, attached to 1994-11-02

Review by timbuk295

timbuk295 Well, well... it looks like this was a first show for a lot of us! I'll recap my memories of the show, which are less of a review of the music (sorry, I just had no frame of reference at the time), and more a recap of the experience. I have never listened to a recording of the show (save for Tweezer, of course) since. I'm looking forward to listening to this show finally, after writing about it purely from memory... I knew very little about Phish at the time, and only went because a friend gave me a free ticket, and I went with an open mind. It would be a long time after this show before I would open my mind again and finally start to like the band. It was a very cold November night, as I vaguely remember walking to the venue and back with frosty trees and slick sidewalks. I also remember the long line and something about gate-crashing that TheGhost mentioned, so I probably didn't make it inside until well after the music had started. The pre-renovation Bangor Auditorium was a horrible building acoustically, with a metal roof and long, sloping bleachers, designed more for State Championship Basketball than anything else. The stage was backed up against the wall at one end of the court. I remember black curtains surrounding the back of the stage area. Since the entrances into the auditorium were on either side of the stage, with a hallway behind, it's a puzzle to me how the band got on and off stage without going through that hallway and being swarmed by fans -- although maybe those were early enough days that it was no concern. I remember the floor was arranged with folding chairs at the start of the concert, which the audience removed once the music started. (between this and the gate crashing, I imagine the venue staff were just grossly ill-informed about what to expect from a Phish show). I wonder if the clanking of metal chairs can be heard among the first few tunes? I remember being confused and thinking to myself 'we probably shouldn't be moving these chairs...', while the community effort moved all of those chairs up the bleachers on the sides and into the stands, freeing up the dance space for the floorward migration. I remember being very confused as to why no [i]songs[/i] were played, as the music seemed to just go on and on in no particular direction. 'Is this still the same song,' I vaguely recall asking my friend somewhere in the middle of the show. The response was something like 'you're a musician, you should appreciate this.' I remember trying, and failing, to appreciate it. I do remember that Stash was played, because I remember trying to clap along with everyone else, and then clapping at the wrong time. It was like being an outside date at someone's inside joke party. I also remember that Maze was played because that plinking intro was unlike anything else I had ever heard, and I was fascinated. Into Set 2, it just seemed like things had devolved into noise (this was probably Tweezer). I remember that Trey had a rack of effects next to him on stage and just kept playing with the effects knobs, and he seemed to just really be experimenting with noise by himself. I also have this vague recollection - and I hope someone can corroborate this - that Trey and Mike were ballet-style prancing across the stage, and pretending to 'shoot' their guitars at Page, who would pretend to be hit by their 'arrows' and slam on the piano. Anyone else remember this, or is this just my imagination? At some point, I had had enough of the nonsense and decided to leave. It was likely during the Tweezer. Not being familiar with the music at all, I had nothing to latch on to, and was bored. I remember waiting by the door at the side of the stage, looking to see if anything interesting would happen before I left. Nothing to me did, and that was that. I do remember the next day people saying how amazing it was that they came out and played an acoustic Encore with Fishman on Madonna washboard and that I had missed something very special. I'm looking forward to finally listening to this.
, attached to 1999-12-07

Review by Bob_Loblaw

Bob_Loblaw One gigantic jam, one great jam. And mostly everything else is average. Set one doesn't really have anything exciting or above average to offer except Haileys Comet. The loop kicks in early in the jam and builds and builds, all four of the guys are totally locked in. It then mellows out and gets comfy before getting into a gorgeous riff by Trey. Likely the very best Haileys comet ever played. Set two kicks off with Wolfmans which turns into a nice funky little jam. About midway through Mike starts teasing Moma Dance (sounds more like Black Eyed Katy though). Gin starts morphing into type 2 fairly early. It keeps getting more and more pretty. Then Fish kicks in and everything turns ambient. A tranquil jam ensues with great work by Page throughout, nice floating jam. The rest of set two is fairly standard versions of songs. The encore feels pretty short with a quick Walk Away and the always very fast Rocky Top. Nothing too exciting there. Overall two large peaks surrounded by fairly average Phish. But the Legendary Haileys catapults the whole show to 4 stars.
, attached to 1998-08-01

Review by Phishinallday

Phishinallday This was my first Phish show. I was a young lad, 15 years old to be exact. I got hooked into Phish after listening to Reba a few months prior. I remember first listening to that song and thinking to myself.....What the fuck is this? And why do I enjoy it so much? This show I will never forget. This is the live performance that got me completely hooked on Phish and have been ever since. Being a huge Zeppelin fan they opened with "Ramble On" Yes Please! What I remember the most though was the 2nd set. The whole damn set. The 2001 thru Frankenstein was the shit. And the encore of Been Caught Stealing was pretty damn cool. But nothing will compare to hearing Reprise for the first time! Hot damn!
, attached to 1999-12-05

Review by Bob_Loblaw

Bob_Loblaw I think many people may have a different opinion of this show than me. Set 1 is absolutely rock solid from front to back It sounds like they really want it. Carini is short and sweet, Trey nails it! Gibbo takes a dip into some serene waters. BOTT is also flawlessly played IMO. Taste has a nice little extra stretch with some nice tension throughout, which is the point of Taste right? Bug is also extremely solid as the last ones had been. Tube is also great and cohesive. Twist is in a weird slot, end of first set? It likely had to to with them messing with it a little bit. Regardless the jam kicks in quick and into some mellow waters as it builds and builds. Mikes starts set two. It's pretty straight forward but still good. The segue into Meatstick is also pretty neat and long. Meatstick get's stretched out it's longest up to that point and gets really weird, great version. Weekapaug is absolute fire as usual. Maze is a pretty standard version, but stretched out so who's going to complain about that? Fluffhead is well...Fluffhead. And that's great! CDT is very fast and very high energy. And the usual suspect Frankenstein closes the set. Another usual suspect Zero is the encore along with some cool A Capella which had slightly died out at this time and must have been fun. Another note I get from the recording is that this crowd seems very obnoxious all kinds of whistles and I remember hearing what sounds like a powerdrill at one point. What the hell is up with that? I think this show is super underrated. Yes no big jams that 99' has almost every show but set 1 slays and set 2 isn't to shabby itself.
, attached to 1999-12-04

Review by Bob_Loblaw

Bob_Loblaw The first set is pretty weird to me. It feels like a couple good tunes surrounded by songs they completely overplayed all year. Saying that I do really enjoy simple. Tweezer takes a quick dip into a very 99' jam. Dirt is a near perfect version, and Loving Cup has an above average guitar solo. Set 2 has the same DWD you got all year. This goes into the highlight of the show SOAM. It quickly goes into a loopy trance, followed by Mike laying down a thick groove. Trey then starts playing some weird noodling on his keyboard while the trance intensifies. It's a weird jam but somehow works, and goes perfectly back into SOAM proper. Moma has some extra mustard at the end. Farmhouse is VERY rough. Bowie is pretty standard until Trey blows his lid at the end. Average Julius>Tweeprise 1-2 punch encore. Overall a pretty average show.
, attached to 1999-12-03

Review by Bob_Loblaw

Bob_Loblaw Wolfman really kicks this show off on some good grooves and a little cow funk at the end. Billy Breathes is pretty rough. Bag is very solid and has a great flow to it before moving faster than usual at the end. Possum is noteworthy, page and Trey Harmonize perfectly. Sand starts set 2 in style, the jam has a great atmosphere to it and also flows fairly well. Limb By Limb's jam has a very different feel to it from prior versions. Instead of the tranquil and serene jam you typically get, you get a dark jam that becomes very weird and ambient. Bug is also a standout version, it's played with more passion than the norm. Piper is just utter destruction. Hood has an absolutely gorgeous bliss section and such a slow build to Feel Good About Hood, fantastic version! R&R is well....A typical encore. Overall I dig a lot of separate parts of this show. But as a whole it has an odd feel to it.
, attached to 1999-12-02

Review by Bob_Loblaw

Bob_Loblaw Jim starts things off as a very good warm up. Wading is a very well played version. Free is the star of the first set it is very strong. Besides that not too much notable above average versions in the first set. The 2nd set is where the business is (as usual). Boogie On for being under 10 minutes packs a huge punch (why don't they open with it anymore?). Jibbo is also very solid. The Gin jam starts serene and beautiful and builds into an all out slaughterfest. Trey is shredding like crazy and Fish is just destroying drums left and right. The jam continues to build up and down like a crazy roller coaster from hell. An outstanding version that should be in the jam charts. It goes effortlessly into 2001 that is extra spacey and for the first half sounds like hundreds of of mice scampering around all over the place. YEM starts off interesting with a good long pause before Fish's symbol section. The jam section starts with a rhythm somewhat similar to Wolfman's Brother. This grows into a very pretty jam that soon includes vocal accompaniment. It's followed by a very notable Little Drummer Boy Vocal Jam that I'm sure was a cool welcome to winter tour for fans. Bold as love has a pretty damn good guitar solo. I would recommend it. Overall the first set is just ok. But the 2nd is outstanding!
, attached to 1996-12-06

Review by Shred

Shred 12/6/2016 today. 20 years ago today… Warning this is more of a story than a review. After 11/30/94 McNichols show when I took the crown off of Jerry’s head when the big man forgot the word INSPIRATION in Terrapin (my last dead show) and handed it to Trey- there was no looking back. (Don’t worry Jerry will always be KING) Many dead heads were saying hey Shred, they suck (jerry’s dead phish suck get a job sticker forecast), their lyrics suck blah blah. I said listen Trey can hold a room like MSG on the tip of his dick and fuck it in every position. Period. Now those Neh sayers have seen more Phish shows then I have as I actually did get a job. Everyone should be thanking me as we just saw PH play one hell of a 2016 Fall Tour, no other band could have filled those shoes. It was the first official show in Vegas. The Aladdin had no idea what was in store. The theater was gorgeous. Very small I would guess less than 10k. I was literally front row center. Right in front of Trey. I really don’t need to review the show. Everyone knows this show. It’s one of the all-time greatest. Live Phish Release. First set completely ripped. Second set melted faces. If they played a show like this now Miner’s head would explode, PT would go black, twitter would be trending #phishaladdin and facebook, well it would still suck. During intermission I was given my courtesy crack and peel to the clinic. And after the show I headed back. Even though I had a lot of friends at the show, I was really more or less flying solo. I got back stage a little too quick. The only people there were me and Les. So I grabbed a Sierra Nevada pale ale. Cracked it open. Took a huge sip. Grabbed another. put one in my back pocket for later and started to talk to Les about the show. He was very excited about playing. I have seen more Primus shows than I care to admit. I am a fan of his and he is one of the greatest bass players so this was fun. Didn’t take long for me to run into my crew. We hung out for a while than eventually made it back to Mikie from Telluride’s room at the Aladdin. We were partying there for a spell then headed off to gamble. Like an idiot I forgot my wallet so we lost the group. Grabbed my wallet back at the room. Then Mikie and I went to another hotel to gamble. We were hanging out at the casino, when we ran into Trey. Mikie knew him from Telluride which obviously surprised me. And the three of us were hanging out and talking. Then Trey said he wanted to go somewhere else. They jumped in a limo and left me like a lost puppy. So I went to the Olympic Gardens and got a few lap dances before I passed out next door at the Holiday Inn. Fuckers.
, attached to 2010-10-19

Review by wharfratt82

wharfratt82 Charleston to Augusta with my "attorney" and interdimentional coconspirator was excellent. See saw his high school bball champs there. Phish plays the pep rally was the vibe I had. I was asked where I was from by someone. Said VA and they asked why I was there. That had me confused. I said if you need to ask you're in the wrong place. First set took some warming up but the Gin thru 46 Days was pretty damn good. The Fuck Mike's Face set 2 opener was heavy. Contorted faced. bug eyed. Very aggressive stomping and Jedi hand to hand shadow boxing.rest of set is good but lacking"it" Then they encore with Reba. Nipples are hard. They're shooting loads of hot love on the crowd. 12:20 in my door of perception came off the hinges. I told my attorney I forgot what they were playing. Without missing a dance step he replied It's ok. So did they. Milliseconds later the boys decided they still had a load left. And they blew their crab in our shoemouth
, attached to 1999-10-10

Review by Bob_Loblaw

Bob_Loblaw The first set is pretty standard and straightforward for the majority of it. Dirt is strong and yet another strong version of Vultures. Stash is "The Business" though. It goes into a lush sea of sound that is just beautiful, very reminiscent of a Simple jam. This builds slowly into a absolutely phenomenal peak. One of the best Stashes I've ever heard. Set two starts with a cool ambient jam that casually moves into YEM. YEM is very cohesive and strong. The jam section is also a standout among other versions. No vocal jam but the jam is very pretty coming out of the song. The best version of YEM I've heard from 1999. Gin goes into a jam very quickly and it is a very fast paced gin like jam before quickly going back to Gin proper. Contact/Misty Mountain Hop is a fun encore. Overall a very mild average show with the huge exception of Stash and YEM.
, attached to 2016-11-22

Review by zepphead

zepphead my son's first show, he's 11! we got to meet mike and get his autograph, also the show was awesome, especially liked the cities (much more true to the talking heads version) and the jam out of it with the return of the Reel. Special thx to @benevolution for capturing the AUD of my son's first show! (the high pitched shrieking, especially noticeable in set 2 is my son!)
, attached to 2016-11-29

Review by stinkfoot

stinkfoot Great show, the crowd was loving it and getting down on a Tuesday. Check Your Pepper is a fun new one, I'd love to see Phish play it in a couple weeks. Face>555 and How Many People Are You were highlights for me. Interesting to see them covering Mac Demarco this tour, too! There's a couple very clear and crisp crowd sources on etree if you fancy a listen.
, attached to 1999-10-09

Review by Bob_Loblaw

Bob_Loblaw Yet another average/above average type show. The first set version of Wilson is a very heavy one and great. The beginning of theGhost jam although a fairly stereotypical jam is still pretty cohesive. It then goes into a "My Left Toe" type ambient jam which is also great. Out of all the songs in the first set I think Free is the standout in terms of playing, a very inspired version. And as always a strong Possum to close out the set. LXL lifts us off in set 2 into some very intense heavy jamming, before pulsing forward with some great drumwork by Fish. 2001 is a total dance party but stays pretty much the same throughout. Disease has a fantastic guitar solo that escalates to Trey just destroying it onstage. The piano segue into Wading is spot on and beautiful, and wading is pretty standard but pretty as always. Slave is a great encore choice and although it's not top tier it gets the job done.
, attached to 1994-10-15

Review by davisnafshun

davisnafshun Great show. First set is succinct and tasty. 2001 is a common second set opener at this time, and YEM->Catapult->YEM is interesting. I don't care what anyone else says, but The Maker is one of the best songs written in the 1980s if not all time. A true masterpiece. I wish this could get played again.
, attached to 1999-10-08

Review by Bob_Loblaw

Bob_Loblaw This show is really good at times. But for the most part pretty average. Wow what a short first set! Piper picks up the show fast. Bag has a nice funk jam with a strong peak at the end. Meatstick is kind of rough although I am not sure what was going on that was making the audience cheer, a visual might increase appreciation. A normal but still strong Antelope to cap the set. Hailey's kicks off the second set with a jam that is strong and lifts off into major Trey shreddery, then simmers with looping into Tweezer. The Tweezer jam starts with a lot of Mike and is fairly reminiscent of a Fall '97 (Hailey's>Tweezer 11/22/97?), and then melts into a sea of beautiful ambient bliss. Fee has a cool little harmonic jam towards the end. Hood starts with some hiccups but the end stretch of it is quite pretty. I'm not a huge fan of Tom Marshall sit ins and the same applies here, although the See Me/Feel Me section is pretty cool. CDT is standard. A good Coil to end the night and Tweeprize is always welcome.
, attached to 1999-10-07

Review by Bob_Loblaw

Bob_Loblaw This is really close to a 4 star show....But not quite. The first set starts of pretty normal and standard, until Bowie kicks in. Which picks up the pace very slowly with some bomb dropping effects by Trey toward the end. Possum and Jibbo are good solid versions. Fluffhead is very strong despite some flub at certain parts. Boogie starts off as a pretty straight forward version. Back On The Train is a cool extra slow version. Mike's song kicks in and has a really great funk section in the middle. Mcgrupp has to be one of the best post 94 versions I've heard, with the mid section being filled with beautiful, churning, and at time intense playing. Caspian has been known to be a 2nd set killer. But this version is extremely noteworthy and strong, and the Trey loop at the end perfectly compliments the song. The big highlight of this show has to be Weekapaug. It caps off the set starting with a nice Jungle Groove with Mike on fire. It builds into some huge peaks with everyone completely linked together, fantastic version. Standard encore with a BIG exception of Hydrogen very oddly being sandwiched between two songs outside of Mike's Groove. Overall quite a strong show. it just does not have enough of "IT" to hit those lofty bells other shows hit.
, attached to 1998-11-29

Review by imdano

imdano Andrew Rose! good to see you again. Always enjoy your perspective, although that may be attributable to the fact that we usually agree (see 7.9.99). I also happen to think that this was a nice little show, and while I am indeed biased due to the fact that it was my first, I do believe that it stands up to scrutiny upon listening, 18 years ago to the day. From 30,000 feet, the mere inclusion of Layla in a show merits a listen. They don't exactly crush it but it's a fun version. And, to get more granular, I think the entire 2nd set is pretty hot, especially the Gin. There is a standard Gin "peak," which hasn't really changed much in 18 years. However, after said peak, they settle into a very cool ambient-wash type jam, with some very nice group playing and some excellent melodic work from Trey. I think this Gin is an all-time great. The Centrum is a great place to see a show and I've caught some pretty amazing nights there. This was certainly a special one, given it was my first show, and obviously I'm just as captivated with this music now as I was then. Thanks to my auld man for getting me there; a lot of things change but music is the only thing I've ever given a shit about, and he's to blame. Here's to another 18 years
, attached to 1999-10-04

Review by Bob_Loblaw

Bob_Loblaw Another show in the same vein as the night before. Funky Bitch gets played again less then a day after the night before. Maybe to make up for some of the slop on the night before's version? Vultures is one of the best versions I have other heard with a nice exploratory solo section by Trey. Runaway Jim has a slightly different bass line by Mike with some extra hammer-ons, and a quick hypnotic jam. Jesus Just Left Chicago has some exceptional playing by Page and some good blues by Trey. Wilson has some nice shredding by Trey and is very hot. DWD is sped up a lot more than usual, maybe because of time? Ghost kicks off the second set with a few hiccups but goes into a nice dreamy groove, followed by some nice peaks. Bag has a nice tiny funk jam. Makisupa is a fun and somewhat different from other vesions. Sand is pretty straightforward with some above average playing by Trey. Zero has some extra fire at the end as well. Although this show does have some solid versions it does leave a lot to be desired. But none the less I'm sure a fun show to see.
, attached to 2001-11-18

Review by Abe_Froman

Abe_Froman Better late than never, right? I didn't go to this one; I gave it a couple of listens from a nice sounding download from the spreadsheet. It's fifteen years later, so there's that. The first time I listened I was a little turned off by Trey's over the top playing. It didn't sound cohesive, like a band listening to each other. On my second listen.....OH! that's what this band needs. I was also maybe not listening closely enough myself. Stuff like Owner of the World, Army's on E shows good band connection. I love Birthday Boys, especially that bluegrassy outro. Wield the Spade was cool. And Them Changes would make Jimi proud. I was into Oysterhead in 01, but between us, I didn't really listen to much other than the album. I really enjoyed this show, and I'm looking forward to hearing some more down the road.
, attached to 1999-10-03

Review by Bob_Loblaw

Bob_Loblaw On the heels of some pure fire shows Phish plays a little more....Normal? Farmhouse has a great guitar solo. Carini is a slaughterfest by Trey and Fish. Ginseng Sullivan is very very rough. This can be somewhat forgotten by a pretty awesome intro to Back On The Train which turns out to be another pretty standard version. Maze although nothing new is relatively strong. Twist kicks off the second set and just barely dips into uncharted territory as it goes into a version of Possum that has a little extra mustard. This is proceeded by the "Fun" portion of the set inlcuding TMWSIY> Avenue> BBFCFM which I'm sure is a nice bustout patch in the set. This goes into the only real business the whole show. Which is a Bowie that simmers into a dark groove led by Mike, and then picks up slowly flying into the outro. Hood has a strong intro and mini drum solo by Fish, and is a strong version. The Encore is a fun guest sit in with Son Seals. Overall a very average show that is toned down quite a bit from the prior ones.
, attached to 2013-10-26

Review by Tbarelaxer

Tbarelaxer Great thing about opinions is everyone is able to have one and here it seems people are at least civil about it. That's said this amazing night is absolutely incredible and I have no idea about feedback from treys guitar as I was about seven rows off pages side first row Loge, and I did not hear any guitar issues. So people pretty much said everything about the show even though I've not read every single review but I do want to add one thing: the Drowned is absolutely incredible of course and the sitting in limbo instrumental is amazing as a segue from the Drowned, but in between there is a jam that it took me listening back to the show to recognize and I knew I'd heard it before and it is actually from the chase scene in the French connection when the frog "" dodges popeye on the subway but if you listen to it starting around a nine minute mark of drowned through the 12 to 14minute mark where segue to Limbo occurs; then watch French Connection chase scene and listen to the jam, I guarantee you will notice how it mirrors Phish's tease...thank you ps the lead French character who is also in the sequel has a umbrella during the chase that really is not so much a chase but more a cop trailing his mark while trying to be discreet, but after losing him on the subway the French Guy waved bye with his fingers sarcastically, epic scene and an epic show!
, attached to 2013-10-26

Review by Tbarelaxer

Tbarelaxer Great thing about opinions is everyone is able to have one and here it seems people are at least civil about it. That's said this amazing night is absolutely incredible and I have no idea about feedback from treys guitar as I was about seven rows off pages side first row Loge, and I did not hear any guitar issues. So people pretty much said everything about the show even though I've not read every single review but I do want to add one thing: the Drowned is absolutely incredible of course and the sitting in limbo instrumental is amazing as a segue from the Drowned, but in between there is a jam that it took me listening back to the show to recognize and I knew I'd heard it before and it is actually from the chase scene in the French connection when the frog "" dodges popeye on the subway but if you listen to it starting around a nine minute mark of drowned through the 12 to 14minute mark where segue to Limbo occurs; then watch French Connection chase scene and listen to the jam, I guarantee you will notice how it mirrors Phish's tease...thank you
, attached to 2016-10-14

Review by WookieGroove

WookieGroove My first show! In my hometown. Couldn't have asked for a better intro into becoming a Phan. Grew up a Deadhead. Saw Trey play at Fare Thee Well. Gained so much respect for him and his musical capabilities. That coupled with listening to Big Cypress over and over, I couldn't get enough. When Fall '16 was announced, I went nuts! To open in my backyard; are you kidding me?! Drove up from Walterboro about an hour away. Jammed Wrigley the entire ride. Met my buddy in the lot and it was on from there. Immediately met some incredible people/lifelong friends. Managed to scout great seats 3 rows up from the pit. Such an incredible vibe just taking in the entire experience. Debuting Petrichor was awesome. Then, came Ghost and I was blown away. Not to mention a killer Gin; which is my favorite song! And, an insane DWD into a "dance party" Cities! I apologize for sounding like a newb, but man was it a time to be had by all! It took me by horns and I am forever grateful. There is no band that throws it down like PHISH! Thank you so much for everything! Justin
, attached to 1995-12-02

Review by pmc2kd

pmc2kd Took me a while to get to show #2 of the hallowed December '95, but here we are. The show opens with a short version of an early days Caspian. No guitar solo or anything extending the song. It's over in under 3 minutes. Runaway Jim is in the 2 spot and fits as a second opener of sorts after the odd Caspian starter. This is a very nice version. Plenty of dynamic playing and a nice fiery solo. It's a surefire highlight even at just over 8 minutes. Mound is up next and is a well-played version. They drop into Guelah next. This is also played in crisp fashion. Very well played in fact. Reba is the first nice open jamming canvas in this show. The composed section is very nicely executed at speed. The drop is very beautiful, it's quiet but more purposeful than spacey. Fishman carries a nice steady beat just above brush level for a while, while Trey colors some excellent melodies. Mike is pretty active, and Page is more in the background. It works well as Trey actually plays a lot of notes even in the quiet jam section. Around 8 minutes they start to build a bit upward in a classic Reba sense. Page gets more assertive on the piano and Trey finds some strong and familiar lines, which he patiently works through. The intensity grows at 10 minutes with Page really hammering and a nice cacophonous jam happens. At around 11:30 trey goes back to the melodic Reba well and builds some nice ascending lines. By 12:30 he really sinks his teeth into the solo and peaks it at a fiery pace. Excellent and thrilling conclusion to a fine jam. My Sweet One follows up in punchy fashion. Free is next. They play the song proper nicely with some good vocal harmonizing. It's not a long improvisational piece, but contains a very nice spacey/effects jam with Page out front, while Trey goes to the looper and creates the rising falling tension and some sputtering growls. Some similarities to the Coral Sky version '96. It shifts from dark back into the melodic song structure around 6:50 for the final verse. It's a different structure than today, and a very nice take, with the spooky middle jam. Taste is up next and sounds good, in spite of Fishman's vocals, which are a bit cringeworthy. Overall it's a decent enough version, but nothing notable. Bouncin' slides in before Possum, which seemed about right in terms of placement. Possum is the set closer. It's got a nifty bit of jamming and some secret language. There's a nice quiet jam before the 6 minute mark, which builds some nice intensity with Trey hitting a nice blue vamp and jumping into a bit of chording. Trey moves back into the lead and builds some very nice tension as he climbs into the stratosphere. Around 9:30 things get more frantic and continue to build to a pretty darn massive peak that reaches full scream by 11:10 or so. One last climb before 12 minutes and the final verse sends us into set break. Very nice version. Overall, a standard great set I with Jim, Reba, Free & Possum being interesting and quality takes. It's a very strong and energetic set. 2001 opens up in early 90's table setting fashion. It starts with a brief intro jam that is noisy and odd. The band plays a nice quick version of the song proper and land in the familiar hi hat of Maze. Maze is a good version. In fact, it's a great version. Page's solo is plenty of fun, but when Trey grabs the reins he proceeds to throw incendiary flurries of notes down upon us. There's a cool tension filled segment around 10:10, which Trey meticulous crafts into a simmering, then sizzling, then exploding peak. Well done. Simple keeps the energy high. The outro jam is nice and rhythmic a little more rocking than some of the sparse, spacey jams you might be accustomed to in Simple. Fishman in particularly is playing quite heavily until about 6:20 at which point he drops out, leaving Page and Trey to trade notes before a darker spacey interlude leads into Faht. Some space at the end leads to Tweezer, which is played at pace. Very crisp. The opening jam segment is nice and rhythmic. Trey playing more rhythmic leads, before diving into some traditional lead playing around 5:45. Fishman is working nicely as a counterpoint to Trey's leads. They are really cooking by 8 minutes in, with a nice driving jam. Trey hits a cool line around 8:15, which he uses to spring the jam further into driving territory. The hit another upshift around 9 minutes and Trey sends a nifty little mini peak our way at 9:30. He hits the leslie for just a second or two before building another step change around 10 minutes. Trey is really firing off notes at this point and the band continues to drive. 11:05 is another great peak, which Trey continues to shred on until about 11:45, at which point they drop into a mini noise jam that builds to another go 'round on that peak at 12 minutes. 12:30 we get a rythmic slightly funkier breakdown, which downshifts at 12:50, slowing to the breakdown style Tweezer endings of the earlier 90s. They crawl to a satisfying conclusion. This jam reminds me of a slightly faster and more raw version of 7/18/16 Sneakin' Sally jam from BGCA in that it's driving and pretty relentless. Good stuff. ADITL is a nice follow up to the Tweezer and flows well into Golgi, followed by a very pleasant Coil. Tweezer Reprise is a damn fine closer. Bold As Love is a damn fine encore as well. Overall - you'll find some stronger shows deeper into 12/95, but this is a mighty fine specimen in it's own right. The Tweezer is the big jam of the show, but don't sleep on a solid set I, and the set II flows quite nicely with a very cool opening trio.= of songs. 4/5
, attached to 1999-10-02

Review by Bob_Loblaw

Bob_Loblaw This show kicks absolute butt! It really does have everything. Good Banter (end of SOAM), Jams (SOAM, Tweezer, Piper, YEM). Great segues (Piper>YEM). Llama kicks things off hot as usual. Wolfman is strong and has some nice light jamming towards the end. Quinn is a very strong inspired version. Roggae is very powerful and is another great addition from a year full of them. SOAMs jam starts off with a nice loop intro into some nice Ambient jamming and shredding over by Trey, and the extended ending and banter is definitely fun. Tweezer kicks the second set off much to anybodies excitement. The jam starts with a mellow groove and gradually speeds up, but mostly stays the same throughout. Now for Piper.....And this is what I would call a all timer. This is not your stereotypical slow build Piper from this Era. It speeds up very early, you can tell they mean business from the start. It then goes to light-speed headed by Trey lighting up his fret board. Meanwhile Fish is beating the crap out of the drums, it's pure chaos in the best possible way. Then the loops kick in and it morphs into intergalactic floating madness with Mike holding things down. It then churns and simmers into YEM. YEM has a very infectious dance section and a notable vocal jam this is actually pretty good. While My Guitar Gently Weeps is a very strong version with a killer solo by Trey. Overall this show has about everything I want in a show. I love it.
, attached to 1992-04-16

Review by DemandOpener

DemandOpener Top Phish Show #4. I had been going back and forth debating inwardly whether context mattered when listening to these shows. I decided to take a week off from listening to shows from 1992, and I think it helped tremendously with respect to this show. It is now my favorite show of '92, and by a fairly wide margin. This show had so many gold nuggets you could have started a second California gold rush! The first set opens innocently enough with a nice Buried Alive > Possum combo. Possum has a fun intro with lots of the customary sign language, and features a great, blistering jam with a scorching hot Machine Gun Trey. Possum was great back in the day, and this is another one that shouldn't be missed. The spreadsheet tape of this show has Mike dialed waaaay up in the mix, and it's awesome to hear him shine in this excellent version of It's Ice. This Ice grooves all the way through and provides some nearly-transcendent dissonance. Bouncing-Melt-Rift follows, of which the main highlight is some nice shredding as the focus of a funky(!) Melt jam. It's a little different than usual, but I enjoyed it. Trey wins the piano vs guitar duel in Maze, with ferocious playing that at times makes you fear for the life of his poor guitar strings. There's more bending going on here than a 6 AM yoga class! Forbin's > Icculus > Mockingbird is next, and it's a solid rendition of the tale that was mostly utilized to educate the So. California crowd on the story of Gamehendge. The story is a little convoluted, but the Icculus is the shortest version ever and definitely worth a listen. (Note: I listened to this show with someone who is pretty new to Phish, who knew nothing of the Gamehendge saga, and he was blown away. He spent the rest of the night looking up the Gamehendge story and getting wrapped up in all the lore. Awesome!) Antelope closes the set, and this is surely the highlight of the night. This is another contender for Antelope of the Year in a year that was filled with these types of jams. The dissonant, melodic, awe-inspiring beast of a jam must be heard to be believed! Set two opens up with Sanity, a song that is probably better served in another slot. When listening to this show, however, it was juxtaposed right next to the preceding Antelope, which made it feel more like a breather song. Another breather was needed after the Llama that followed. Anchored by a rock solid rhythm section performance, this version of Llama is absolutely volcanic and features Machine Gun Trey firing at will, as if they were about to take his guns away. Page's piano tinkles signal the start of The Lizards, another song my noob friend was really into as we listened along together. Mike's Groove was solid, as usual. They were definitely starting to take risks on Mike's by this time, as the customary six minute tune had now been routinely lengthened to eight minutes. This Mike's features balls-to-the-wall tension, if you're into that. As for Weekapaug, well...God bless the guy who decided this mix needed more Mike. Since the bass is so high in the mix, it's really a glorious listen. Incidentally, this version is really interesting. Trey crafts a weird, spacey jam, and a highly re-listenable one, at that. In a sea of Weekapaugs that are decidedly "in-the-box", this one is decidedly "out". The show winds down with a typical early '92 set two victory lap, but I'd be remiss if I didn't mention the gorgeous Horn that followed Mike's Groove. This song is an excellent breather in the second set, and I really wish it could make a grand return to the second set on a consistent basis! I have one last chance to sing the praises of this mix, by the way, and it has to do with the high quality of the funky set-closing Suzy Greenberg. Mike is awesome. He's the best. This is a jam-chart version of Suzy IMO. If I was making my own "Top 100" list, I'd have to imagine this show would be on it. Moreso the first two '92 shows on TPC3.0's Top 100, I feel like this show is the band making a statement to their new Californian fanbase. This is the exact type of show that SHOULD be on the Top 100, a historically relevant show that features transcendent versions of just about everything that was played. Highly, HIGHLY recommended. My highlights: Possum, It's Ice, ANTELOPE, Llama, Weekapaug, Suzy My score: 5/5
, attached to 1999-10-01

Review by Bob_Loblaw

Bob_Loblaw This is an overall fantastic show with a few bumps along the way. Set 1 is pretty straight forward until Gin kicks in. This Gin jam starts out with some beautiful loop layering by Trey, followed by some great hose. Into some great tension and release peaks, top notch. Limb By Limb is the only other notable song from this set, standing out above a lot of average versions throughout the year. It picks up about midway as Trey goes faster and faster into a great peak at the end. Set 2 has Antelope in the odd slot of 2nd song. This version contains a great extended mid section. No type 2 and nothing really new but just a great lengthy Antelope mid section that any Antelope fan needs to hear. Gumbo goes Type II early into some great funk interplay, and dips into a subtle dark groove. Julius contains a slightly extended solo that Trey tears up. Fluffhead is pretty average and even has a little flub at times. But they way I see it is after the first half of this set Fluff is a fantastic cherry on top. Slave is also very strong containing some very patient Trey, excellent execution. Bold as Love? Well it did what it does. This is a very very good show. I was on the fence about giving it 5 stars but it was just below the consistency I would give to a 5 star show. Still an excellent show.
, attached to 1997-11-19

Review by Piper72

Piper72 I'll try doing some justice at a review, having only remembered the other day that I was at this show. Yes - 1997, perhaps the most talked about year in Phishtory, one I thought I had snoozed on - I was there. Amazing what a year of sobriety can do for your long-term memory. A fresh listen helps, too (as I'm doing now). One thing that holds up in my memory was how schizophrenic this show is, and this listen reinforces that. There were moments (Bathtub > Llama, Wolfman's > WTF > Makisupa) where a nice, thick Fall '97 Cowfunk foundation was being laid nicely by the Phab Phour to build on, and then Trey would stomp on it and kick it apart with some searing Machine-Gun type playing. It works for the former (when Fishman catches on), not so much for the latter. What hurts is hearing the rest of the band either glaring or glazed-looking at Trey, going "ok...um...sure, give us a sec" before finally all giving him a nice sonic dancefloor for him to spaz out on. It gets better as the band sells you on it with some serious facemelt rockpile jamming, whether it's Crosseyed-related or some distant cousin. The segue into Makisupa is clever and sublime. Actually, that whole jam redeems it's mutated predecessor (as well as providing a much-needed cooldown for the band I'm sure). And that's what jogged my memory - that Makisupa. I was there with my friends Kevin and DJ, and DJ, who was older than us and had had a few more run-ins with the law (not to mention his first show) during the "cased my house" portion of Makisupa put his hands to his head and yelled "Nooooooooooo!!!", which freaked me out and probably those in our section (who may or may not have been on as much acid). Funny, that one memory all these years later. Looking back, this show proves how much 1997 was an influence on Phish during 3.0 - in both good and bad terms. 3.0 took the 1997 Cowfunk throwdown, and made it an altrustic listening experience, patiently developing ideas from their different eras to build shimmering sonic statues onto that stand the test of time. This show is a reminder of what we love - and don't so much - about The Phish From Vermont.
, attached to 2016-10-15

Review by MrPalmer44

MrPalmer44 Not a bad show, not a great show. Most of the new material translates well to the live setting. The first set actually is the stronger of the two sets highlighted by a good Martian Monster, a nice Waking up Dead, and some rarities like Let Me Lie and Lengthwise. The second set starts out with potential. Mercury was a bit sloppy, but the jam is decent. The first I Always Wanted it This Way showed the potential for the song. It really gives a different platform for the band to improv. Unfortunately, the show takes a nose dive after this. Miss You will be killing second sets for a while. The Fuego>Sand is good, but Joy comes in to kill any energy that segment may have produced. Possum closer that goes nowhere, and a GTBT encore that will be easily forgotten. The first night was much better. Petrichor/Ghost is one of the strongest openings of the year. Disease>Cities was worth the price of admission. Overall, interesting to hear all of the debuts...each night had its moments. Night 1 being the better of the two.
, attached to 1999-09-29

Review by Bob_Loblaw

Bob_Loblaw This is without a doubt one of my favorite 99' shows. It is such an incredibly strong and consistent show. Jim starts things off on a very strong note, it's just perfection every note Trey hits is just perfection. Free is also a very strong version with Mike really laying down something fierce in the mid section. Stash does exactly what it needs to and the Can't Turn You Loose jam was really a fantastic way to peak at the end. Theme From The Bottom is one of the best versions I have ever heard with such great peaks and inspired playing on Trey's part. Now down to the business. This 2001 has a very long intro that sounds something to the effect of Aliens landing. It is just experimental as hell. But unlike a lot of the experiments thrown down this has a high level of fluidity to it, Mike once again laying it down. Just an all time version. This goes into DWD which has an insane solo from Trey followed by shredding madness for a while. Billy Breathes is solid with a much more delicate solo then your average version. Then we have the mini Mike's Groove fest at the end. Mike's starts off especially strong and quickly flies into catapult which then goes right smack into a Mike's second jam perfectly. And back into Kung weirdness back to Mike's. I didn't know is very random in the mix but is an added treat. And Weekapaug just slays to cap off an amazing set. Cities Encore? Are you F***ing kidding me??? For sure an essential show for anyone checking out 99'.
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