It's always gratifying when this band turns in an undeniable performance — that is, a performance that we can all unanimously agree on. One of the joys of following this band is the fact that, with a catalog of over 200 songs in regular rotation, their shows can mean completely different things to different people. I think it's a safe bet to say that many were disappointed when Lonely Trip and Farmhouse appeared in close proximity in the second set in Berkeley on Tuesday (with Numberline waiting in the wings to close, no less), but there's a substantial minority of Phish fans who live for songs like Farmhouse and Numberline. To those fans, Tuesday might have been a masterpiece.

Which brings me back to my original point. This little West Coast jaunt has had some truly exceptional moments — rare bustouts, unconventional song placements, some genuinely inspired jamming. In truth, each and every show from this tour has something great to offer, but your opinion of each individual show is going to vary depending on what comes between those moments. For whatever reason, some of the most exceptional shows of this tour have proven to be controversial: Berkeley N1 for its commitment to jamming, Hollywood N1 for its repeats and (I guess?) new material. It's a bit of a mystery why two different Phish fans might hear the same show and have completely different opinions of it, but it makes sense to some extent. It's not like we have objective criteria by which we can "score" a show. It's a gut feeling.

And that's why it's all the more remarkable when this big, diverse, opinionated fanbase manages to nod our collective heads in approval. This show, for a variety of reasons, seems to be one of those rare moments. It represents a perfect blend of rare material, unusual setlist placement, and inspired jamming. There's something for everyone here and very little for detractors to latch onto.

I love these moments. As a Phish fan, I live for these moments.

So, let's talk about this setlist. The first set is the more unusual of the two, featuring a parade of out-of-place songs that propel some truly transcendent moments. The set kicks off with a raging Ghost, faster and meaner than your typical first-set outing. The band wastes no time launching into an agile, exploratory jam. Despite its compact runtime, this jam — which goes Type II almost immediately and stays firmly in that territory throughout — packs a lot ideas into it's slender timeframe. It's a must-hear. The band keeps the energy up with a serviceable Bowie. There's nothing remarkable about it aside front the fact that it doesn't close the set, but its appearance in this slot effectively highlights the band's willingness to defy expectations early on.

Next up, we are treated to the formerly rare Esther, which saw a major resurgence in 2022 and has become something of a regular in Phish's setlists. It is performed very well and it sets the stage for our second significantly out-of-place song of the night: Harry Hood. it's safe to say that any Phish fan who has managed to catch the band live a few times has seen this number, being one of the most common songs in rotation, but it nearly always closes a second set or the show. Dropping it in the middle on the first set? That's a bold and unexpected move. It proves to be a good decision, as this Hood jam mostly avoids the big dynamic and harmonic swing we associate with it. What we get instead is a focused, high-energy jam featuring some dextrous playing by Trey in particular.

Next up, the band treats us to another increasingly common rarity: Meat. Never much of jam vehicle, it serves as a bridge here — a moment of contrast. Its lilting funk grove and strange lyrics aid in changing the mood from triumphant to weird. It effectively sets the strange for a wonderful Split Open and Melt, another out-of-place set closer appearing just a hair too early. This particular version doesn't reach some of the heights of some recent Melts, but it's awash in the sort of deep psychedelia we've come to know and love. Mike takes full advantage of his new goodies here, generating loops that expand and contract rhythmically, in tension with the other instruments. Trey carves out a little space in the din to bring the jam to a minor peak, then navigates back to the principal riff before they get too deep (a common occurrence with Melt). It may not make the highlight reel, but there's a lot of good stuff in this one. The band takes a well-earned breather with Leaves... and nobody seems to mind. Finally, with no less than THREE potential set closers already off the table, the band drops perhaps the most quintessential set closer of them all: The Squirming Coil. This version is clean and well-played. It features a lovely little duel between Page and Fish before Page takes his final solo bow. After such a fiery set, it's a nice comedown — a moment of contemplation after the sermon.

The crowd at the bowl was buzzing after this unorthodox first set. What could they possibly have up their sleeves for the second?

The band answers that question right out of the gate by leaning in to one of their most reliable songs: the ever-enjoyable Chalk Dust Torture. Underrated for its versatility, this song can land just about anywhere in a setlist, but its appearance here — in the opening slot of the second set — usually means the band is looking to jam. And, boy, do they ever. This one manages to break the 20-minute mark, though it rarely flounders. It feels strong and directional, favoring some blissy major-key exploration early on before stumbling into something darker and heavier. There is a moment where it seems like the entire thing might fall apart entirely, but Mike emerges from the psychedelic soup with a recognizable shape and Trey latches on immediately. Eventually, Fishman find a neat little staccato grove that the rest of the band coalesces around. Trey leads the charge back to major-key territory and a thrilling conclusion.

I spent most of yesterday telling people we were due for a Twist, so I was delighted when I heard that recognizable riff emerge from the psychedelic afterglow of CDT. Proving to be more of a bridge than a destination, the band scales back the jam to make way for an effervescent 2001. It's little longer than your typical outing, with some really nice work by Mike, who establishes an ascending counterpoint to the melody. The rest of the band seem so delighted by this development and that they nearly forget to end the song. It's these little spontaneous moments, I think, that set great shows apart from those we might describe as "average great." This is an excellent 2001 and contributes a great deal to the quality of this show.

With the energy high and the crowd on their feet, the band treats us to a highly danceable Sally and a ripping Back on the Train. There's nothing remarkable about either one, but they're both worth hearing for their sheer energy and momentum. Finally, with everyone exhausted and smiling, the band takes their second breather of the night (no pun intended) by way of A Life Beyond the Dream. Normally, it would be a controversial pick this late in the second set, but it just feels right here: one final contemplative singalong, a moment of recovery and positivity, before they burn the whole goddamn house down.

And that's just what they do with First Tube. Again, nothing remarkable happens, but the energy is what puts this closer over the top. It's an emphatic exclamation point at the end of a thrilling chapter. Decidedly less jammy and more focused than Friday's second set, this one has "Saturday Night Dance Party" written all over it. It stands in stark contrast to the more unconventional first set and brings a sense of balance to the show. Naturally, the playing throughout is stellar.

With so many oddball picks in the setlist, we were racking our brains trying to figure out what they had in store for the encore. Much to everyone surprise, we get an exceedingly conventional choice: Antelope. It would be difficult to provide any real insight here given how many times we've all seen it and how great it typically is, but this one feels exceptionally peaky. The entire crowd is worked into a frenzy as Trey shreds his way to the climax. It feels like a bomb of cathartic energy has been dropped directly into the center of the Bowl. I don't think we could have asked for a better encore.

So, that's the story of this show. Energy. HIGH energy. The band made some bold, unconventional choices and it paid off in big way. We have just a few stand-out jams: Ghost, Melt, the formidable CDT. Beyond that, we have a bunch of high-energy, endlessly danceable songs, played with vigor and enthusiasm, to nearly everyone's delight. The unanimity of opinion on this one is all the more remarkable. Selections that have proven to be controversial fit naturally into setlist and provide just the right amount of contrast. It's nice to see everyone on the same page here. The band is refining their approach to the newer material and it's finding a home in regular rotation.

Overall, I don't think this show has a single defining characteristic. It features both conventional and unconventional elements, some excellent deep jamming, but also some straightforward Type I goodness that keeps the energy high and the mood joyous. It's still a bit of a mystery why this show in particular seems to be unanimously loved, but it's a damn good show — one with endless replay value. All the pieces fit together just so.

This truncated fall tour has tallied some truly outstanding moments in nearly every performance, but this one feels like the culmination of all the shows that preceded it. It's like a fine three-course meal, where each dish enhances your enjoyment of the last. It's an excellent show from front to back and needs to be heard in its entirety to appreciate the totality of the experience.

Most importantly, it's one we can ALL agree on.