Set 1: Happy Saturday. Insert Mercury retrograde joke here. Nothing life changing to speak of.

Set 2: I'll leave more detailed song descriptions to others, but I feel like this set highlighted an obvious conscious attempt to be more patient with song transitions this summer. I assume Fare Thee Well had something to do with that. Disease>Halley's didn't feel jarring at all. Natural even. And the tention in Halley's was palpable. The entire shed was on the edge of their seats, willing Phish to drop back into the funk...and they did. Some argue not for long enough, before a seamless segue into Twist, but I can live without a 30 minute Halley's in exchange for a patiently constructed, well executed set that flows smoothly throughout. And that's what this set did.

Light didn't soar too far into the stratosphere before giving way to What's the Use?, which someone affiliated with Alpine must request. They obviously practiced this rarity. It was beautifully executed and subtly nuanced, and really highlighted the excellent sound that makes all the crappy parts of the venue worth while.

Fuego (which just tried to autocorrect to "Diego") was nicely placed, and well executed, and emerged naturally from the end of What's the Use?

What I really want to talk about here is Number Line. No, really. This is where the patience I was talking about earlier really made its mark. Obviously the band f-ing loves this song, and I admit that once it gets going it can really rage, but the beginning can be jarring. Especially if it is cutting off some sort of exploratory mindfuckery (which it has done so many times that I feel like Prince Caspian himself deserves a writing credit). This time would be different, though. This time they took it slow, and payed attention to the rhythem coming out of Fuego, and extended the intro just long enough to dampen the blow, and it worked! By God, it worked!

I'll never complain about a Slave, but I was feeling an Antelope here. Again, totally not complaining. Good Slave.

E: Meatstick was almost certainly played in response to the Rubanesque fuck-doll being tossed around the pit throughout the set. I can't imagine how much fun it is to stand on stage and watch 10,000 people with varrying degrees of mushy brains try to remember how to do the choriographed cock and balls dance moves. I would play this song every night. Like Character Zero. But you know what? You got 7 minutes left, and you want to shred every single one of them? Go for it.