, attached to 2024-07-24

Review by VermontCowFunk

VermontCowFunk Great room, ideal size for an indoor venue, not a bad seat in the house. First show in a casino for me, super easy to get in and out of Mohegan, and the during show re-entry privilege is a cool concept. First set was FANTASTIC, and the jam in "Most Events aren't Planned" to close the set was top notch. A beautiful farmhouse and Steam in the 3 spot didn't disappoint. Maybe the best Mull ever! :) Nice 1-2 punch to open the set (Bag -> Curtain). Was AD/DC Bag the first gamehendge tune since 12/31/23? Second set had real peaks and valleys. Some of the song selections weren't my first choice, but the first half was stellar, and I loved the "Mike's -> With -> Groove." What a treat. Getting leaves, lonely trip, and more in close succession in the fourth quarter was took away some of the flow from the set, but Fuego and Fluff were both tons of fun. The jam at the end of fluff was short but sweet. Lots of groans accompanying the opening notes to A life Beyond the Dream, but the First Tube was rocking and the crowd responded. My risers were shaking as everyone got down! A great time, hope they play Mohegan at least 6 more times so they get a "10 Show" Banner like Billy Joel already has.
, attached to 2024-07-24

Review by DrWilson

DrWilson "The Curtain" in the First Set. "With" in the Second Set. This is the way. Don't rob us of another set list thing, .net overlords. The way you did the rating system... And now reviews have to be a certain length? This whole place has gone to pot... WTF happened to .net? I remember when.... I remember when... I think I'm crazy... How can the most free band in the world have the most up tight fan site ever? Like relax. It's meant to be passed down and to let the new generation do with it as they please. Even if that's smashing it to the ground. Anyway, show was fire. Fix the set list. You know what to do.
, attached to 1996-07-21

Review by spreaditround

spreaditround PHISH, SUNDAY 07/21/1996 THE FORUM Nüremberg, Germany Soundcheck: My Mind's Got a Mind of its Own, Poor Heart, Character Zero, Billy Breathes, work on Billy Breathes SET 1: Golgi Apparatus: Energetic, Trey sounds good. Much better than the one from 7.15.96 > Guelah Papyrus: The ending before they go back into the chorus is a mess. > Rift: Trey on fire with his solo. Rips it to shreds. > Tweezer: Trey dominates. The hard strumming/machine gun/explosion is great. It’s short but this one is a lot of fun. If I Could: Very mellow (no Trey solo really) and short. My Mind's Got a Mind of its Own: Standard. Split Open and Melt: Below average. The ending is oddly rushed. The Horse > Silent in the Morning: Taste: Longer than normal Fish intro. Train Song[1] Page on xylophone trying to re create the solo that Fish took on the album Fee[2] Standard > Timber (Jerry the Mule) Standard > Johnny B. Goode: Standard. SET 2: Llama: Standard. Theme From the Bottom: Standard. > Reba: Beautiful, sustained note from Trey 10:13 – 10:31. Strong jam but not much of a climax at the end. Life on Mars? Standard. Free: Some of the best vocals you will ever hear out of this tune right here in this version. Run Like an Antelope: Standard. > Simple: Standard. Very intentional segue into Prince Caspian. -> Prince Caspian: Standard. > Suzy Greenberg: Standard. ENCORE: Harry Hood: Below average. Trey strums his way through the parts that typically would be the bridge to the climax. Summary: Very straightforward. I really like this Tweezer but not enough to assign it replay value. Would rate this show as a 3/5. Replay Value: None. [1] Debut. [2] Trey sang verses through megaphone. Train Song debuted at this show and was dedicated to the fans that were following the band around Europe via the rails. Trey sang the verses of Fee through a megaphone. JAM CHART VERSIONS Tweezer
, attached to 2024-07-23

Review by bootywink

bootywink First set was full of some rippers! Loved the Gumbo, Funky Bitch, Guyute run. All of the boys sounded pretty on tonight and it was clear they were havin' fun up there. That Golden Age jam was also, pardon the pun, solid gold. Second set was even better. Four vehicles one after another in the first four tracks, all super solid jams. Especially loved how dark the Kill Devil Falls jam got, not to mention the great Ruby Waves. Overall a super fun show, albeit unfortunate to have the Piper rip-chord'd for Mercy, lol. Loved hearing Julius in the encore.
, attached to 2024-07-23

Review by Tiddlywinks

Tiddlywinks T-Winks here…reporting from ground zero. And HFS…what an incredible show (for you elderly…that’s Holy Fu&@ing s$&/. So let’s recap: Phish has opened the summer tour with 3 outdoor shows at a venue with a curfew and have gotten warmed up and now we have a Tuesday show in an intimate indoor venue…sets up for the possibility of IT. And IT we got. This show is worth a relisten from front to back and back to front. First set was a serious nod to those of you who grew up in the 1.0 era…great deep Phish.. Question - has Phish ever played a first set Golden Age? Regardless of that answer, have they ever played a better first set Golden Age? This entire show flows together…it was one of those nights where it didn’t matter what songs they played, there was a groove that connected every song in the greatest Phish way. Thank you Phish for delivering on the possibility of greatness on any given night.
, attached to 2024-07-23

Review by yam_ekaj

yam_ekaj plasma, kdf, carini and ruby waves all contain extremely inspired jamming, particularly kdf which was mind-blowing. something i noticed: fishman had a weird night—he seemed a little shaky on composed stuff throughout (trey was also perhaps to blame on some awkward moments). however, he absolutely dominated the jams, pushing the kdf to driving, almost hypnotic psychedelia another note: delightful to see trey using his original languedoc-built cabinets, and looked like he added mesa boogie back to the rig as well. love that—his tone was on point (see funky bitch intro solo for example).
, attached to 2024-07-21

Review by Phattybrown

Phattybrown Only made this Sunday night of the run…magical second set. The vibes were very high, throughout the lot and inside the gates… Free—> Wilson felt like throwback post hiatus pre-Coventry era tight, gel coated, and giddy. Some flubs told me they were having fun and showing out for the heads… Connection got the people moving…for the concessions. I stuck it out, it’s a good breather and a welcome bust out… Thread and Joy are personal faves that weren’t clean but the emotion of the songs were perfect and the jams were crisp. Jim had the place bouncing and back into to that 2000-03 vibe. full moon Sunday shows in the NE should never be missed. LSG was dope. Fish trolling with the lack of percusssion rinses made me think he might have a new toy he hasn’t taken out of the box yet… Set break Coil was awesome, great set opener, the chairman painted a scene. Tweezer—-> Scents This is why we do this. There is nothing better. Scents is a must listen. Twist, Crosseyed grabbing ahold of the energy and space off the tweezecents and flying into groove world. Gordo and Fishman really bounding around. Slave Fitting, enjoy the traffic on the way home. Encore Possum with some Spicy Mustard and a proper high kicking Red Headed king fu man- tweeprise ending to a spectacular Sunday. Mondegreen- maybe so, maybe not… Overandout -PhattyBrown
, attached to 2018-09-02

Review by toddmanout

toddmanout September 2nd, 2018 was the final night of Phish’s nearly-annual three-night run at Dick’s Sporting Goods in Denver, Colorado, of which I was in my sophomore season, having been to Dick’s once before. Incidentally, we have a rule around our house when it comes to discussing this venue. More specifically, I have a rule around our house about it, and to put an even finer point upon it, the rule is particularly for when we are around our house, not in it. Y’see, when we are at home sitting on our couches, I have no problem discussing with m’lady whether or not we should go to see Phish in their favourite Denver stadium. “Do you wanna do Dick’s?” “Oh, I don’t know. I mean I love Dick’s, but I’m not sure we should do it again.” “Oh come on, you know how much fun Dick’s can be.” So, when we are within earshot of anyone who is not a rabid Phishhead I insist m’lady refer to the venue as “Denver”. “Do you wanna do Denver?” “Oh, I don’t know. I mean I love Denver, but I’m not sure we should do it again.” “Oh come on, you know how much fun Denver can be.” If you look really closely, I think you can see my reasoning. Anyway, I really like Dick’s (errr…Denver) and this third night was chock-a-block with personal favourite songs. [i]My Friend, My Friend[/i], [i]Tweezer[/i], [i]Maze[/i], [i]Character Zero[/i], it was a great closing night to a great weekend of fun, friends, and music. Thank ye lords that m’lady and I were unable to find a decent flight back from Denver on the Monday and had to book one for the Tuesday instead, affording us the entire next day to sit around and do absolutely nothing. I actually made a point of pouring myself a couple of drinks and sitting in the lobby right at noon so I could revel in watching a mile of tired souls check out of the hotel and leave for the airport. I was subtle about it though; I’m not a jerk. Later that following day an old Canadian friend who had moved to Denver got in touch and dropped by our hotel to say hello, only to announce as he walked through the door that he was probably in the throes of getting divorced from our other friend. Thus proceeded several hours watching him flip between blasé casual conversation and bombastic emotional tirades on our patio while m’lady and I sat by like deer in the headlights, sidelined by the acute cellphone drama that had descended upon us. Eventually we encouraged him to go home and work things out. He did half of those things. Great run of shows though. I love…Denver. http://www.toddmanout.com
, attached to 2024-07-21

Review by Scott

Scott So the Sunday/Funday cliches have been revalidated for a few months… :) During the hours leading up to the show, my touring buddy and I relistened to 7/28/23 MSG (the first night of 7 at the Garden), and I remembered thinking during that MSG show that slotting AWOH into song #2 was a good sign (even though it’s not my favorite song) “OK LETS JAM THEN.” The MSG appetizer show also featured a bunch of mid-length type 2 exploratory jams with a bit of darkness, foreshadowing for us a terrific finale to a fun weekend at Great Woods, in which the 2nd song AWOH didn’t quite reach the heights of its MSG counterpart, while it’s 2024 companion, Bathtub Gin, was for me a weekend highlight, with a lovely melodic peak and a also ~4+ minutes of a cool-down jam that AFAICT Trey insisted on elaborating. There’s an extended riff on Sand from 10:30 to nearly 11:00, more distinct and longer than most teases and should be footnoted accordingly. You know what’s an even better sign that a long jam vehicle like AWOH teed up early? When there’s the anti-ripcord, when Trey’s the one extending a jam that was potentially petering by just trying something new and turning a corner. I thought I caught another anti-ripcord during the later stages of Tweezer as well. Wilson, believe it or not, was the first Gamehenge song performed since NYE; obviously we can still have fun, and did. Rarity time? The Connenction was a personal debut, and as far as I’m concerned, Thread can keep following me around from Jam show to Shoreline to wherever, really one of the best of the newer songs, I don’t even try to to play the drum part b/c part of it is in 15… proggy delight! ALL ALONE. ALL ALONE. Was the bit that followed related to the as yet unplayed Epitaph? (I honestly have no idea, but I feel like that debut is waiting for Mondegreen.) While the Split Open probably brought the darkest storm of the weekend, Thread and a few other moments sprinkled into tonight returned to those ‘not all jams have to pretty all the time’ places that have been a welcome complement to the programmed yet sincere explosions of joy. A joyous Runaway Jim and darker LSG were well placed solid versions and it felt like we might be in for another short setbreak… 23 minutes indeed. They want to play close to 3 hour shows at the expense of setbreak? You love to see it! Coil is a lovely choice for “get yer ass back to your seats dammit” while not 100% clean on Trey’s part, the Tweezer that followed followed a funky start through some atmospheric build into a soaring part and eventually something that sounded like a cross between “Listen to the Music” by the Doobie Brothers and I’m not sure what. While the 20 minutes goes by quick, the different phases of the Tweezer jam will each sound reasonably familiar to any phan, with good flow and whole-band interplay. So far, so great, and the SASS to follow is even greater, my favorite jam of the night/weekend for its creative range and totally-out-there strand of improvisation. I believe this was the jam when I noticed Trey leaning over Page until Page switched from synth to piano and played co-lead instead of just vamping along with Trey not sure exactly when that was in the show, but you absolutely love to see it!! Twist descended into type 1.5 time warpy but not too crazy space for a spell before things went berserk with Crosseyed and Painless. At this point I asked out loud whether we’d get First Tube or Slave to close out this classic, nearly 90 minute set in style, and the Slave chosen for the occasion rose to the moment. The crowd got it’s ya-ya’s out with the Possum-Reprise encore… a generally much quieter group than Saturday night’s sing along raucous-caucus, but that’s also because there was more active listening required on Sunday. All in all a great, nearly classic show, with well balanced, well constructed setlists & a good variety to the improvisation style and overall sonic palette. 5/5 stars (4.53 to be exact*). *My scale assumes that obvious all time great shows like NYE23 and Big Cypress are actually 5.00 and a “bad concert” by other bands would be 1.00-2.00, a cancelled show 0.00. Great Woods 24 N1 and N2 are both tough calls in that 3.8-4.2 range with N2 being one of those ‘why listen to a recording’ but exceedingly fun shows in person people like to argue about. This review based on mental notes taken while attending and an informal relisten while recuperating in Boston on Monday.
, attached to 2024-07-21

Review by Phan3123

Phan3123 Well I guess I’ll give my first review ever for this show. Leading up to the show the lot was once again a good time, perfect weather and people it was a great weekend. Now onto the show… Free-> good opener and gets things going. A standard affair. A wave of hope-> they once again take this one for a ride. It’s a good jam and it kicks the night off for what’s to come. Bathtub gin-> another solid jam back to back. Always love gin so at this point you’re getting no complaints from me. Wilson-> great song choice and greatwoods is loud. I’m doing this review without a relisten but these four songs right out of the gate was a lot of fun and worth a listen for any fan. The connection-> I like this song, I know people have differing opinions. Good bust out and well played. Thread-> this is my favorite song off sigma oasis. It was nice to hear them play it again even though it was a little clunky at first. Joy-> I like the placement of this and it was well played. Runaway Jim-> standard affair but gets people going again. Life saving fun-> this song is fun, it doesn’t reach the level of other versions. Nice way to end a fun set. Set 2 The squirming coil-> well we don’t get this to open up sets quite often. It’s a standard quick affair but well played. Tweezer-> the opening notes hit and everyone in great woods knows it’s on. The jam goes a lot of different places and goes about 22 minutes. My girlfriend asked me at one point during this what song we were in again, always get a kick out of that. Scents and subtle sounds-> great call! This is a great version and is absolutely beautiful. This is a must listen from this show. Twist-> the set Keeps rolling on nicely. It’s a solid version to keep the set going. Crosseyed and painless-> wow I didn’t see this coming, but I’m sure glad it did. This version is sick, very relentless and inspiring jamming. This is another must hear from this show. Slave to the traffic light-> great call to end an amazing set of music. This is a solid version. Encore Possum-> a standard rocking affair but keeps the energy from set 2 going. Tweezer reprise-> it’s great and sends everyone home happy. Greatwoods was an awesome start to summer I must say. Three really solid shows to kick off the summer. Night three was my favorite of the run followed closely by night one. This show was really good and I would highly reccomend a listen to any fan out there. If they keep playing like this we are in for a great summer, see you at Mohegan. Highlights Set 1-> a wave of hope, bathtub gin>wilson Set 2-> the whole thing.
, attached to 2024-07-19

Review by samboard

samboard Tour openers are always interesting. Set 1 with the buried alive opener was a great start. No complaints with set 1. Hey Stranger has got its groove. Love hearing new songs evolve (no pun intended). Set 2, some great evil Phish which is my personal favorite flavor. The Split Open and Melt to close the set was so damn good. I'm going to say that we are now witnessing the best SOAM's of Phish's history. Fight me. Show gets a 4.0 for me. Loved it.
, attached to 2024-07-19

Review by RebaAhadi

RebaAhadi This was my first official tour run, and boy did this opener not disappoint. Buried alive was a great indicator that we were in for a real treat, following that up with character zero, Billy Breathes was the studio album that got me to delve into phish so anything from Billy is welcome. Next, a new song Hey Stranger, one of my favorites from the new album which I thoroughly enjoyed. Then Mike started to shake the whole venue with his bass intro for Down With Disease. Unfortunately, for people in the lawn, which includes me, the speakers failed as soon as they started the jam section of the song. I decided to give it a listen on my ride in to Night 2 and I am so so upset that I missed out on it. To close out Set 1 they played 46 days, one of my favorites and what a way to close the first set! Set 2 started back up with a pretty engaging Suzy Greenberg, and then the real treat came right after, an early set 2 run like an antelope. This antelope is must hear, the recording doesn't do it justice though, the jamming just kept going and didn't want to stop, neither did we. After the momentous antelope we slide right into a funky spacey ghost, this ghost never really reached its peak and was cut short by light, I really enjoyed mikes evil bass effects though. Pillow jets, another song from the new album that I absolutely love. After hearing the sphere version I was only more excited to hear this for myself, and boy did it not disappoint. The jam really started to get dark and evil sounding, just amazing. Now, the other heater tonight was the Split Open And Melt, and it did in fact melt. To top off the night we got a Harry Hood encore, a song I never really clicked to, but still enjoyed nevertheless. Highlights: Hey Stranger Down With Disease Roggae 46 days Run Like An Antelope Pillow Jets Split Open And Melt
, attached to 2024-07-20

Review by DownWithSteam

DownWithSteam Night 2 at the great woods was a small drawback from N1's theatrics in my opinion, but not by much. The first set had a solid version of Sand that is worth a listen. But overall, average set top to bottom. YEM 2nd set opener, rare but it works. A solid version indeed, and right into Oblivion which is a great song. No mans had a sick jam to follow and then we get probably the most refined Monsters yet. Powerful solo from Trey. I dont believe you if you dont like that song. It may have highlighted the night. 2001 > Chalkdust had good energy. Triple encore with a whacky bowie... all in all this show was a good phish show but the bar is def higher knowing what these guys can do. Average show at best. Rankings are broken but to me this would have been a 3.65
, attached to 2024-07-20

Review by Phriend_of_the_Devil

Phriend_of_the_Devil A most enjoyable night at Great Woods. This show had no aspirations to greatness - no 20 minute jams, major bustouts or unusual covers, but the second set especially is worth a listen, particularly the 2001>Chalkdust closing pairing. The whole evening was just straight forward, no-nonsense Phish, and I give it a clean 4.0.
, attached to 2024-07-20

Review by kenny_powers

kenny_powers WOW that was a show. I had a feeling after the super psychedelic, kinda lowish key Friday night show that this would be a more rocking, crowd-pleasing Phish show. And it was. I'd have to say Friday's set I was superior *BUT* I a huge personal highlight for me was the Drift While You're Sleeping set closer. This was my first time catching that live and I can't remember which summer 2023 show it was but it also closed set I and I thought to myself "what a great set I closer". Proggy, adventurous, genre and time signature shifting Phish goodness which ends in a triumphantly positive chorus about love and struggling together. YES PLEASE. Set II was a BANGER start to finish. YEM opener what?!? How bout the fact that the vocal jam lasted about 7 seconds and then they decided to jump back into the jam, that was certainly a first, right? For me, improvisationally the Oblivion > No Men > Monsters was the peak of the show. Flawless, morphing jamming and outrageous energy pouring from the stage at the crowd and filtered straight back onto the band. This is why we come, again and again. 2001 was a funky-ass celebration. There's nothing quite like seeing the fog machines gear up and the band starting a DWD-like into of space and noise and you just know what's coming. There's also nothing like when, during that jam, CK5 removes all lighting from the band and gives you a sick, old school light show. I was in the very last row of the pavilion, dead center, and a couple times I would glance back at the uncovered seat section and EVERYone had their groove on. The Chalkdust was the cherry on top of a searing, soaring second set. Full disclosure I made the decision to do what I did Friday night which was to head for the parking lot before the encore to beat the otherwise brutal, hours-log slog to get out of that lot and onto 495. When I heard Circus start and looked at the time, I was like "shit I'm gonna miss a deep encore". Sure enough they played Bowie, one of my absolute favorite songs to see live. Oh well, them's the breaks kids. Overall a great, emotional, cathartic show. Much less trippy and mind-fucky than night I, more focused and and exciting night II. This crusty vet fully enjoyed his 110th-ish show at the same place where it all began for me 30 years ago. Thank you Phish.
, attached to 2024-07-19

Review by DownWithSteam

DownWithSteam Oh yes, this was a solid show. Well above average for tour openers. Makes sense though, they were busy in mexico, sphere, nye etc. they're clearly all warmed up and ready for this summer tour + festival. A lot to see this year, big year for Phish imo. Rankings are still broken, ill say this one was worth a 4.1 Must hears from this show: Hey Stranger, DWD, Stash, Ghost, SOAM
, attached to 2024-07-19

Review by Guttermitts

Guttermitts Sent it to Mansfield Friday. My suspicions were correct in assuming that this opener would be great. So glad I choose n1 in hindsight. Who’s to know. I got lucky. I thought the ghost was great but had its legs cut out by light. I get it. I guess. Feel like it could have really gone a bit further. Any way the swampy, sweaty , death metal march mico jam was in pillow jets was so much fun!! I Thoroughly enjoyed the evil phish sections of this night. Completely satisfied. Thanks again!! Sundays gonna be a blast!
, attached to 2024-07-20

Review by samboard

samboard Great show! Loves the Theme opener. Human Nature started off slow for me, but built nicely. Hearing a debut is always interesting. It's Ice brought me back to the early days and I found my old groove. Felt great! (I'm not 18 anymore ????). Rest of set 1 was excellent. Set 2 YEM opener, I've never seen that. Amazing. Set 2 seemed mellow until 2001>Chalkdust. Holy ship, the energy from the band went directly to the crowd, the crowd multiplied it exponentially and gave it right back to the band. Pure and beautiful energy! Encore was great with some great banter from Trey. Awesome show definitely in the mid 4's for me!
, attached to 2024-07-19

Review by stevejna69

stevejna69 The show was fantastic! Great opening show. The Venue not so much. First I had to buy a clear plastic container, then they would not let me in with balloons and glow sticks, WTF. I go to concerts to have fun, security was way to harsh, drones and SWAT teams, this is a Phish show not a political convention. I think I will stick to the Garden, the employees are way more friendly.
, attached to 2024-07-19

Review by TwiceBitten

TwiceBitten Seen this band way too many times. What they did last night is NOT something they do every night and I am very thankful I was there. If you like dark, introspective Phish, then you will enjoy this show. I can count on 1 or 2 hands the shows I have seen that lived in that space for such a sustained period. First set was great, but starting with Ghost through the end of set II is where we completely left our little planet. Based on my knowledge of how rare the space jamming is these days, I almost feel like I caught “my kinda show” and I could stay home the rest of the weekend. However, Phish being Phish, they could absolutely play an even better version of this vibe and I would feel dumb for staying home. Who’s got my miracle? :) Did I mention I’ve seen Phish too many times? This is why!!!
, attached to 2024-07-19

Review by dawass

dawass Very strong first set. Interesting placements for Character Zero & DWD. Zero had a mellow start to the jam and it was nice to hear it develop slowly. DWD crushed. Reggae was slightly more psychedelic than usual in parts. They were not afraid of experimenting throughout the night (which mostly paid off, but not always imo). Stash was solid and 46 days was a great set closer. Tons of energy…they killed it. Second set began fabulously with a fun Suzy and another unusually placed Antelope. This antelope was the highlight of the evening for me Just absolutely relentless in the jam. However, the show began to fray (imo) during ghost. I love me some ghost, but the story of this particular ghost meandered a bit too much. This was my 101st show, so I am not unopposed to the band stretching limits with improv, but this one was just a bit too indulgent and aimless. It certainly had its intense moments (nod to Mike’s bass bomb), but overall the jam did not capture me. Trey seemed to bust into Light as an escape hatch from the direction the song had ended up in. Pillow and Stars we ok, but nothing stood out for me until Melt. The jam in Melt was great experimentation as the it immediately left the isual structure and became a very unique Melt. This was another highlight for me. I don’t give often review shows, so hopefully this was beneficial to someone. Looking forward to the rest of the run at Great Woods.
, attached to 1997-07-25

Review by dr_strangelove

dr_strangelove Decent show, with a great Gin jam. Not a huge fan of the two drummer second set, but it still provides interesting moments throughout! Highlights: 1) [u]Wolfman's[/u]: Never leaves Type I territory, but even in those confines it is a triumphant delight. Smooth, laid back, steady throttle on funky dance vibes, replete with several audience approving superhero peaks. This jam honestly sounds like a victory lap for what happened during this summer tour so far. Solid. [b]2) [u]Maze[/u]:[/b] This Maze is awesome!! At around the 7 min mark, Trey's use of dissonance, rhythm-defying extended notes, and stuttering pedal effects are spectacular! Page's maintains a firm anchoring to the Maze theme, exploring plenty of ground while Trey's otherworldly riffing struggles to break out of those confines. The eventual landing back into the composed Maze ending sticks hard, like a bike rolling through wet concrete. Phenomenal [b]3) [u]Bathtub Gin[/u]:[/b] Good god, the stuttering/syncopated funk in this jam is bound to give you the sickness and the cure all at once. It's like an over-caffeinated sugar rush. The whole band locks into a polygon funk interplay early on, with Mike and Fishman providing a plucky, robotic groove. Page and Trey act like digital sirens providing swirling electronic sparks over Fishman's cymbals and Mike's plucky caveman patterns. Eventually, Trey breaks out of the plucky, funk mold to just go soaring above Mike's steady pluck bass, and Page joins him in the ether on the baby grand. By the end, its a perfect summer bliss magic carpet ride, with the carpet bring us smoothly and assuredly into Makisupa. Masterpiece jam! 4) [u]Makisupa[/u]: A brief bluesy jam in Makisupa is definitely not what I would have expected and is a nice treat. The transition into a solid AC/DC Bag seals the deal on this highlight 5) [u]Chalkdust[/u]: Interesting jam, treads into some dark territory around the 8 min mark, maintains a propulsive beat throughout thanks to the two drummers on stage, and emerges into a strange, bouncy funk before fluidly melting into Taste. I enjoy the moment around 9:30 when the blanket of sound drops a little and Mike leads with some forlorn notes into a relaxed, moody frenzy. 6) [u]Ghost[/u]: Roaming, atmospheric. Lots of layered effects from Trey and Page. with Mike poking his head above the rhythm multiple times to say hello.
, attached to 2017-05-02

Review by HarpuaTheBulldog

HarpuaTheBulldog Looks like the cover of "Basically Frightened" by Colonel Bruce Hampton was in tribute to him, as he died the day before on May 1st, 2017. Nice little gesture from Trey. Col. Bruce Hampton and members of Aquarium Rescue Unit shared the stage with Phish a number of times between 1991 and 1994 and the two acts were part of the inaugural H.O.R.D.E. Tour in 1992. Reading an article from Jambase about this show and they talk about Trey's other tributes to the "Tulsa Sound". > Later in the first set, the Trey Anastasio Band tipped their hat towards one of the artists most closely associated with the Tulsa Sound – Leon Russell. TAB served up a debut cover of Russell’s “Delta Lady.” ... There was another tribute to the Tulsa Sound ahead in the encore slot. In the middle of Anastasio’s solo on "Push On 'Til The Day", the guitarist led his mates through an unplanned detour to J.J. Cale’s “Call Me The Breeze.” After the band returned to “Push,” they jammed on another of Cale’s originals – “Cocaine” – and eventually finished “Push On ‘Til The Day.”
, attached to 2005-05-13

Review by HarpuaTheBulldog

HarpuaTheBulldog Wonder what the story behind this show, and particularly the encore. Before Phish came back in 2009 Trey was a lot more willing to take primary risks and cover lots of songs with his bands, and this looks like a prime example: almost randomly deciding to cover a good portion of Side 2 of Abbey Road for the encore. Would have been quite the delight for any fan there, and I'm not even the biggest Beatles head there is.
, attached to 2022-07-14

Review by PaulSzk14

PaulSzk14 So this (14Jul22) was my first Phish concert. Many thanks to my wife who reeled me in to this amazing band. So after deep diving in as much as I could listen to ... This was a great concert, a fantastic sampler with a range of beloved classics and some favorite sleepers for a guppy like myself. Some greats that folks chase years to hear live, so all-and-all I think I was spoiled. Ghost was a great opener. PYITE and SANTOS are two of my favorites but we were walking to the car with a sleeping 4yr on my back old who made it singing each song on my shoulders all night til Sand... So I'll be chasing those two .. but they sounded awesome, thanks LP for hosting the concerts. So this being my 2yr Phishiversary of the show, still great memories. Overall, I'd give it a solid 3.5/5, great overall Phish experience.
, attached to 1991-05-19

Review by thelot

thelot The SBD source for this show is listenable but the pitch is a hair sharp. McGrupp switches over to an audience recording which has decent sound. Divided Sky cuts in during the “There’s a Christmas Star” section. Decent Chalk Dust. The opening section to YEM is a little rough. It finishes strong albeit somewhat straightforward for the tour. Set 2 starts off with the band wishing a happy birthday to Josh and some headmaster talk. Oh Kee Pa and a pretty straightforward Bag get things started. Foam has an interesting opening section. Well played Reba. DaaM>Sloth pair nicely. McGrupp switches over to an audience recording. After McGrupp Trey says they need to take another break to deal with some technical issues. When the band returns to the stage Page says “it’s last call for t-shirt sales. 8 bucks a T!” Jon Fishman from the neck down and Zero Man from the neck up delivers a nice vac solo for I Didn’t Know. Golgi closes out the set. Solid Possum encore.
, attached to 1996-07-15

Review by spreaditround

spreaditround PHISH, MONDAY 07/15/1996 LA MARNA Sesto Calende, Italy Soundcheck: Character Zero SET 1: My Friend, My Friend: Intro is a bit sloppy. Punch You in the Eye: Standard. Fast Enough for You: Standard. Guyute: Standard. Possum[1] Standard. I Didn't Know: Funny little crowd clap along: “Hey Hey Hey” Harry Hood: Solid offering here. Cavern: Standard. SET 2: Down with Disease: After the traditional ending, they noodle around for 20 seconds or so and then into… > Maze: Hot version. Trey gets after it. Going into the big ending peak, not everyone is completely on the same page but it’s not too bad. Loving Cup: Trey blows some lyrics. Played slower than normal it feels like and just feels like they are going through the motions. > Makisupa Policeman: Standard. > It's Ice: Standard. Julius: Standard. Hold Your Head Up > Purple Rain > Hold Your Head Up: Standard. Uncle Pen: Standard. Run Like an Antelope: Standard. ENCORE: Golgi Apparatus: Trey really Marty McFly’s this one. Very sloppy. Summary: One of the most boring Phish shows of the mid 90’s – easily. Guess they were more interested in partying with the fans and swimming in the river behind the venue that blowing anyone’s doors off. Replay Value: None. [1] Simpsons and All Fall Down signals. Possum contained Simpsons and All Fall Down signals.
, attached to 1996-07-12

Review by spreaditround

spreaditround PHISH, FRIDAY 07/12/1996 MELKWEG Amsterdam, Netherlands SET 1: Wilson: Standard. > Divided Sky: A little sloppy but nothing to egregious. Horn: Standard. Split Open and Melt: Below average version, it’s chugging along and then it’s not – it just peters out into nothing basically, then Page teases something that I can’t put my finger on and then the traditional ending. Ya Mar: This one is kind of interesting. There is a super quiet, chill section and then it sounds like they are going to go into BBFCFM, but that doesn’t happen and they go into Funky Bitch > Funky Bitch: Seems like it’s played faster than normal out of the gate. This one gets super quiet too and Mike whispers lyrics rather than belting them out. It eventually levels out and they get louder and end it like normal. Strange version. Taste: Way below average. It’s like no one had any interest in playing this at all. Trey especially – no solo. Theme From the Bottom: Standard. Tweezer: Standard. > Llama: Standard. SET 2: It's Ice[1] Great jam, Page rocks this one, would recommend! -> Prince Caspian: Standard for the era > Mike's Song[1] Short, no second jam. No power or oomph behind this, very noodly -> Run Like an Antelope[1] It does it’s typical thing then mellows way out and into… -> Purple Rain > Hold Your Head Up, Jam[2]: Comic relief. NICU[1] Trey: Your guys jam is to weird, we are going into one of our songs, lol. -> Slave to the Traffic Light[1] Standard. Suzy Greenberg: Nice and funky. Solid offering right here. SET 3: David Bowie[1] Standard -> Free[1] Standard. Hello My Baby: ENCORE: Bathtub Gin: Standard. Johnny B. Goode: Standard. Summary: I have listened to this only one other time. When I got the tape back in the spring of 97 and me and buddies were driving from OH to SC for spring break. We all laughed at it and I decided there was no reason to ever pull it back out. I was in the ‘sloppiest show ever’ crowd. But upon relisten, it’s not that it’s sloppy. It’s that this is basically a sound check played in front of a paying audience. This show was a very difficult ticket and I think it’s lousy that the band decided to get wasted and play this waste of a show. Old man yells at clouds? Sure probably. But, I stand by my opinion. Would rate this one as a 1/5. The only redeeming quality is the ‘unique’ nature of this show and It’s Ice. Replay Value: It’s Ice
, attached to 2022-06-29

Review by ThatPharGone

ThatPharGone On a perfect June night in NYC I got a text out of the blue from an old friend living out in Denver that Trey was sitting in with Billy tonight. Surely this was just wishful thinking, I mean Trey had just joined Goose at Radio City a few nights before, but a boy can dream right? When set break came around the crowd was buzzing with anticipation and the rumors seemed to be coming true. Billy's looney tunes shirt (clearly a nod to Trey's 90s attire) all but confirmed it for us. When Trey finally did step out onto the Pier 17 stage the crowd went nuts and we were treated to about an hour of musical bliss by these two guitar icons. You could tell that Billy and Trey were enjoying this just as much as everyone lucky enough to be in the crowd from the shit eating grins they both were sporting throughout their set. I fully believe if it wasn't for the crazy early curfew these two would've played for hours, but a skipped encore break to keep pick'n was the best they could do. Of all the shows I have seen this is the one I consider myself the luckiest to have been at (ok this one and Earth Day) and it always brings a massive smile to my face when I give it a relisten. Thank you Trey and thank you Billy!
, attached to 1994-07-06

Review by andrewrose

andrewrose [i][b]I Didn’t Know[/b][/i] I was driving down St Urbain a few days ago, on the way to Old Montreal to run an errand. I thought waiting until 10pm or so would help me avoid traffic, but neglected to note that it was a Friday night in July, and the Montreal International Jazz Fest was still filling the air with free programming, and the crowds and cars—on the few streets that were still open for traffic—were plentiful. I didn’t mind much. The air was warm, a little humid but not oppressive. Spring and summer have been beautiful here in Montreal this year. A real contrast to the apocalyptic smog-filled skies that literally cast a cloud over the region last summer, starting with forest fires in Northern Quebec and then making their way down the American seaboard. I know those fires will be back at some point, but I’ve been doing my best to appreciate the relative blessings that this season has had to offer. Anyway before I hit the traffic I had my windows up, was listening to Phish Radio and a show from 7/5/19 in Boston I don’t think I had ever heard. Five years gone since that Summer Tour already (one that I continue to feel gets better with age). A pretty nice Sand was chugging along. But once the traffic slowed, I rolled down the windows, turned the music down, and let the warm air, the sound of the outdoor shows, and the din of the crowd fill the car as I rolled slowly past the exit for the Place des Arts parking lot. I had this strange sense of comfort and familiarity come over me. Do you ever get those feelings, when there’s a smell to the air that reminds you of a time when you were younger? Maybe it’s like the first chill evening of the late summer or early fall, and it reminds you of starting up school again? Or burning wood in the winter that reminds you of early mornings at a chalet before skiing. Anyway this one took me back to a different time, being a teenager in Montreal, exploring the Jazz Fest for the first time with a sense of infinite possibility. And just as that feeling was narrowing to a more specific moment, I glanced up and took notice of a green road sign—you know, the kind that they put up in tourist-trafficked areas that tells you which direction and how many kilometres away certain monuments or venues are. Normally I wouldn’t have given one of these much of a thought, but this one was different tonight. It said “Theatre St. Denis.” I was thirteen when that place first took on significance for me. By some divine grace, a few kids years ahead of me at the boys school I went to had taken me under their wings in the year or two prior, and introduced me to what was really important—music. Frank Zappa, Bob Dylan, Paul Simon, [i]Jazz[/i]. As Grade 8 was letting out a bunch of them were getting tickets to various Jazz Fest shows and I was encouraged to get in on the action. John McLaughlin with Paco deLucia, up and coming saxophonist Joshua Redman with a quarter that included a then still little known piano player named Brad Mehldau. Elvin Jones and McCoy Tyner. I remember being at that last show at Place des Arts, sitting next to two of those friends, Omar Ahmad and Rob Gilletti, while an older woman looked at me—what was a little prepubescent kid like me doing at a show like this without my parents? “What brings you here?” she asked. Omar or Rob leaned over and said something like “his older friends who like music,” with a tone that suggested I belonged there as much as anyone, that music was mine too, age be damned. After the show as we were walking out and bumped into some other friends of theirs, someone pointed out a strange looking guy with weird glasses talking to some people a few rows ahead. “That’s Fish,” someone said. Apparently he was the drummer for another show we had tickets for. It wasn’t part of the Jazz Fest programming technically, but it was very much in the plans. We were going to see Phish at Theatre St Denis on July 6th. I had heard of Phish. It could have been as early as two years prior in what must have been September 1992. I had just turned 12 and started Grade 7, and we kicked off the school year with a camping weekend with the Grade 12 students. I had the good fortune of having this guy Adrian Burhop as my assigned counselor for the short trip. He was immediately disarming, kind, and made me feel like an equal despite what in that context would have felt like a very big gap in years. He was likely the first Deadhead I ever met, the quintessential older cool 'Head with a twinkle in his eye and sacred secrets to share. It’s likely he would have mentioned or played Phish, too. I can’t say for sure. I do know that not longer after a [i]Junta[/i] tape made it into someone’s car and I was immediately amused by this band with a song about a car with tires on the road, and a guy who “wrote the fucking book, ok?!?” Adrian graduated the next spring, and I wouldn’t see him again until outside Theatre St. Denis that evening in July 94. He had grown a huge beard, long hair, still beaming, but this time part of a scene I had never encountered before. Girls with armpit hair, which I could easily see because many of them had their index fingers in the air (what did [i]that[/i] mean?); strange but not off-putting smells; it was a happening to be sure. I was intrigued, and ripe. Whatever this guy is onto, I remember thinking, I want to figure it out. I may have known who Phish was loosely, but I didn’t know what I was walking into. Theatre St Denis is a small theatre in the ‘Quartier Latin,’ a bit of a no man’s land between the main downtown strip and a more touristy area that stretches up St. Denis. I don’t think I’ve ever been back there in the thirty years since. By contrast, Metropolis, where Phish had performed just a couple months prior, now dubbed MTelus, I’ve been to probably a hundred times and know intimately, backstage and front. It was an intimate affair, the balcony was closed. Tons of people had taken off their shoes and put them in a pile next to speakers on Page's side. I did the same, because apparently that’s what you did. There was no smoking, much to the surprise and chagrin of some of the showgoers who made full use of set break to address the issue with something other than cigarettes. It would be disingenuous at this moment to comment on the show here in too much depth musically with the perspective I now have. I didn’t have it then. I didn’t know “Reba” didn’t usually sound like [i]that[/i] in the middle. I remembered the ‘bag it, tag it,’ that stuck, but it would be years before I came around to the significance of that performance, and retroactively come to sanctify it the way I have. But did it become so sacred precisely because of some experience I had that night, that I can’t quite pinpoint or recall? I’ll never know. I didn’t know at the time how special it was to meet “Fluffhead”, “David Bowie”, and “Harry Hood” (and in those ‘94 incarnations, no less) on the same night, nor the space they would come to occupy in my head and in my heart in the thirty years since. I didn’t know how many more times I would step into the freezer, how this moment planted the seed for so many others whose significance I would be fully conscious of, like the one eight and half years later at the Nassau Coliseum. Or how much of a kick I would get out of seeing Trey play “Llama” this past May at MTelus with TAB, as a nod to his first time back playing in Montreal since that night. I didn’t know that the heavy metal extravaganza of “Big Black Furry Creature From Mars”—which made quite an impression on a kid who was also pretty into Metallica in the early nineties—wasn’t exactly typical at every show, or that it would feature on a tape from Rochester, NY three years later that would be an early staple in my growing audio arsenal. Or that the Internet In a Box we got that summer who soon connect me to people all over the world, some of whom would send me tapes in exchange for ‘blanks and postage’—or in my case, blanks and a couple bucks of US cash, because I couldn’t [i]get[/i] US postage where I was. I didn’t know what kind of significance the a cappella “The Old Home Place” would come to have over the years, on this night nodding to the proximity to Vermont, but then applying to the home base of their first festival in Plattsburgh two summers later (my next show, and first of six consecutive festivals), or the Worcester Centrum in 98, after my first fall shows there in 97, and returns in 2003, 2010 and 2012. Or to the performance at MSG last summer, after New Years runs in 97 and 98 and the Bakers Dozen. I didn’t know that ten years later I’d be wandering around Coventry, Vermont with a homemade t-shirt that said “the moment ends,” and being interviewed for some documentary talking about how excited I was about the music scene emerging in Montreal, with bands like The Unicorns, Wolf Parade, and Arcade Fire. Or that in the coming year I’d go on to fill the Phish-shaped hole in my soul partly by co-founding a record label and releasing Patrick Watson’s first record, later signing the Barr Brothers, whom I had first encountered as the Slip at Oswego in 99. I didn’t know I’d luck into pit seats at SPAC in 2009, my first post-hiatus show, and end up tearing up during “Guyute” of all songs, newly a father. Or that in December 2010 I’d be similarly moved when the band busted out “Albuquerque”, a song I would sing to my son as a lullaby, a month after learning that his mother’s mom was dying of cancer. A lot happens in thirty years. People are born, people die. People stumble, people recover. I’m reminded of a passage Tom Marshall wrote in the foreword to the first edition of [i]The Phish Companion[/i]: “my favourite ‘thing’ about Phish is more of an emotion … it has to do with holding their children in my arms, and watching their kids play with mine … It’s my pride as I watch them gracefully grow older.” And that was twenty-five years ago! I don’t know the band personally—as much as it can feel like I do sometimes. That’ll happen when you’ve heard four guys playing out their emotions and their friendship, in thousands of variations onstage and even more on tape, over the course of decades. But Tom’s sentiment still feels like it applies, somehow. I think about how much bigger the scene has gotten since then, especially these last five years—of course the same words could have been uttered in 1994 or 1995 without any less significance. How silly the consumerism and spectacle of it can be. How much addiction there still is—not just to substances. And how much I’ve learned about addiction, about pain, and what we do to soothe it, and how tragic some of the earnest attempts are on the one hand, and how beautiful and redemptive some are, on the other. About how it’s no accident that music, risk-taking and improvisation are such a beacon for so many of us who have had the good fortune of feeling what it’s like to be part of something bigger than yourself. How much of a balm a string of notes can be when it has no agenda other than to bare its soul as time is torn up in its wake—if you know how to listen. And how enticing it can be to then try and pull that magic down from the ether, preserve it in collective mythology, ritual, and secret language. It’s still a mystery to me, thirty years later, where the sweet spot is in this whole affair that has me writing thousands of words just because of a concert I went to thirty years ago. And while I’m still taking notes on “Bathtub Gin” vintages (that one from Mexico this past February is [i]no slouch[/i], let me tell you), what’s not a mystery are the handful of people and personal connections that have endured, those who share the soundtrack, that tugs on my heart the most. On December 6th this past year I was at a hockey game when I learned that Adrian Burhop, that first fan I had ever met, had died tragically cross-country skiing on a lake north of Montreal after a huge early snowfall. Over the years I would run into him around Montreal. He worked at a used sports store in the late 90s and helped me find some hockey skates, and we connected the dots and he was all smiles, as before. Eventually as I settled into the Mile End neighborhood around 2004, I started bumping into him more and more. We never got super close, and didn’t see him at shows, I don’t think he ever became as big of a fan as I was in later years. But he was a full on court jester in our local scene, never taking himself too seriously, full of kindness, equanimity and poise in the face of the cosmic joke of just being alive. I mentioned him after his passing to another older school friend, Mathias—whom I’ve seen many a big show with over the years—and asked if he remembered him, to which he replied, "of course! he was always carrying around a copy of [i]The Dharma Bums[/i], if I recall correctly." Big Bodhisattva Energy. If you wanted to be a little mystical about it, you could say he lived his life with the kind of grace and humour of someone who somehow knew they had limited time. Mathias and I are going to see the shows in Bethel together this summer. Our first together since SPAC 2016, and the first time we’ll have seen three shows back to back together since doing ten or so twenty-five years ago in Summer 99. Neither of us were fortunate enough to have gotten a tip about Gamehendge last December, but it stung a little less being able to share the story. Of course if you had told me on 7/6/94 that they’d be doing Gamehendge at Great Woods at the [i]next[/i] show, I likely wouldn’t have known what that meant nor made my way there. I was a kid. I didn’t know. Adrian knew though, and I learned pretty quick: la la la la la la la … life is just a bundle full of joy (if you know how to listen).
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