Copied over from CookiePuss' review from LivePhish.com
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This was the favorite show that I ever attended. The day was beautiful after a few days of rain in Japan. The venue was in the thick of downtown Fukuoka and there were tons of extras because not a lot of folks wanted to take the six hour train ride (even on the Shinkansen) from Nagoya the night before to get there. The small venue was painted entirely in black, the crowd was primarily Japanese. Folks go in by ticket number in Japan and I very fortuitously had #10 so I got a spot right in front of Trey on the rail. The vibe inside was at first a little raucous with excitement but due to the song choice and the obvious thoughtful vibe of the band both in playing and stage presence the crowd settled down almost immediately. What followed was extraordinary to behold in person. I have NEVER been to any "rock" concert where everyone was so quiet. People were intently listening and the symbiosis between band and audience was perfect. Loud applause at precisely the right moment, dead silence otherwise. The beginning of the second set felt like seeing Phish in a rehearsal and was almost obscenely intimate. The band interplay was so telepathic and the audience so enraptured that the room started to feel downright holy. It was wondrous to witness and everybody knew it. When the lights came on after the show, nobody moved. They, including myself, were entranced; it was just that hypnotic and magical. It was like a spell had been broken and we had come back to earth/Kansas/Kansai(?).

I had dinner with a new Japanese friend I met that night that would become the best man at my wedding three years later in Japan. I met my wife-to-be the next night in Osaka after the show. She's a Japanese and we have traveled back to Japan many times since then to visit the friends I met there on that tour and they have come to the U.S. many times to travel and of course see Phish. To get a feel for what the show was like, listen by yourself cause it was one of those nights that the material world pleasantly disappeared and the self was transported to the astral plane. Domo Arigatou Gozaimasu, Sakana-bandu ("Phish-band" in Japanese)

The second set is the best of Y2K to my ears, which isn't exactly a colossal achievement, but it's also the most delicate, ethereal, *patient* hour-plus of live Phish. Ever. The jam out of Walk Away sounds like a lonely wounded version of the 'Quadrophonic Topplings' jam at Big Cypress, the segue *into* Walk Away seems to stretch out forever, and the 18-minute take on Twist is pure crystalline sweetness. Beneath the washes of ambient sound a storm builds, and the electricity dissipates in an understated but intense 2001. Even GBOTT is infused with energy - and yet the whole set never seems to rise above a whisper. The show plays like a delicate small-venue coda to Big Cypress, albeit with none of that show's anarchic swamplands energy. Get this one.

A strong candidate for the greatest two set show not played on 12-31-99. If you dig/have the patience for ethereal, spaceland, glacial, experimental, mind-numblingly together Phish, this show is for you. The first set is totally laid back while also energetic...a very strange vibe surrounds the whole tape. Maybe it's the band's state of mind, the lack of crowd noise, or just the way it was recorded...but man if you don't feel like chilling out to this show ALL THE TIME.

Highlights include set one and set two. More specifically, a tragic Gumbo (personal favorite), an intergalactic Twist and following jam, and a solid Walk Away and following jam, and 2001, and a great encore, even if Trey sounds entirely worn out.

Get this show immediately if you've never experienced it. Because, after all, one does not simply "listen" to Fukuoka. One "lives" Fukuoka.

I don't care that it's missing some of my favorite songs; if I were given the opportunity to go back in time and see just one show, there is no question it would be this one.

I bought this show back when the LivePhish series started purely because I thought it would be interesting to listen to a Phish performance from Japan. Since then it has remained my unchallenged favorite of all the shows I've seen live or heard secondhand.

The energy here is beyond special: contained but intense, measured but adventurous, and sonically slick to an otherworldly degree rarely achieved by the group even at their considerable best. *Definitely* almost as good as James Brown on a bad night.

The core of the show is the "Twist." Not only is it the Mother of All "Twists," I believe it represents the zenith of the band's achievement in collective improvisation, the pinnacle of the guys' 15+ years of musicianship and friendship at home and on the road. It may not be your favorite mood, and it may not go to your favorite places. But from a standpoint of fairly objective musicianship and craft, this "Twist" is as good as it gets. The jam, spacious without ever seeming empty and jam-packed with telepathy, serenely drifts off into the deep space of an ambient C major. The situation seems irretrievable, like going under sedation. Just when the "Ghost" motif enters and you are wondering how -- or if -- they will get back to "Twist's" native key of G, it happens almost before you can perceive it: like an electric stove eye showing the first signs of an eerie red glow, the friendly warmth of Trey's guitar carefully summons the song's main riff from the abyss and then crescendos to a jubilant, defiant snarl as the band begins to sing the final chorus. It is a stupendous feat of collective musicianship, and the jam-surrounded Stones cover that follows is a fitting compliment delivered in total solidarity.

There are many other fine experiences to be had in this show. Though there are a few minor flubs and sound problems scattered across the first set, "The Curtain" and "Cities" are among the finest renditions of those songs in the catalog; the "Llama" guitar solo is particularly fierce, marked by a heavy chase delay; and "Back On the Train" and "Also Sprach" are concise but energetic explorations of those favorites in which Trey's guitar work particularly shines with an unusually suave and polished sophistication. The whole show simply *sounds* unbelievable, largely thanks to Paul's expert mix.

When Page brings "The Squirming Coil" to a close, you can tell beyond question that he realizes he is putting the finishing touches on a real milestone in the band's personal journey and professional career. It is musically gorgeous and emotionally quite moving to hear in the context of the whole performance.

This is a show to enjoy from start to finish in peace and quiet. I have read that the small audience was transfixed and largely silent through the entire show, and I have no problem believing it.

Only if . . . dang . . . gosh . . . if I'd a . . . Oh well.

I can only enjoy the simulacrum. With a solid FOB I picked up about six years ago, I come back to this show more than almost any other in my collection. Why?

One can feel the dissipation, here, yet due to the small venue and novelty of Japan, there's a compressed concision of yore balanced with the high tech eerie of whiz bang e-jam. Trey pulls out some "scratch" sounds, there's a night club vibe, and yet there's a dream drifting, too.

Compared to the band at the same time one year or 10 months before, this is definitely the "other side of the peak." I always did like the after-burn, though. It's that moment when you can finally draw a deep breath and reorient yourself, maybe even find your car. It's definitely a floating home vibe, and that's where I am listening to this right now.

A must have.

My favorite Phish show at the moment. Just wanted to note that the 1st set is no slouch either. The relaxed Cities (shades of 97's chilled-out versions), spacey Gumbo (a harbinger of what was to come that night), and extra-mustard Llama, in particular, are highlights.

Anything I could say about the 2nd set has already been covered. What a hell of a show.

The other reviewers have done an outstanding job of reviewing this show. I just want to say that the second set of this show may be the most beautiful music I've ever heard. Phish has done a lot of great things over the years, but what happened in Fukuoka on this night in June was something truly special. If you only have an hour (and three seconds) to spare, listen from Twist through 2001. But do yourself a favor and listen to the whole show. You won't regret it.

This is, for me, the greatest Phish show of all time, and there are two reasons for that.

First, the music. This show is of a place with the European shows of 97-98. Think Amsterdam, Hamburg, Cologne, Prague, Barcelona. Small venues, intimate settings, and you can absolutely feel that conveyed through the music. The first-set Cities is played at a great, relaxed tempo (kind of a theme for the night, I would say), and the Gumbo -> Llama that follows is top-shelf. The second set is the best set of live Phish ever. Yes, a setlist that reads BOTT, Twist -> Walk Away -> 2001 is the best set of live Phish ever. Not a Tweezer or a Mike's Groove or a Hood to be found, yet the set contains a cohesion from start to finish that other contenders for "Best Set Ever" lack. There simply isn't a dull moment, and, what's more, the set contains two separate "Best Evers" - Twist and 2001. And to top the whole thing off, the encore of Sleep and Squirming Coil is the absolute perfect way to end this particular show. No other choices would have served this night and this venue and this crowd as well as Sleep and Coil. (Shout out to the guy screaming "Sleeeeppp" when the band comes out for the encore - good call!) Page's notes to end Coil and the night are, quite simply, beautiful.

The second reason I consider this show to be the best of all time is more personal. In the not too distant past, I picked up my old copy of A Live One, which had been shelved for a very long time (sophomore year of college if I remember correctly), and gave it a spin for no particular reason. As I made my way through the Stash and the Montana (I just love that little section) and the Slave and that glorious Hood, I found myself thinking that, hey, I remember why I once spun these guys every once in a while. But I didn't know where to go from there. Eventually I made the decision to pick up two shows, just to see what might happen. Those two shows were 11/17/97 and 6/14/00, and as much as I love 11/17/97, it was 6/14/00 that I played on repeat for days and weeks at a time. Just to hear that Cities and that Jam out of Twist and that glorious dancehall funk of 2001 and, yes, that Sleep-Coil encore.

This, then, is the one Phish show that you'll have to pry from my cold, dead hands.

Having some non-phans over for an evening and want to play show audio that people can chill hard to without feeling overwhelmed the vast musical terrain that a band like Phish can cover? This is that show.

The Twist jam is my favorite Phish jam of all time, possibly in my mind only surpassed by the 21+ minutes of jamming proceeding Roses are Free on the second night of the Island Tour. (4/3/98) The jamming within Twist, and the jam after, into Walk Away, is simply beautiful, confident and patient.
In other parts of the set, Walk Away is always a great cover to hear, one of Page's best vocal turns. The Back on the Train opener is an unexpected groove fest.
Amazing show that features a very patient Phish.

This show is absolutely great Phish...looks like there were only 500 people in attendance and this was a show in Japan...but this is crazy good Phish... I remember I was at live show for another band... The sound guy needed a cd to play for the crowd...this showed happened to be in my car...so I grabbed the second set...it was an audience version not a soundboard...he played it...and what was supposed to be 10 or 15 minutes...turned into they played the whole set...and everyone was dancing like a live band was playing...crazy shit...this show is jaw dropping...anyone that tells you differently doesn't know Phish...

I absolutely love this show, although I wasn't there (I really wish that I had been).

The second set of this one is right up there with Auburn Hills 97 as far as being the greatest sets ever played by Phish. They sound nothing alike (which is a wonderful thing), but the groove on this 2nd set (really, the whole show) is ridiculously crazy!

God, I love this band!

Both sets of this show are absolutely fantastic, in my opinion. The atmosphere of the Live Phish 04 recording captures the ambiance of the club and the respectfully attentive Japanese phans. There's just an inimitable characteristic sound to this show, and particularly the recording of it captured by Live Phish 04. The Back on the Train that opens Set 2 is my favorite version of the song, one that I feel is due a renaissance vis-a-vis extended jamming. Twist > Jam -> Walk Away -> is for many phans an all-time segment, and while I feel it has moments that are not quite as seat-of-the-pants captivating or risky, shall we say, as something from earlier in 1.0, it is definitely a series of movements that builds to a cohesive whole. The 2001 is long and gnarly, too! Sleep encore is played by request, and The Squirming Coil is always a welcome closer. I don't know exactly what it is about this show that makes it one of my absolute favorites; maybe it's got a bit of the 5/8/77 Grateful Dead factor that such a great recording circulates, or that it represents a sonic direction for Phish that had been explored before but perhaps reached its peak in this particular show. I seem to recall certain phans have contended that 6/14/00 crystallizes what the band had been trying to accomplish until Big Cypress, and even extends and magnifies the grandeur of that style--if not matching B. C. in sheer scope--while rarifying it into a typical two-set show. Let it move you!

Nearly every song is a standout, both first and second (obviously) set. Case in point, I'm usually not a huge Fee fan, but they're lilting along beautifully the whole song and top it off with dazziling last 30 second lulliby. Someone commented on the 97 sound of Cities, but I hear some of the best of all eras in this concert, even intersplicing styles like on the Melt. The second set is near flawless exploration and flow. True gem.

The Japan tour... chock full of gems but this is undoubtedly the most infamous of the set. This is one of those rare shows where both sets provide the meats, making this a show well-worth listening to in its entirety. The whole show is saturated with laid-back, relaxed vibes and the jams that develop throughout are meditative & exploratory, with lots of funk and even some patent evil phish mixed in. Phenomenal show and should be high on anyone's 'to-do' list when searching through the incredible history of this band. Highlights:

1) Carini, The Curtain> Cities: Are you F***ING KIDDING ME!!! Carini opener! OMG, yes!!! Nice little jam on the back end of this demon. Wait... Seriously!? The Curtain to follow!?? And a slam stomp transition into Cities?!?? I hope these Japanese fans appreciate this opening segment of stellar tunes played with gusto galore.

2) Gumbo: Great song selection continues with Gumbo, spacey little outro jam. Nice. Wait... Mike's throbbing is getting faster, while Page is dialing into interstellar synths, and Fishman is circling the room with his propulsion beat. Trey leans and startss riffing hard on this unexpected Gumbo groove until we've lost all sense of where we even started. An incredible must-hear example of full-band improvisation, made even more impressive by the effortless transition into a fiery Llama

3) SOAMelt: Nothing too crazy, but a patient tension-filled piece of psychedelic where Trey's guitar effects chase you around the room

4) Twist: From the first meaty chunks of Mike's bass, this version already is dripping with A1 steak sauce (that is to say, the intro of this Twist is just different enough to make it instantly recognizable, leading to an unavoidable Pavlovian response for those who know what is in store). For a while, the jam meanders in a relaxed mode that slowly drifts further and further from the shores of "Twist" to unrecognizable shimmering sunset seas. The patient playing from everyone recalls vibes of "In A Silent Way" by Miles Davis or 90's trance music. What impresses me most throughout this whole "Twist" part of the jam is the way everyone meshes together: Page's timbres, blowing light springtime winds; Mike's transition from chunk bass to murmuring amongst the lite psychedelia; Fishman's ability to remain a vital but not overpowering voice as he colors the end of the jam with perfectly punctuated & quiet dins on the hi-hats; Trey's use of loops while whispering a mess of fairy tale phrases. If this were the end of the jam, it would be noteworthy in its own right. But oh no, this is not the end... Hold on to your butts! The ensuing Fukuoka Jam might as well be called "Pink Floyd nightmare hellscape". Page leans into some creepy synths, Fishman takes off into sly quick pitter patters, while Mike returns to swamp mud thud bass, starting on a riff that is very akin to the "Ghost" bass line. The jam morphs from creeping death vibes, to nasty groove funk, to rambling rock n' roll that, after 16 min. of this glory, transitions unexpectedly and perfectly into...

5) Walk Away: What a journey! Although a little restrained with the tempo, the real reason you want to listen is because, for whatever reason, the stars have aligned and compelled Phish to continue their path through patient, trance-like jamming. The jam here finds everyone in a low pitter patter rhythm while Trey rings out two-tone whole note chords before melting into the buzzing summer heat, beneath Fishman's distant tom tom thunder and the insect swirl of Trey's delay loops.

6) 2001: So choice. Not only is this a great coda to an amazing second set, but the funk bubbles & builds. Hot, hot heat!

Hard to review this show as it is so unique and such a magically wonderful experience to listen to. Obviously much has been written, but simply put, it's a show the likes of which never occurred previously and will never occur again. One of the best of all time. On to the music!

A set opening Carini is of course welcome, and this version is blessed with a slightly tired/droopy/druggy feeling injected into the customary head banging. At just under ten minutes it's not overly expansive, but do not be fooled, this version settles into an appropriately raging jam accentuated by Trey's reverse, millennial guitar tone followed by an excellent groovey sequence which Mike/Fish propel and Trey punctuates.

The Curtain>Cities is an atypical pairing, but wholly fits as a counterpoint to the opening Carini. Both songs are well played and the Cities carries more of that droopy, druggy serenity in its most enjoyable jam portion, which stretches patiently.

The Gumbo -> Llama segment is probably the highlight of the first set (although that's really personal preference considering the top to bottom quality). The Gumbo carries a phenomenal spacey jam segment that fits right into the mood of the show and veers organically into rocking territory out of which a shredding Llama emerges in most pleasing fashion.

Fee, Heavy Things might not look appealing on paper and could rightly be called the only "weak" spot in the set. But truthfully they don't feel totally out of place (and I have a soft spot for Fee). The bookend of SOAM helps displace the slight lull in the action with a fantastic set concluding jam. Don't sleep on this excellent version and stay for the humorous Trey banter... take nourishment before set II!

Overall, it's an overlooked set due to the unrelenting quality of music to follow, but much like the 11/17/97 type of shows, just because one set is truly best of all time quality, does not diminish the preceding or subsequent standout music found here. Highlights: Set should be consumed in full, but if you haven't the time, the Gumbo -> Llama is a personal favorite.

Set II is hard to describe, so I won't really, beyond saying it's canonical Phish. Perhaps the one set I'd take to the grave & certainly in the conversation. Mileage may vary if you only get your jollies from Trey theatrics.

Back on the Train is the opener and perhaps one of the finest versions ever, without even going type II. It's a totally engaging and masterfully executed jam and rocks and rollicks the listener in perfect fashion. After limbering up we dive into the Twist -> Jam -> Walk Away -> Jam -> 2001 segment, which is as good as it looks, replete with unbelievable spacey and ethereal jamming, a patient segue that equals the 7/22/97 DWD->Mike's in it's execution & of course a set closing 2001 exclamation point from a time when the tune was, simply put, better.

The encore is perfection personified to my ears. It's super mellow and simply lulls us to a conclusion with a well executed Sleep and a perfectly satisfying Coil. Easy 5/5 - obviously should be a top 5 Phish show of all time.

Listened again on 12/16/2020
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Here we are again. I haven't listened to any of these tracks in over a year. I am returning with my more trained ears to some shows I listened to when I was first getting into shows. The first time I listened to a Phish show was on a plane ride from Nashville to Philadelphia to go on winter break in 2019. I am currently in winter break 2020 amidst the COVID-19 pandemic and a HUGE personal Phish adventure. I have been falling more and more in love with the band every day, and for the past 3 weeks as of writing this, I haven't listened to much besides Phish. Its December 16th, and my last.fm says I've scrobbled Phish almost 600 times this month. I am having so much fun chronicling my Phish journey.

Weed helps. Review below. Comments on fav tracks will be updated picks.
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-12/16/2020-

Carini still rips. This version is sick and flows on nicely.

The Curtain is a great track that I paid no attention to back then. This version is super cool.

Now Cities was weird. I like Cities now, and especially knowing its a Talking Heads cover, but back then I was blissfully unaware. Cities as a song is strange, but fun, but really why we love Cities is the jam. Cities composition is groovy and funky, and that makes for some groovy funky jams, which are always welcome to me.

Now Gumbo is one I just said in my Baker's Dozen N5 review that I would like to check out more. The composed section is groovy and cool, and coming in from a groovy and cool Cities, I am not mad at this. Gumbo paved way for a nice jam that went for a good couple minutes in that Gumbo pocket, but then got spacey around 5 minutes in (stayed in that groove pocket, though), and went really weird around 8 minutes. Grooved out in space for the remainder

>Llama which rips right out of the gate and it doesn't let up. Its funny, I knew this song already, kind, because of Rock Band.

Fee was the second song, after Farmhouse, that I turned on after I randomly listened to Phish XM Station one day and enjoyed it. I like this version of Fee. Come to think of it, Fee might actually be the song that brought me to this show. That was probably the reason I didn't appreciate this show. I didn't know how to appreciate jams and jamming that much yet. Especially Phish style. I was looking for quick catchy tunes like Fee. I still like that a lot from Phish, but this show is full of great jamming that I had no idea about back when I started.

Heavy Things was another early favorite. I think I had listened to some of the Farmhouse album at this point, so I was sort of familiar with this song. Again, it was a more catchy pop rock tune. Those songs helped me get into the band and listening to them more. This version is decent and as great as a Heavy Things can be.

SOAMelt goes dark and weird. Type I gorgeousness that started off mellow, and by the 9-11th minute the energy picked up. The underlying groove of SOAMelt never went away, but the experimentation and improvisation was top-notch. Great set closer.

SET II
We open with BOTT. Obviously a nice upbeat track to open up the set. Extremely simple and straightforward Type I that grooves through the BOTT pocket the whole way. Real good, though.

Then it goes into Twist. Composed section is damn good. Love a good Twist. It goes quickly a low-key groove on the Twist foundation. Around 10 minutes in they start going to space and after 6 minutes or so it finally breaks back into Twist. We then enter a second jam that starts with huge fucking alien invasion themes or outer space station type stuff. Like looking for moon ghosts.

Walk Away was super fun before trailing off and jamming some more.

That went into this 2001 section. FUNKY jamming through and through even the main melody parts retain FUNK. It mellowed out and went into the main melody to end it out with a bang.

Encore was Sleep by request. Trey stated he didn't think they'd played it in Japan yet. Then they did "what [they] wanted to do" which was Coil. It was beautiful and a great way to end the show.

This might be my faovrite Phish show I've heard.

If you listen to the crowd before BOTT you can hear someone yell "N'Sync Covers!" Also, where can I get the soundcheck for this show? I've gotta hear a funky bitch with some spanish moon teases. This is a great show. The first set rocks and the second set rolls....phish wins

I have this entire show on sbd. Great show and I mistakenly had it as a Spartenburg, SC gig- not sure how that happened...I had lost touch with the band a bit from '95-'98 and when I got this show in 2009 my recollection of their tours was amiss. This list is spectacular. While it could be seen as top 40'ish the jams do not disappoint. The highlights for me in the first set are the 'cities', and the
'SOM' to close the set. 'Twist' is in it's truest form; slithering all over the place and weaving in and out of bass lumps which keep the tune balanced and in perfect harmony. The quality is solid and gives the listener a very thorough and defined listening experience. All fits on 80 minute disc!
Also- Corrini and Curtain deserve the highest praise for just setting the tone of the show...just listened to this while splitting wood outside...nice!

Just giving this Twist a listen for the first time. Absolutely loving it, i feel like it gets a little "storage" jammy at around 11 minutes in. Great laid-back show

PHISH, WEDNESDAY 06/14/2000
DRUM LOGOS
Chuo-ku, Fukuoka, Japan
Soundcheck: Live and Let Die Jam, 007 Theme Jam, Windora Bug (with alternate "Carini" lyrics), Funky Bitch

SET 1:

Carini: Standard. Jamcharts version but doesn’t do much for me.

The Curtain: Standard. >

Cities[1] So slow, patient, and mellow. I love it – especially the first jam before they go back into the second section of lyrics. A low key, classic version. Would recommend. `

Gumbo: I like how creepy and looped the jam is right out of the composed section. So patient too. ->

Llama: Standard.

Fee: Cool little 30 second jam tacked on to the end.

Heavy Things: Standard.

Split Open and Melt: Standard. Caught a neat groove momentarily but ultimately it didn’t amount to much.

SET 2:

Back on the Train: Trey on mini keyboard in the intro. This is easily the longest version they had played and would play until 12.30.99 (GOAT). This one is fine, has the length but doesn’t really do that much. Just stays in a familiar pocket.

Twist: So chill. So patient. Sounds like a sound check. The section that starts at about 12 and a half with the loops and Trey’s sort of squeaky effect – it’s the bees knees. Would recommend. >

Jam: Very heavy effects (Page) at the 1 minute mark. Serious business in here. I would have melted right into the floor. Absolutely mind melting stuff. At about ten and a half, this one finally starts clawing its way up and out of the murky depths of psychedelia. And it was a very deep pool in there, let me tell you! Mike gets an upbeat groove going and convinces his mates to get on board. Sick yet subtle leads from Trey at 11:27 are exquisite and lead to a theme. If you aren’t actively listening to this one and have it on as background music, you will miss plenty. Would recommend. ->

Walk Away: The leads that Trey creates a theme out of at 1:57 are so chill! Again, so patient and quiet as seems to be the common ground of the evening. This lasts for about two minutes. Cathartic. Would recommend. By 5:27 on the track labeled Jam on Phishtracks you can hear Fish rumbling for 2001. They patiently set up the segue for another 80 seconds from there. ->

Also Sprach Zarathustra: Dance party USA. Fun way to end a great show.

ENCORE:

Sleep: Played by request. Absolutely perfect selection as an encore to fit the feel of this show. Awesome. All the stars have aligned.

The Squirming Coil: Again, the band has the feel of this show nailed.

Summary: Legendary, easy all timer. Anyone that knows the band and their history knows the rumors of this evening and how they influenced the music. Not sure if true. But sure sounds like it. It made for an unforgettable evening. 4.5/5

Replay Value: Cities, Twist, Walk Away

[1] Trey altered the lyrics in Cities to reference noodles.

Trey altered the lyrics in Cities to reference noodles. Gumbo contained a Mystery Achievement tease from Mike. Fee included a tease of the Oriental Riff from Fish, who played it on the woodblock during one of his breaks. Trey teased Streets of Cairo in Split Open and Melt. The jam between Twist and Walk Away included a segment based on the intro to Ghost. Sleep was played by request. This show was officially released as Live Phish 04. The soundcheck's Funky Bitch contained Spanish Moon teases from Mike.
JAM CHART VERSIONS
Carini, Cities, Gumbo, Back on the Train, Twist, Jam, Walk Away, Also Sprach Zarathustra
TEASES
Mystery Achievement tease in Gumbo, Ghost tease in Jam, Streets of Cairo tease in Split Open and Melt, Oriental Riff tease in Fee

I cannot possibly add to the accolades that this show has garnered over the year (rightfully so). After the opening Carini and Curtain serve as the appetizer, the show takes off in earnest from Gumbo onward with some of the most patient and democratic music the band has ever produced.

I'm really here to talk about a hidden gem in this show, that being Heavy Things. I'm like most you, disregarding this tune as a throw-away attempt at Millennium-era, radio-friendly Phish pop. This version, however, is the cleanest sounding version I've heard, with every note absolutely perfect and miles better than even the studio version. Between Trey's tone and the band's sonic bedding, its the only version of this song I'd play as an example of how Phish doesn't always have to go Type 2 to craft magic. Give it a listen again for yourself!