Set I: Nothing amazing pretty average highlights include
Runaway Jim with a longer pause build than the average which was great the
silence is golden -> Gypsy Queen-> Jim, Antelope very quiet intro unfinished ->
Catapult-> Life on mars always a treat to hear.
Set II: Starts off with funk of 2001>Maze. Always a huge fan of Swept>Steep
Slave with the heavy metal jam is very nice. I really think people should give this
show a go. I know it is hard after the night before but this is the tour closer and
is a good one not to be missed.

Obviously overshadowed by the previous night, the tour finale is one of those shows notable for how quietly it's played in parts, probably thanks to a quiet attentive crowd. As a result, the first set closer is a-cappella without mics and the meat of the second set has three slower songs. This makes for a bit of weird flow, though there's some highlights over the course of both sets.

Gypsy Queen is effortless jammed into during Runaway Jim and adds a little something extra to this version.

Strange Antelope intro, it's quiet and sort of deconstructed, similar to the Catapult that arrives a little later in this unfinished version. This version of Life on Mars is particularly well-executed.

The heavy metal guitar addition to the Slave makes for a nice contrast to an extra-quiet buildup-- it would be nice to see Trey revisit this in 3.0 Phish. A great Slave feels like it should end the set, but Tweeprise adds an exclamation point.

The end of the tour! The first set's first half is dull. Things get more exciting with Jim->Queen->Jim, although the Queen is definitely sloppy. They don't finish Antelope (2nd time this tour!), and go into some craziness with Catapult. Can't say that this is must listen, but it's fun to hear the band switch things up.
A more typical second set, with an above-average Slave and an out-of-nowhere Tweezer Reprise.

YEM to end the show has a very slow and patient build from Trey, and is a great way to end a tour, but it's nothing you have to hear.

A very solid 3/5 to end the tour.

PHISH, SUNDAY 03/02/1997
PUMPEHUSET
Copenhagen, Denmark

SET 1:

Johnny B. Goode: Standard.

Uncle Pen: A bit sloppy.

Sample in a Jar: LOL at Trey’s Creep quote right before his solo.

Guyute: Standard. >

My Soul: Standard. >

Runaway Jim -> Gypsy Queen -> Runaway Jim: Very cool! Unlike Red Rocks, they almost immediately go to Gypsy Queen once the jam in Runaway Jim starts. At Red Rocks, they were much more patient with it as they didn’t get to the GQ until 8:30. 6.24.97 was the last time they did this combo and they waited until about 9:15 into that Jim jam before they got into the GQ jam. So, while 3.2.97 was cool – 8.7.96 and 6.24.97 were better.

Run Like an Antelope[1] Short and blue balls into Catapult with no climax in Antelope ->

Catapult: They take this one into outer space and the audience is super respectful and you can hear a pin drop before they magically go into Life on Mars? >

Life on Mars? Standard >

Chalk Dust Torture: Standard.

Hello My Baby: Standard.

SET 2:

Also Sprach Zarathustra: Super Bad by James Brown at 6:10. Fun version for sure, great opener. >

Maze: Standard.

Swept Away > Steep: Standard. >

Punch You in the Eye: Standard. >

Waste: Standard.

Character Zero: Standard. >

Slave to the Traffic Light: Standard. >

Tweezer Reprise: Standard.

ENCORE:

You Enjoy Myself: Standard. Very bland.

Summary: Total throwaway show. Odd for a tour closer.

Replay Value: Absolutely none. Will never listen to this one again.

[1] Unfinished.

Sample contained a Creep (Radiohead) quote from Trey. Antelope was unfinished. Trey teased Super Bad in 2001.
JAM CHART VERSIONS
You Enjoy Myself
TEASES
Creep quote in Sample in a Jar, Super Bad tease in Also Sprach Zarathustra

https://forum.phish.net/forum/permalink/1378168583

From The Phish Book, p. 44:
Trey: "We had to ask ourselves, 'How can we make this transition [to larger venues] and still be the same band we always were? How can we maintain the same musical ideals as when we were playing in clubs?' It so happened that the next two tours would consist mainly of clubs and theaters in Europe, which not only reminded us of where we came from, but proved to me that even if I only did that for the rest of my life, I'd be thrilled. These tours got us back in touch with the looseness that's always been a part of Phish, and I think we brought these renewed feelings of spontaneity and intimacy back into the bigger rooms we played that summer."

March 1997 represents the encapsulation of many of the band's goals over the previous 18 months, as they stepped out of the shadow of the Grateful Dead and established their own national presence. The epiphany performance from the previous night in Hamburg demonstrated a fully mature band, but when they took the stage to begin their next tour in Dublin on 6/13, it was with an overhauled repertoire and rewritten rules regarding performances. In the intervening 100 days, they had recorded three days’ worth of jamming in Bearsville Studios that would be released on The Siket Disc, and Trey had hidden away in a Farmhouse with Tom Marshall to write over a dozen new songs that deliberately broke from the crafted compositional style Trey had developed over the previous ten years. So 3/2/97 represents a benediction of sorts, making peace with their past before commencing the metamorphosis.

Hysterical audience adulation towards performers first became a phenomenon with young Frank Sinatra, then with young Elvis Presley, and became a learned concert behavior with the Beatles and other British Invasion groups. Eventually, technology affording performers the ability to amplify their sound loud enough to be heard over the most riotous crowds, and now audiences understand at what times they are supposed to cheer (and many spend the rest of the time talking to their friends). However, an attentive audience will always bring out the best in Phish. 6/14/00 Fukuoka and the Amsterdam '97 box set are the most obvious examples, but this tour-closing show in Copenhagen also illustrates this point. The best moments of this show are the quietest: the pause between fade-out of the crazy Catapult jam before Trey starts Life On Mars?, the plaintive intro to Waste, the utter restraint and utterly shocking reveal of Swept Away/Steep, and the Bob Ross-esque tranquility of Slave To The Traffic Light.