, attached to 2009-12-31

Review by JezmundTheFamilyBeserker96

JezmundTheFamilyBeserker96 Very solid early 3.0 show. Especially loved the Demand > Seven Below pairing in the first set. Nice raging Piper in set II featuring some Trey shredding. The centerpiece of the show is the extremely psychedelic Ghost -> NO2 pairing that saw Gordon taking the band down the rabbit hole. Absolutely must listen pairing if you've never heard it before. Solid third set capped off by You Enjoy Myself with a pretty ripping Trey solo. (Set 1 Highlights: Swept Away > Steep, Demand > Seven Below Set 2 Highlights: Piper, *Ghost -> NO2* (Standout Segment) Set 3 Highlights: You Enjoy Myself)
, attached to 2011-06-03

Review by dr_strangelove

dr_strangelove Quick plug for the LivePhish app. This is the first show I listened to using it. I didn't pay attention to this app for a long time, but once I finally downloaded it and got a subscription, I was suddenly overtaken with exhilaration for the immense power I held within my hands. Glad I finally made the plunge. As for this show, what a doozy! Both sets are full of great playing and energy. The DWD jam is a must-hear, and the Bowie jam is pretty hot too. I would say give this entire show a spin, but if you are looking for the more essential highlights, here are mine: 1) [u]Wolfman's Brother[/u]: Great opening statement, Mike really shines with some funky thick bass licks ('it's my birthday' funk). Trey's leads mesh nicely with Mike, and they build into a great peak. This show has my attention. 2) [u]Funky Bitch[/u]: What a rager! Trey goes off on this one, a little loose at moments but all heart. Love it! 3) [u]Weekapaug[/u]: Build to some great peaks and high energy fun throughout. Very good version. [b]4) [u]Chalkdust Torture[/u]:[/b] This chalkdust is pretty great, but there is a brief ~30 sec moment where Trey puts his hand to the flame just to warn this "Set I" crowd that the fire is coming in Set II. It's a cool flirt with dissonance that I really love. Highlight of a pretty great set I. [b]5) [u]DWD[/u]:[/b] The fire has arrived you set I noobs. Cool riff-aping between Mike & Trey to start this jam off, it has an effortless feel, like bustling through an over-crowded NYC street in drizzling rain with your headphones on. Fishman drops out of the jam for a few minutes, allowing Mike/Trey/Page to harmonize over digital delay loops for some beautiful, jellyfish melodies. When Fishman finally comes back in, WOW!!! Freaking incredible! The beat, the melodies, and Trey's lead in this new segment are fantastic. Once the digital loop recedes, the jam enters organic territory where Mike and Fishman really shine with a beefy, snappy, journeying beat. Page uses some helium head synthesizers to signal a wonderful ending coda of the jam. High priority listening material. The only thing that makes this jam better is... [b]6) [u]Fluffhead[/u]:[/b] OMG! I've never been so happy to hear Fluffy! Emerging seemingly from nowhere, the transition is pretty rad, and after that DWD jam there is nowhere Fluff can travel but to raging peaks of glory. Well-played, well-placed,, the only thing that can make this better is... [b]7) [u]David Bowie[/u]: [/b]Yes!!! Not super familiar with 3.0 Bowies, but I am confident that this must be among the best. The jam starts in standard Bowie territory and then suddenly its not. Trey flawlessly enters a major mode with the band hot on his tail, it just sounds natural. The jam stays in happy, rocking jam land until about the 11 min mark, where the jam takes a more epic, climbing and dissonant pose that is more Bowie-esque. The context of how it all evolves, though, makes a truly outstanding listen. The jam sticks the trilling Bowie ending so hard that hand-banging cannot be avoided. A phenomenal three song sequence. The Waste that follows is a welcomed respite from this 50+ min of amazing rock n' roll.
, attached to 2019-12-28

Review by DownWithSteam

DownWithSteam Was in attendance for this one. My 5th show ever. I really enjoyed this show. First set had some fun treats like Weigh and Dog Faced Boy that I might never hear again. Fun No Mans right off the bat, then a sweet DWD! New Years run in full swing, lucy in full swing and it was a jam packed first set capped off by a high energy Santos. Nothing to complain about in the first half. Good variety, few clunkers, high energy. Now for the 2nd set, where things take off even further. Great to heat beneath a sea of stars, it is a good song with a ton of potential. Next thing that stuck out in this show was the jam out of piper - perhaps the highlight of the night - 10 min version with no time wasted. Intense fluid jam that got the garden rocking. O boy 3.0 can be good sometimes people. Band has some fun with asshanded -> chaldust reprise (only 3rd time ever that reprise was played) and then a solid double encore with life beyond the dream. It was my first time hearing the song and I was sold. And topped off with a freaking rocky top. 5 stars from me. So grateful I was in attendance for this one. Listen to it. Underrated because of what was to come the next 2 nights. What a freaking run! Dont miss this band
, attached to 1998-10-29

Review by hansokolow

hansokolow Still one of my all-time favorite shows, it managed to stand out, even coming right before the unbelievable Vegas weekend two-nighter. I was lucky enough - no, smart enough to go to all three of those shows. They are all favorites. It was a gorgeous night, and yes, that place is lovely with excellent sound. We love the LA Greek, almost as much as the Berkeley Greek. The slow songs that pop up in the first set felt just fine in this place, honestly. It's a major downshift into Roggae, but listen to the crowd on the audience tape just love the song choice. I hear it. Roggae had a long way to go before it matured into what it is now, but this was a great early version. Driver was very special, very intimate. I remember that, initially, I left this show really impressed by the Reba, but it was how amazingly they nailed the composed section, rather than the jam. I was just blown away by how effortlessly they rip through the insane hard parts of the song. There were a lot of covers this night, getting us warmed up for the Halloween weekend (what will they play?!), and I remember Walk Away being really fun. I had no idea what a bust-out it was. And the Something encore really made an impression. It is just fucking flawless, and if you're gonna play that song, you have to play it flawlessly. It's too important a song. And they did it. The crowd fucking loved that encore, it was very special on what could have been just a warm-up night. I also remember, during one of the hiatuses, listening to everything I had (on CD, kids), in order, starting in I think '96. And from '97 on, I had every show. So when I got into late '98, I was listening carefully for the first appearance of Trey's reverse delay effect that became THE thing in '99. You know what I'm talking about, the backwards Hendrix-y brain-melting effect. Trey leaned on it heavily in '99, and to great effect. We are thankful. But yeah, I wanted to know when it started, and it was here, I'm pretty sure. Prove me wrong, please. In any case, while I don't think Trey used it a whole lot in Vegas, it is all over this show. I thought that I had first heard it in Reba, of all places, but upon a re-listen last night, it starts in Llama, and then again in Birds, Zero, yes, Reba (at around 18 minutes), and Bowie, and maybe more songs too. It's the face-melter, and I love it. Trey still brings it out occasionally in jams, and always in First Tube. Thank god the audience recordings are so good from this night. They should release this show, but I would still listen to the auds, probably.
, attached to 1990-04-26

Review by hansokolow

hansokolow I'm just so mad at myself for missing this tiny show at the 'Sco, which is just a room in the basement of the student union. This was the second semester of my freshman year in college, and I was a budding little deadhead (I had seen two whole Dead shows!), so I'm sure a lot of my friends were talking about this band. I'm sure it got recommended to me. What was I doing? There were surely no more than 50 people in attendance, and I probably could have had a beer with the band after the show. I went to tons of dance nights at the 'Sco. I probably had practice this night with my a cappella group, the Obertones. I was a bass voice. Or maybe I had rehearsal for some theater piece. I was a theater major. But man, I could have seen this, and seen the band a full 4 1/2 years earlier than I did. I just gave the tape a listen, and I'm amazed at how good the band was already at this point. A lot of these songs really groove. The jams are proto-Phish, of course, a lot of mayhem. And some things are very different, like this early version of Cavern with alternate lyrics. I just know I would have totally latched onto this band already. After this I transferred to UC Santa Cruz, close to home for me, where I missed the band again several times. I finally gave them a shot in December of 1994 when I moved to LA. Now you know.
, attached to 1994-04-30

Review by dr_strangelove

dr_strangelove Solid show with some decent highlights: 1) [u]Stash[/u]: Jam starts with some oscillating wave-like rhythms which the band rides into melodic flirts with tension. Eventually the tension begins to win and some chaos ensues. I'd say Fishman is the MVP of this jam, very percussive throughout. [b]2) [u]David Bowie[/u]:[/b] Jam starts by probing a dark quiet space, with the sense of dread you get when you are home alone but feel like someone is right behind you. Page, Mike, and Trey are interweaving with melodies that are really fantastic as the jam only continues down this dark hallway into more hushed tension. Eventually, only Page is keeping the melody alive when Trey begins to growl back into the mix with weird guitar effects, signaling the shadowy dread of prowlers in the night and leading the whole band into a frantic chase through moonlit streets. "The Lion Sleeps Tonight" teases toward the end are cute. [b]3) [u]Harry Hood[/u]:[/b] At around 7 min into the song, the jam blossoms into ethereal bliss provided by swirling melodic flourishes from Page & Trey that are gorgeous. From here, the jam gradually reaches a transcendent peak equal to an quality Hood. Unfortunately, the recording on phish.in cuts off right at the vocal reprise, but still worth a listen. 4) [u]McGrupp[/u]: Page has a really great, extended solo in this one. 5) [u]Possum[/u]: Typically great Possum, rife with teases including "The Lion Sleeps Teases" that are sprinkled throughout the show, but also includes extremely well-executed "Wolfman's", "Wilson", "Peaches in Regalia", "Axilla", and a couple other teases. Slick and masterful as one could only expect from '94 Phish.
, attached to 2019-07-03

Review by ddingle

ddingle It's the first week of my last college semester at the University of Vermont, and it snowed 9 inches yesterday, so I don't really have much to do. I've thought about writing this review many times, and here we are. In 2019, luckily I got to see 5 shows with my dad, this being the unexpected first, and I could not have asked for a better summer vibe here. Keep in mind this is my 8th show, with my dad taking me to 4 when I was 10, and not actually getting IT until 12/29/18. I'm still a noob and had yet to hear many of these songs. I was living in my junior year apartment at the time, just finished a part time shift, and my dad and I almost agreed at the exact same time to drive 2 hours and meet up at SPAC. A quick trip over to New York later, we meet up and head to the venue. Hot evening, but we were both excited, considering we had not seen each other in a month-ish. "Fluffhead" and "Guyute" was a SICK back-to-back opening pair. Especially the drawn out Fluff intro. We were so amped up, just happy to be together on the Page side lawn. "Martian Monster" and "Llama" were also very nice to hear, short versions, "Llama" especially was a nice treat. I'm not the biggest fan of "Steam", however this jam was very nice and chill. "Poor Heart" and "Crazy Sometimes" were good. Being a noob, I LOVE "Silent", so I was pumped when this came on. A guy next to me was overjoyed during "Sleep" and hugged me and we danced together. When 'Drift While You're Sleeping" began, I was once again pumped as this was one of my favorite songs off GOTF. GREAT PEAK, bias but I think the peak makes it the best version played to date. Listen for Page's synth at 6:15, very, very nice. Setbreak and I'm so happy we decided to meet up here. During setbreak, I started talking to one of the guys next to me. He was asking where I go to college and where I lived in Burlington. We found out that about 5 years before me, he lived in the SAME APARTMENT UNIT that I did. What a coincidence! I took a pic with him. "NMINML" was nice, although by the end of 2019, it was the 5th time in 12 shows I had heard it, so I'm a little sick of it right now. In the moment though I would guess I was happy, and listening back to it, it's a really cool jam. "Dirt" was beautiful and then "Plasma" dropped. FIRE! Great jam and then the segue into "WACTOOB" was dope, especially as I'm a huge KV fan. Going back into "Tweeprise" for the second night?! Wow. I was overjoyed. I also love "The Wedge", this had a nice summer feel to it (as the rest of the show did), and then when "Sally" came around, I don't think I've ever seen my dad dance harder to a song. "Antelope" was alright, but it's still "Antelope". Not the best version, but it's still awesome to hear. I've always been a huge "Slave" fan, and this was a nice rendition. I mean, what else could you ask for for a show you weren't planning on attending two hours prior? Great summer vibes, great song selection, great jams and segues, and great people. "Rock and Roll" was again awesome, crowd loved the choice, and sent everyone home with a smile. Spent one night in the hotel room before dad had to be home with the family for 4th of July and I had to be back at UVM to take a summer class exam, then go to the beach and see my friends. Show itself is a 4, but my experience was a 5.
, attached to 1986-12-06

Review by deceasedlavy

deceasedlavy There's some confusion regarding the "jam" portions of this show that needs to be cleared up. Both Phishtracks and Phish.in have erroneously inserted the 6:16 track called "jam" in between Camel Walk and Swing Low--that's not where that goes. That jam emerged out of Makisupa and forms a wonderful bridge between it and Fluffhead. If you listen to it properly you'll discover that it's a completely fluid movement. This is one of my favorite '80s shows and that little first-set stretch is definitely one of the highlights. Hopefully this "review" becomes obsolete soon...
, attached to 2003-07-31

Review by TooManyUrkels

TooManyUrkels Underrated show. Yea, Hood/Piper/Moma get all the love, but there's a lot of other goodies here that I think some other reviewers maybe missed. Set I: Fierce Llama sets the tone for a take-no-prisoners barrage of Type I crispiness. Moma absolutely scorches - great take. D. Sky is well-executed (I don't recall any notable flubs) with a killer jam - also a great take. Seven Below rages quite concisely - a nice surprise peak. Sloth is a treat, also well-executed IIRC. There's a little difficulty getting WitS off the ground at first - hello 2.0 flubbery - but the Wolfman's that follows totally slays. I'd call this a particularly notable Type 1 affair, which tees up Possum well. Possum is properly played but otherwise not super notable. THAT SAID - this first set breathes total fire. Charizard shit. Phish fans come for the big jams, and I get that, but I love a good first set, and IMO this is about as good as I've heard through the rest of '03. Bust outs, big jams, obscure nuggets? No, but it doesn't need to have a 30 minute SASS, a YEM closer, or a Tweezer to get the love from this listener. Get over yourself if you think a Phish set has to have a 20+ minute jam or a Forbin's > FFM to still be worthy of praise and notability. jk the ocean is love and I don't hold it against you ;) Set II: Piper rips - I'm a big fan of spacy '03 Phish and this Piper's mid-section is a great example of this, with a killer groove on the back end that elevates the whole affair. Lots of shredding in this Groove - Trey bodies Mike's and Paug, but his lack of the Ross compressor shows in H20. That said, it's a largely on-point recitation at a time when that wasn't a given (it unfortunately still isn't). Decent --> into Free, which may have a hiccup or two scattered across the composed sections, but the jam is more of the top-shelf Type I variety exhibited elsewhere. The big Hood hits some bouncy segments in its exploration, features some good Page on organ lending a soul-inflected vibe to the mid-section while Trey hits his typical blues chromatics atop. The second space-voyage of the set creeps in as Page lays out on the organ, Mike builds a bedrock of drone, Fish finds a light ostinato on the rim, and Trey continues to bounce around in '03's plinko-adjacent manner. Soon the effects start coming in as Trey joins Mike in the land of the minor-key drone, Fish opens up the groove, Page takes chordal charge on the ivories and the '03 haze threatens, if only for maybe 90 seconds, to bring this jam to scary places as the cadets and spunyuns in the room start to take cover lest they be consumed by chemical ego death. Page suddenly brings us back to calmer waters with a deft deployment of our friend the D major, and thus begins the ramp up to the jam's typically cathartic ending. Cue wall of cymbal swell, and a fermata'd resolution brings Set II to a close. Not the peaky, climactic, shreddy Hood that comprises much of the "best ever" lists, but this one's punching above its weight based purely on the exploration therein. The Frank-Encore (Franken-Core?) gets off to a shaky start (Trey rushes), but deploys almost the full barrage of '03's effects pallet and hits all the right notes to send the throng home. Crunchy stuff all told. Okay yea so the Type II banner-wielders of this show are pretty much only Hood and Piper. Whatever, it's all killer stuff nonetheless, like a greatest-hits show played with the '03 rawness and edge that makes this one of Phish's most rewarding years to explore, if I may humbly opine. I'd give it like 4.3 stars if I could, but I gotta hit it with the fiver on account of .net's wack-ass rating system.
, attached to 1996-11-23

Review by fall96josh

fall96josh A tough haul to get to this show on some very long snowy highways and, as noted in another review, a cold wet night after the show. Somebody told me at the time that Kuroda had friends from Industrial Light and Magic in the audience and added some extra zing to the light show. The shape of the coliseum (compared to the arenas of the rest of this tour) and how it interacted with the lights that night definitely added to the two killer sets reviewed here to make for a memorable night. Punch You In the Eye definitely a highlight.
, attached to 2003-07-25

Review by HotPale

HotPale Bowie contained a tease from Trial Before Pilate (A. Lloyd Webber) Bug, at this time was not very popular at concerts, but has seemingly picked up an appreciation over 20 years. Underrated! Harry Hood was as tight as he gets. Not that I forgot they were playing Hood, but at one point I had one of those sonic episodes where all of a sudden the song had transported me into the zone before releasing me from the flow. Bowie was certainly one to include on the post card home. Limb By Limb was arguably the best version up to that time. Drowned as the second set opener was a quite the dive back into the show. Overall, this show had mostly ups and very well placed songs. One of the build-up shows to the IT festival, the boys did not play this one safe. The gamble paid off.
, attached to 2003-07-25

Review by HotPale

HotPale Bowie contained a tease from Trial Before Pilate (A. Lloyd Webber) Bug, at this time was not very popular at concerts, but has seemingly picked up an appreciation over 20 years. Underrated! Harry Hood was as tight as he gets. Not that I forgot they were playing Hood, but at one point I had one of those sonic episodes where all of a sudden the song had transported me into the zone before releasing me from the flow. Bowie was certainly one to include on the post card home. Limb By Limb was arguably the best version up to that time. Drowned as the second set opener was a quite the dive back into the show. Overall, this show had mostly ups and very well placed songs. One of the build-up shows to the IT festival, the boys did not play this one safe. The gamble paid off.
, attached to 1994-11-28

Review by shumate

shumate It's a real treat to have this show released officially as an archival release. If Rolling Stone ever decides to update their 100 Greatest Guitarists list, there should be a separate list for the 100 Most Influential Guitarists, because their use of "Greatest" was obviously a misnomer. I know it's been discussed at length, but the only excuse I would accept for Trey not being incredibly on this is list is if he, as a voter, had personally requested not to be included. And I've seen nothing to suggest that was the case. Although there are plenty of stellar examples from Phish history, this would be my selection for Trey's inclusion on this new list, cultivated solely on technical ability alone, not on personality or level of stardom. There are times in this show, as was often during this period, where Trey's guitar seemed to be playing itself. It did not seem to matter what he did, the end result was fantastic. He could have pulled a Hendrix and flipped it around and re-strung and it would have been flawless. Take the solo on Sleeping Monkey. The tone is incredible. No doubt one of many great Sleeping Monkey solos, but there are times when Trey dials in the tone just right and this is one excellent example. The Tweezer jam we know to be amazing, but what about the jam in Simple? Tight and blistering. Suzy Greenberg? Funky and spicy, as usual. If the Rolling Stone world isn't ready to crown Trey as one of the greatest of all time, he was certainly the best on the planet in 1994, and after listening to this you can't objectively say otherwise without comic levels of bias.
, attached to 1997-07-23

Review by LooksNothingLikeDave

LooksNothingLikeDave This is my first post ever on .NET but I have been an avid reader here for many a year... anyway, I’ll keep this short... or as short as I can. I have used to be able to run before I found out that I had hip dysplasia and couldn’t run anymore... but this “Ghost”... this “Ghost”. I’d start with “Julius” on my run to get warmed up and then I’d go to “SOAM” where the manic energy would keep me going, but the finale would be with “Ghost”. That’s where the steep hills would be... and I had it timed where each of the musical peaks would hit as I was in the middle of a steep incline toward a literal peak... the rush of the bands final two peaks could get me through some of the toughest spots of my routes... anyway, I don’t even know how I initially found this “Ghost”. I think it was back in around ‘10 and I think I just searched “Best Ghost” the google. I picked through beyond the usual suspects that I already knew and loved, found this one, and downloaded it probably on archive. Since then it (and this entire show) has been in the top of my top favorite shows.
, attached to 1996-04-02

Review by I_Run_OUTOFCONTROL

I_Run_OUTOFCONTROL These two shows are incredible displays of improv. The music is challenging to the ear, much like a deep Jim or some of the crazed ADHD-rock of 94-95 Phish, however this isn't our phavorite phour testing their jazz improvisational/technical boundaries within rock n roll. Surrender to the Air has strength in stylistic commitment and strength in numbers. The group are pioneers of the cosmos for two hours each night with the goal of deliberate exploration. Loss of control is the risk, and 11 virtuosos are the insurance. When one musician ventures too far, he can step back to safety and let the others steer the ship. As you'd expect, Fishman is in his element, and Trey can flex his abstract jazz chops without the pressure to lead the show. // I like to think these shows were formative for Phish's late 90s development, especially for Trey. In 95 and earlier, Phish's improv is centered more on the rapid-fire introduction of and Hey-Hole practiced adaptation to new musical ideas. In these shows, Trey is patient and meticulous with his contributions, relying on the band to lead. This is a method we see more and more in 96 (see Rupp Gin), which becomes truly polished in 97 (see Amsterdam Stash and any cow phunk filth), and peaks at The Show (see Sand>Quadrophonic Toppling). // I'm a fan of N2 over N1, mainly because we get fun vocal antics and grooves that leave a slim thread grounded to reality. Plus the Mad Scientist makes a guest appearance. Listen for the crowd reaction to Page taking the stage. The crowd is vocal and lively, assumingly atypical for a free form jazz show. Thankfully, this isn't your typical free form jazz show and the band feeds off the crowd. // Must download AUD from Verno's Phish Odds and Ends blog post
, attached to 2003-07-18

Review by TooManyUrkels

TooManyUrkels Making my way through Summer 2003 on LivePhish+ and this show stood out to me despite its paltry rating here on .net. Yea, it drags in points with the slower songs and the song selection leaves something to be desired at points (Secret Smile and Two Versions of Me back-to-back? Swing a miss, Trey!), but some of these jams really shouldn't be slept on. Gin is a SCORCHER, and I think compares favorably to all the great versions in Winter 03. This is a seriously firey jam if ever there was one, and how it got excluded from the jam chart is beyond me. Roggae is not its usual 3.0 self (read: pretty, twinkly, winding, low-key 1st set jammer), but instead delivers a powerful and precise peak that another reviewer aptly recognized as being atypical of the song's usual jam structure. The set-closing Bowie, while not legendary, is well-played, shreddy, and fairly clean for an era occasionally marred by compositional flubs. Disease --> Catapult, as noted, is a groovy affair and I'd wager it's somewhat more danceable than a lot of Disease jams (at least to me). Twist is more of what 3.0 Roggae is (see above) while still hitting some of those effect-driven and spacey places that 03 tended to. The Hood encore is a lovely, well-played night cap. I'm giving it 4 stars. Listen to the Gin, Roggae, and Disease if nothing else.
, attached to 1995-12-31

Review by A_Buddhist_Prodigy

A_Buddhist_Prodigy Is it just me or are Page and Trey seriously about to fall into the Undermind riff in You Enjoy Myself in the section right before the Vocal Jam? A couple of times, Trey almost hits it. I love finding little things like this that creates some earworm for them and then comes out later (or much later) as a song. Fun stuff.
, attached to 2017-08-04

Review by themayor

themayor Still been listening to a good amount of Phish, but a lot of LivePhish radio and studio work instead of full shows! Hopped back onto the Baker's Dozen grind the other day. N11 here we go. ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- See that My Grave is Kept Clean is a fine opener. PYITE is upbeat and rockin' with slick jamming. Party Time... Well I just didn't enjoy that one. The jam felt like it went nowhere, and the song itself was very irritating. I had never heard it before. We get BBFCFM which is always ridiculous and fun. Dinner and A Movie goes pretty steady, but not too memorable. Ocelot slowed the pace down a bit, and jammed nicely. Poor Heart. It is what it is. Winterqueen is a pretty 3.0 song and it had a nice jam. Bold as Love was nice, and we closed with First Tube which was funky and groovy. Set 1 was okay. It didn't grab me. After hearing set 1 I was shocked to see the .Net rating. I hoped set 2 was better. SET II We begin with Dem Bones which was, again, fine and fun. NMINML goes deep and already starting this set off to a better start. Everything in It's Right Place was a debut by the band, and not much else. What's the Use was another not too memorable track. Passed me right by. Scents and Subtle Sounds is a nice song that I don't appreciate too often. It was good to hear here right before the end of the set. Caspian was gorgeous and soaring, great jam. Fluffhead was performed well, and it was an exciting closer. Encore was Frankenstein which served its purpose at the end. Overall, this show as sub-par. I don't know why, but the setlist didn't grab me very much, and the jamming felt empty. I don't blame them for it this deep into the run, but I do hope the remaining two shows pick it up a bit!
, attached to 1990-03-01

Review by dmartchek

dmartchek I wasn't sure where else to put this info, so I hope someone discovers it here and finds it interesting! A few years ago, a dear professor of mine gifted me a 2CD set as a graduation gift. It was called "Rock Eklektizismen", by Phish. I was intrigued and dug around looking for this mysterious show that, according to the linear notes, was "recorded live in New Haven/CT, March 1st, 1993" to no avail. I recently rediscovered it and have realized that it is, in fact, this show. Well, most of this show. The CD was produced by a bootleg label from Luxembourg called Flashback World Productions. Their website is still live, and they seem to have a particular affinity for U2. Anyway, I'll write out the setlist as it's written on the linear notes: 1st CD: Golgi Apparatus, No Goodbye, Divided Sky, I Didn't Know/Vacuum Solo, You Enjoy Myself, Possum, The Lizards/Mike's Song 2nd CD: Foam, I'm Hydrogen, Weekapawgroove, Carolina In The Morning, Stay, My Only Desire, Glide/Chalk Dust Torture, Bass & Drum Solo/Instrumental A few notes: The Rhombus Narration is included on the Ya Mar, er, "No Goodbye" track, and Mike's Song is not actually grafted onto The Lizards in CD1. The Lizards fades in like other recordings I've heard of this show. Good Times Bad Times is missing, and "I'm Hydrogen" is actually Mike's>Hydrogen. Fire is obviously incorrectly placed in the middle of the 2nd set. The B&D solo at the end of CD2 is the soundcheck jam, which I haven't seen anywhere else. Pretty cool jam that features with Trey wildly screaming, "Hey Andrew!" near the end, and a Chalk Dust Torture Reprise tease at the end, presumably before they check vocals over it.
, attached to 2002-06-11

Review by odonnellsp

odonnellsp It was a hot hot Pittsburgh day and the brownies I made were a bit stronger than I expected. So I missed Burlap. There was a DWD tease in Mr. Completely, too. I’d been a huge fan of their studio work since the mid-‘90s, but I never knew to get into Phish live until afternoon fall 2000. This show was my 2nd time seeing Trey. Hearing that riff live for the first time was a singular moment.
, attached to 2019-11-29

Review by jerrymcsendy

jerrymcsendy Super fun tour opener! I wasn't expecting to make it to any of Fall Tour due to money/scheduling, but I was lucky enough to win two tickets for this show on Instagram! After a quick drive down to Prov my friend and I were beyond excited to see what the Phish had in store. Set I is filled with energy, the band seemed like they were really having fun. Highlight of Set I is easily the blazing Sand>Fire closer. Set II is filled with fun segues and excellent jams, despite the track lengths. The opening stretch of 46 Days>BOTT>Plasma is amazing. Farmhouse and Joy definitely killed some of the flow for me, but whatever. Light>Plasma>BOAF is great, as is Simple>SYSF>Plasma. Walk Away closes the set in style. Super fun encore. All in all a great night of P Fish in tha Prov!
, attached to 1998-10-31

Review by Midcoaster

Midcoaster I can't get enough of this show. Actually, I can say that about most 1998 ambient jams, but I've always been a huge Velvet Underground fan, too. This would have been THE Halloween of all for me to see. I mean, there's not a one of them that I would "look in the mouth," if you know what I mean. This one, however, is special. @waxbanks is the scholar of all this ooey-gooey stuff a la 97/98, and if you haven't read his book [i]A Tiny Space to Move and Breathe[/i], run right out and grab it. He does a better job describing the evolution of these sounds than anyone. That said, I'm surprised that no one ever really mentions how Trey leans on a certain progression from Traffic's "Low Spark" after the roughly 25:30-minute mark. It's subtle, and it could be that I'm just hearing jammy Venn diagramming, but I do hear it. Perhaps it's more the Phil Lesh Quintet-style "Low Spark" than the original, but it's there and provides Trey structure. The "Howling Wolf," as I like to call it, is a masterpiece of ooey-gooey psychedelic ambience, and I love how it turns up in mixes like Curt Lyon's "Clouds" or "Sunken Caves." It really is something special. But to add in VU (exceptionally well played) and a tremendous first set, and it's tailor made (for me). I even think the weird (some say epic fail) end of Ghost adds to the mystery of this most moody of the Halloweens.
, attached to 1995-12-30

Review by JahAbrams

JahAbrams What can I say about my first Phish show! I was blessed to have seen divided sky,run like an antelope, Harry hood and David Bowie all in the same night! I was only 15 years old when I took the train from Long Island to Madison Square Garden. When my friend Marc & I got to our seats we were surprised to see that they were already taken. We quickly found another couple seats to dance by. Although I didn’t know half the songs they were playing back then the show completely blew me away. 20% of the people were dancing in the hallways with devil sticks spinning around. This was certainly not like the shows that we go to nowadays. The scene was completely different back then and the love was amazing! Phish’s energy was amazing and the Yemsg show was so incredible! So happy to be part of such an amazing scene and blessed to have seen Phish in their 1990s prime! I remember the incredible energy in the air during Its Ice and it’s crazy they played TMWSIY at my first show. My Phish cherry was popped that night and I never looked back. ????????????????????????✌????
, attached to 2000-05-23

Review by hansokolow

hansokolow This is one of my favorite shows. Judging by people's reaction here and the rating, maybe I'm too influenced by my memory of being there, but I still give it a very strong rating, and a recent re-listen just strengthens my resolve. This is a hot show. But a lot of that has to do with timing and circumstances, which are pretty much lost to time now. I'll dredge up my memory for you, though it is a very subjective account. I was on strong shrooms for this show. Coming from California, I have seen very few east coast shows, the first being Big Cypress. This was still very close to that eventful gathering, only a few months had passed. This was the first run of shows after the band played unarguably the show of their lives, so expectation was high. I came out with another Cali friend to visit our mutual friend who lived in NYC. The plan was to try and get tickets outside the venue at Radio City. That proved entirely impossible. No way there were any tickets available on the street to that. But then the band announced, just the night before this, that they would be playing Roseland, and tickets were only available at the venue at 7am. They hadn't played a venue the size of Roseland (small) since maybe '96. It was a big deal how intimate this show would be. So after the truly horrendous traffic jam at Big Cypress, the biggest traffic jam in world history, we are told, I had vowed never to do anything like that again for this or any other band. Stuck for 11 hours trying to go 2 miles, starting at midnight. It was seriously awful. So here I was, only five months later, going to sit all night long on the sidewalk on Broadway. That's what you had to do. We just walked from Radio City at about show time over to Roseland and parked it. For like 12 hours. While fucking line jumpers just filled up the line, which was not policed at all. Assholes. But we were close enough to get in. My NYC friend paid a friend of his, a guy who literally hates Phish, to wait in line with us all night and get a wristband for the NYC friend's wife. Which worked. At about 4am, for no reason, some people in line stood up, and then everyone stands up and there's a line crunch. Idiots. Now we're standing, cramped in with un-showered hippies, for another 3 hours. Why do these things happen? Anyway, we got wristbands, went back to the hotel and crashed all day. Getting in was pretty easy, but we soon found the place was oversold by about twice capacity. Or so it felt. Lots of people got in somehow. So the place was crazy cramped. We found a place on Mike's side, mid-way back, which was way closer than any of us had ever been to the band. The place is small, just a club, really. And we took a bunch of shrooms and just held on tight. So it was just like no other Phish show, to see them at the absolute height of their power (arguable, of course) and in such an intimate space. People were fucking jazzed. And the band played great. Maybe there isn't some big highlight jam to anchor it in people's memory, but I contend this show is way better than the Radio City shows, which were pretty standard, for my taste. I don't remember even knowing that MTV was taping it, but I probably saw the cameras. The Ya Mar is a lot of fun, and there's just great energy throughout the show. Taste absolutely raged. The Mike's was also hot. My shroom experience was getting really hectic in set 2, squeezed in there, and my main memory of the show is when the first notes of Piper started, a said a quiet little request in my head to the gods of rock, "please let this knock my fucking socks off right here. I am ready." And it did. It fucking well did. You got a great YEM after that, solid performances down the line. I love this Bug, I think it's fantastic. Cavern is a bit botched, as it sometime is. As stated, this is all a very subjective experience, as I was pretty lit up. I also lost my coat check ticket for my new black leather jacket, with a bunch of molly in the pocket. You're welcome, coat check person.
, attached to 1997-12-07

Review by radiator9987

radiator9987 Update for show notes that Phish.net did not include. At soundcheck Boogie On was sung by Page. I met him night after this show at a bar in Penn State and he told me how he sang BORW at soundcheck and Trey 'stole' it from him and just started singing when they played it that night. They also recently released a recording of this soundcheck and you can hear Page sing. Don't know why they didn't update when this was brought to their attention
, attached to 2000-09-30

Review by hansokolow

hansokolow Giving this a re-listen and re-watch 20 years later (yikes), a lot comes back to me about this weekend. My experience with these shows was that the first night was incredibly, unbelievably hot until Kid Rock showed up. Until that happened, there was energy like I've never felt at a show, so hot! The band was raging, I almost got scared. Then Kid Rock comes out and grabs his crotch and says crazy shit. What? In the moment, as horrible as it was, it was actually hilarious - about the hardest I've ever laughed at a Phish show, which is saying something. Then we all partied like crazy that night, and notably the band partied Kid Rock style. Again, yikes. We were still in our 20s, but dragging our asses into the second night was rough. Everyone was shredded, and the band was visibly and audibly ragged. It always amazed me that they chose this for a DVD release, because I remember it being kind of a slog with moments of brilliance., and everyone just exhausted. But they taped it for the internet, so I guess they had the video to release. In any case, I know people love this show, and of course they were so good as a band during this time period, there are still some real highlights in this show. But listen closely, Trey is kind of just getting through it. There are a lot of rough edges. Walfredo gets a pass because they're all on the wrong instruments, but it's pretty lifeless, really. They get going somewhat in Maze and Mike's is pretty hot, but the Simple winds down very quickly. Esther is played fairly well, considering it had been a few years, though Trey flubs the end. Weekapaug is pretty fun. Again, their muscle memory at this point still makes them the world's best band, even asleep. In the second set, Bag gets going pretty well and then what is still my only CFA>FFM, and musically it is pretty strong. Trey dials out by the very end of FFM, during my absolute favorite part, but it is incredibly hard, and he does nail the rest of the song, so that's fine. Some day I'll hear a better version live, god willing. Trey's explanation, during the narration, of the upcoming hiatus as something temporary definitely gave us all hope for the uncertain future of Phish, so everyone kind of felt better after that for basically the rest of the tour. The dream he talks about, you don't have to be Freud to figure out what that's about. Twist doesn't do much, and then we have the most unsatisfying Sand ever, during a time of some pretty tedious Sands. This is when Trey would dick around on his keyboard setup for ten minutes or so, and you couldn't really make out much of what he was doing, while the band and 15,000 people wait for him to play guitar again. He eventually gets back to the guitar, but just plays chords and ambient effects, and then it's over. There was just a lot of this energy flux in this last tour of 1.0. The crowd and the band would get excited, like a normal Phish show, and then everyone would remember that this might be the end, it might all be going away, and it would really dampen the mood. And Trey was just tired. Look at the video, he's tired. I'm so glad he's gotten help and is sober now. We are all so incredibly fortunate for that. Thanks for doing the work, Trey. It was really fun to hear Emotional Rescue, and the Trey/Mike dual madness was and is some of their best non-musical improvisational work. So weird and fun. It did leave everything on a high note. I remember that the energy this weekend for both nights was just like no other. As noted, the Vegas staff was pretty nonexistent, and it was a total free-for-all with a mix of "this is the end of Phish" hysteria. The opening of night one, we were in row one of the balcony, straight back. Amazing seats, really. I was jumping up and down so hard during Wilson, I don't know how I didn't pitch right over the balcony. The crowd was going fucking nuts. But night two definitely suffered from the excesses of night one, for band and audience.
, attached to 1989-12-31

Review by Powderhound

Powderhound Very strange night in the Boston World Trade Center. They were not even given a formal convention room or hall in the building. They basically just set up a very small, short stage in the front main lobby. Risers probably only 8 inches off the lobby floor. The band's hotline had a message of, "Wear your most creative formal wear." Most of the Phans already on board and any Deadheads going to check 'em out knew what that meant so there were some good crazy costumes. My buddy rigged up a Tux jacket and top hat w/ army pants wrapped in battery powered Christmas lights. Sort of standard personal festival lighting today. But back then it was pretty remarkable. Sadly it was not a great show and I don't think they were even selling beer there. Then I got invited back to the SHOCKRA band house for the afterparty. SHOCKRA was a GREAT Funk band that was opening gigs for Phish. The Bass player was giving Gordo lessons. They were going to do a set in their basement, (as I had seen a few times before). Then Phish was going to play a late late set. Well, my college buddies started hitting the wall and wanted to leave the party after the Shockra set. I decided it was to crazy packed of a seen to find a place to crash later and then find a way back to campus in the morning so I left with my buddies always regretting missing a Phish basement party. I did see Trey and said hello upstairs so I knew he and Fish were there. About 10 years later I met a kid that was there that night. Turns out his older brother is Jimmy Jazz from G Love and they were at the show and house party. He told me Phish never did play a set after Shockra so I did not miss that stealth show.
, attached to 1997-11-16

Review by Powderhound

Powderhound I personally was very disappointed in these shows. I know how famous they are. But having seen quite a few early bar, club and theater gigs, and having seen LOTS of other great bands by that point, I thought these shows were very lackluster. Spoke with another music lover at work after these shows and he was in agreement that they weren't very good. Then he told me his roomie had been hanging with friends at The James bar in Boulder, (later Connor O'Neil's). Turns out one of his buddies was friends with the guys and Trey and I think Fishman showed up at the bar after their flight landed. Later that night they all went to a house party. Then the sun started coming up and everyone still at the party told Trey and Fishman they had to get the hell out of there and get some sleep for the show that night! My work friend said he was on the floor with his roomie when they band came out on stage. His roomie turned to him and told him Trey was wearing the same clothes from the day before.
, attached to 1997-11-16

Review by Powderhound

Powderhound I personally was very disappointed in these shows. I know how famous they are. But having seen quite a few early bar, club and theater gigs, and having seen LOTS of other great bands by that point, I thought these shows were very lackluster. Spoke with another music lover at work after these shows and he was in agreement that they weren't very good. Then he told me his roomie had been hanging with friends at The James bar in Boulder, (later Connor O'Neil's). Turns out one of his buddies was friends with the guys and Trey and I think Fishman showed up at the bar after their flight landed. Later that night they all went to a house party. Then the sun started coming up and everyone still at the party told Trey and Fishman they had to get the hell out of there and get some sleep for the show that night! My work friend said he was on the floor with his roomie when they band came out on stage. His roomie turned to him and told him Trey was wearing the same clothes from the day before.
, attached to 1988-11-03

Review by Powderhound

Powderhound My first show. Some girls that joined me for lots of other bands around that time were going to this show on my recommendation Sara's birthday. I can't recall the details but I did not ride with them and was going to meet them there. The college buddies I rode with kept screwing around on campus, ("I need to get jacket", "I need to stop by so and so's", "I left my pot in my room", "Let's have a beer here first" etc. etc.) We got there so damn late I think we paid the cover charge, ($5 ?), and walked in to the end of "I Didn't Know" and the start of BBFCFM. Same crew of guys screwing around again made us miss the first show at the Paradise a couple months later, (although we had no idea the band was bringing down a busload of friends). I made damn sure I was at the next Paradise gig early after those massive screwups! Oh yeah, and apparently Sara yelled at the band to say happy birthday several times. Then missed when they finally did. And yelled for it again. She was wasted! When I got there and asked the girls how the show had been, they said, "Kinda weird band but really fun! They played a great song about a Moose or something with Antlers!"
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