How good to see "the boys" smiling so much on the webcast. Personal observation: both The Moma Dance and Waiting All Night reference sails or sailing. Other than the fact that the Moma intro was somewhat extended, that's about all that's particularly notable about the first part of the first set (other than the beautiful relaxation of Waiting All Night, which to me is kind of like the aural equivalent of an elongated first descent into a good bath, or some similarly calm euphoriant experience.) Glad to see the pinging loop in Heavy Things, which I really have a hard time hearing the song without. Sometimes Trey doesn't set it, I think a few New Year's Runs ago he didn't for example, and I'm glad when he does. Not that I necessarily want live performances to be carbon copies of the studio versions--far from it, in fact, though I can enjoy it when they are--but that loop is really a part of the song for me. Reminds me of how much I love Trey's leads in the Big Cypress version. That version may be my favorite; it just seemed charged with a really positive, optimistic energy surrounding the millennium despite the fear of the Y2K bug (it didn't matter!) Maybe that trichromatic major chord progression just lends itself to happy-sounding "soloing." Happy Birthday to Dickie Scotland is heartwarming, and you gotta love the big rock ending. Feel the Berning suction! Trey's chops are in full effect on Divided Sky, and the set closes twice if you will with Cavern and Good Times Bad Times. I wouldn't say the second set is must-hear, but it's at least average great. I won't enumerate its many merits except to laud the I Am the Walrus encore. Tour's great so far.