Killer show to wrap up the first great weekend of 2.0 Phish. A rare Bowie opener kicks things off nice and hot, distinguished by a cool dip into the major key which burns for a bit before moving toward a more frenetic and chaotic riff session. Once Trey lands on something he likes, and the rest of the band picks up on the pattern, we get a surprise Catapult that fits quite nice. Nothing about this machine malfunctions though, as it launches the band right into a soaring Bowie finale expertly. Horn is a little laid back, but Guyute is pretty decent. Round Room isn't one of my favorite Phish tunes, but man this jam is so cool. The beginning feels almost like the blend of an Antelope intro and a subdued Runaway Jim jam. Though the sounds evolve, the band is patient and restrained. They keep the groove nice and low, allowing it to slowly melt into a contemplative drone. Happy to get a surprise bustout of Golden Lady (the random covers are a nice theme throughout the weekend). Poor Heart is par for the course, but Pebbles and Marbles rocks real hard to close out Set 1.

The DwD -> Seven Below -> DwD sandwich is a cool one, especially as you get to the subdued tail end of the first DwD. After a really clean transition, the band catches some nice grooves on -7 (especially as Page moves to the piano around 7:35). Anything but Me is a nice delicate cooldown after a burning DwD finish, and the band puts that rest to work in the Vegas Piper. Without giving a long-winded comprehensive review, it's hard to fully pay respects to this beast. But I'll just note that the 16:00 - 17:30ish section where Mike and Fishman continually drop out to let Trey and Page just groove is fucking awesome. (Also obligatory comment about the DwD reprise because gahddamn that's hot.) -> Makisupa is nicely done. Really love Mike on this one, definitely worth checking out if you like Makisupa (and even if you don't!). Zero is pretty typical, as is Friday. But I never really appreciated how pretty Friday is until this listen...especially the Trey/Page harmonies on the chorus. It's a nice tune, though maybe best suited outside the encore slot.