the version done on 10.8.94 better. However, it’s still an interesting historical look at how Simple at that point in time and to see how much it’ll evolve. The Weekapaug is another show highlight, making it two outings in a row where it’s played that role. I’m always fascinated by songs trends like this, especially when they unexpected. This is a very fun show. I prefer the previous night and 10.8.94 a bit more but I think all of three have merit and are good examples of how the band was playing in the early part of this tour.

I really like this show and prefer it over much of the earlier shows from this tour (with maybe the exception of 10.8.14). The band seems to have shifted into a higher gear now. Another MFMF opener, getting no complaints from me. The Reba that follows is a beauty. After The Sloth, we get a Melt that smokes! I really like this version, which is dark and chaotic. The rest of the set is solid, and includes the first Lizards of the tour. The Peaches Bowie set II opening sequence is awesome. I’ll always take a Peaches, and the Bowie was more interesting and exploratory than the previous version from this tour. I’m enjoying seeing how several of the band’s tunes opened up this tour, and Bowie is no exception as we know there are some monstrous versions on the horizon (e.g., 11.14.94 & 11.26.94). I love this Bowie and it’s worthy of numerous listens. It’s probably my favorite thing that they’ve played so far on this tour. One look at the jam charts and you know this tour was a peak time for the song. The rest of the set has some nice things going for it, including another mid-set YEM and a Hood with some really nice quiet moments. Good Times Bad Times brings the show to close. Overall a strong show with a couple of really nice highlights.

I would consider this an above average-great show. The sheer scope of the Mike's Groove in the first set is enough to convince me, however often that occurred in 1998 or afterwards. The acoustic-Trey interlude is certainly rewarding. The Wedge and Limb by Limb lend a poignancy to the Groove that might not otherwise be found in setlong Mike's Grooves. AC/DC Bag to open the second set is groovy, if not monochromatic. It modulates before a segue into Ghost, which bubbles under to some degree before the Set conclusion, Reba, Farmhouse. Reba displays some pyrotechnics which might've been expected from the Ghost, but it's a satisfactory close to the set. Guyute, While My Guitar Gently Weeps is a fitting coda to the show.

This is the first truly great show of the awesome Fall 94 tour. Here some quick thoughts: SET 1 Simple > My Friend, My Friend -> I Didn't Know is an amazing opener... so strong. Stash is a really good one, as is It's Ice. Guyute has never been a fav for me, but this one is an exception. Divided Sky is simply gorgeous. SET 2 David Bowie is a powerhouse version... short but outstanding. Reba gets all type II-ish... and it's fucking Reba! Scent of a Mule / Lifeboy is really good, and that's (at least for Lifeboy) a rarity. The Old Home Place, Beaumont Rag, and Nellie Kane have some great fretwork from Bela Fleck (and I generally don't love this acoustic stuff). And this Llama is one of the best ever.

PA problems bailed Trey out of what has to be one of the worst Divided Skys ever. And (sorry Trey) he started fucking up before the PA did on that one. Other than that, it boggles my mind how underrated this show is. [b]Show me another show with two 20 minute jams in one set that scores below a 3.0 average score[/b]. This "second set" is nothing short of amazing. Killer Jammed out Halley's, and an all-timer Mike's Groove with a great Mike's and a cool Weekapaug (complete with On Broadway jam) sandwiching a transcendent Simple that runs the gamut from blissful Simple jam to ambient atmospheric to uptempo rock and stretches for 24 minutes. Even GTBT gets a little extra jamming. Don't blame Phish for the PA problems, this show is a winner. 4.25/5 grade A Phish

This Tweezer is 20 minutes of beautiful, down-stated Funk joy. Definite highlight of the show and one of the highlights of the European tour. Other than that, this is a solid if somewhat unspectacular show. Standard/good versions of SOAMelt, Drowned and Theme. Interesting cover during the Mule Duel and a Hood -> Izabella that looks better on paper than it sounds on tape. 3.5 / 5 based on the power of this Tweezer

There are a couple of highlights in this show that are worthy of checking out but I still think 10.8.94 is the better show from the beginning run of this tour. The listener should keep in mind that this being Fall ‘94, even average versions of most tunes are very well played. Sample to open. I’m not the biggest fan of the tune but I like the placement. Next comes Divided Sky, opening things up nicely. A typically great Fall ‘94 version that hits the spot. A few songs later we get Stash, which is a solid version, followed by Guyute. This song was still in its infancy but this is my favorite version of the 3 they had played so far. The band brings it down with a few acoustic numbers (that are challenging to hear on this recording) before closing the set with CDT, a short and sweet, but rather uneventful version. Much of the second set is solid. Esther makes an appearance, which is always welcome. And then there’s the Tweezer. It’s a pretty good version and shows further signs of what’s to come in Bangor, which is now less than a month away, as it gets more exploratory than the previous take on the tour. That being said, it’s an interesting version but I wouldn’t say it’s a must-listen. The rest of the tunes that complete the set are fine, with Slave making its tour debut and, like much of the rest of the show, is a solid but unremarkable version. Fish does offer some fun banter right before Love You, which is a treat. Overall, this is a decent but not extraordinary show with only Tweezer really being worth more than a listen or two.