If nothing else, you must absolutely hear the Mike's Song from this show, an astonishing hybrid of the crazed noisiness of 1995 (and, frankly, 1996) and the laser-focused tight grooves of 1997, with Karl Perazzo riding shotgun and providing a funky backdrop in that beloved Karl Perazzo way of his, a thread in Phish's jamming tapestry that heretofore had not existed. The supreme confidence of this jam, mellifluous at times like so many jams 13 and 14 months later, cannot be overstated - such is the confidence that Trey makes the ill-advised decision to head back into the usual Mike's closing stage, which the band stumbles through pretty badly. Still, the 17 preceding minutes are as good as the band gets (definitely as good ad 1996 gets),, and (if you want to get poetic about it) a remarkable literal transformation from old Phish to new Phish. The rest of the show is fine - Perazzo is Perazzo, and both Weekapaug and Slave are quite nice - but that Mike's is nothing less than a statement of intent and cannot be recommended enough.