The fun bits are fun, but if nothing else, please hear the Sally and Scents from this middling-to-swell show.

I just want to put in a word for the tremendous Theme > Jim, authoritative Taste, and swamp-nasty Walls of the Cave. The Bag is long but never quite lifts off and 46 Days hadn't yet transformed at this point into the monster it would occasionally become (cf. IT and Summer/Fall '09). Not as consistently engaging as the shows around it but not without a few highlights.

I've gotta disagree with the earlier reviewer's C+ rating - this is a strong show in the middle of a superb tour.

Seven Below gets an intricate funk workout that keeps referring to the song's original pulse and comes smartly back to the song after 21:00 or so. Tweezer is a monstrous roaring creature that gets as deep as 2/28 (but nowhere near as high). Simple is delicate, then spacey, and lovely throughout. And you even get canonical takes on Pebbles and (ugh) Jibboo to close the two sets!

If you don't like the 'Phish 2.0' style - those long hazy hypnagogic uptempo noise-jams, the intricate unresolved experimentation, the relative sonic homogeneity - you won't like 2/20/03. That's OK. But while this show is less of a crowd-pleaser than the 2/26 party or the 2/28 church service, it's a nocturnal preview of the chemical carousel ride that would take place in Limestone less than six months later. Well-chosen songs, shadowy ocean-floor jams, and collective creativity as yet undulled by rock'n'roll excess...what more could you want?

This one's as strong as 2/16 but in a very different register. Get it.

Standout versions of 46 Days and DWD are reason enough to seek this one out. 46 Days is less driven than the year's-best Merriweather summer rendition; the boys just let their hair down a little and play some spare sci-fi cow-funk grooves for a few minutes, keeping the rhythms going past the point when a typical summer jam would've dissolved into ambient space. Sounds like the Halloween-weekend breakthroughs are paying dividends in fall too.

Meanwhile the Disease is a culminating 2009 version, paying off Trey's yearlong experiment with seemingly out-of-place flatted ninths and minor modes in the middle of soaring major-chord jams. The last couple minutes of this version see the whole band get with him for some woolly eastern-modal fun. Then there's a wonderfully dense, dissonant Taste waiting on the other side of a now-typical Gordon-centric Free. (Will someone please remind Trey that it's perfectly OK to segue directly into that glorious Free riff as in days of old, instead of stopping the momentum with his rhythmic chopping?) As for the climactic Mike's Groove, it doesn't matter. It's Mike's Groove for god's sake. If you're the sort of person who reads these reviews, you'll like it just fine! It's a swell performance anyhow, though I find it difficult to get too fired up about this Weekapaug.

Still waiting on that inevitable universe-destroying version of Stealing Time, but there are worse things than waiting.

There's a story about Trey getting into a fight w/ a security guard in the parking garage near the Metropol before the show. I semi-remember him talking about it during the show - does anyone recall this?
OK... My friends and I showed up for this show w/out tickets after driving 4 hours. Fortunately we didn't need tickets to get in, just had to pay a $10 cover. Unfortunately, none of us were 21 & thus couldn't get in. DOH! Enter Fake IDs. OK, we got in. Ahhh the good old days. There couldn't have been more than 500 people in the audience.
This show was FULL of classic early 90's energy. They came out swinging with Llama in the first set and played a fun, rocking first set complete w/ secret language. They hit it even harder with Buried to open the 2nd, Runaway was great, Maze was quite "danciful"... YEM, Coil and finally I waved my birkenstocks in the air as Trey belted out "whatever you do, take care of your shoes!" Fee encore with Trey singing into a megaphone was also classic 90's and sounded great, as I remember. Closer was a strong classic Hendrix cover of Fire that absolutely WAILED! Great show, gotta make it's way to livephish.com someday.

Great show - tight playing - obvious they've been practicing. Question: I thought I heard a 5 or 6 second tease of "La Villa Strangiato" by Rush at the end of Mike's Song - did anyone else hear it?? Am I out of my mind? Does anyone know what I'm talking about?

This is quite possibly the best all-around Phish show I’ve ever seen. From start to finish, they just didn’t let up. The show started with great, albeit relatively straightforward, version of "David Bowie." As the composed section came to an end, they played a few bars of Aerosmith’s "Dream On". The theme from the 70’s rock anthem disintegrated into the spacy section of "Bowie" and it was apparent that we were about to be taken on quite a journey. "Dream On" made a reappearance at the end of the song – the "Bowie" ended at its typical frenetic pace and we were off! After the always-welcome trip inside the head of Mike Gordon ("Weigh") and a quick version of "The Curtain", "Sample In A Jar" was next. Sure, now we know that "Sample" is pretty much "Sample", but at the time, I remember being excited at how well the song was coming together (compared with the versions from the Spring and Summer). Of course "Sample" never really made it to the proverbial next level, but it was (and still is) an above average version.

Later in the set, we got a great "Forbin." I think the narration was about the floor of the hockey arena breaking apart and floating through space on the planks. Or something. In any event, the arena just might have gone into orbit several times that night. It wouldn’t surprise me at all. The "Famous Mockingbird" took flight (somewhat sloppily) and "Bathtub Gin" followed. Having not heard the Murat "Gin" at the time, I was pleasantly surprised at the improvisation at the end of this version. Looking back on it, it really doesn’t go anywhere that interesting and certainly doesn’t compare to the Murat version. "Free Bird" was next and, as always, was pretty damn funny.

All in all, the first set was pretty strong – better than anything they had played the night before. But they were just getting started. The familiar introduction to "2001" started up and they went right into "Mike’s Song." The "Mike’s" jam just seemed to keep going and going. It went on for about fifteen minutes (which was pretty long for ’93, especially if, like me, you hadn’t heard any August ’93 shows at that point) and never seemed to let up. As the composed part of the jam gave way to improv, they locked into a groove led by some sustained, melodious noodling by Trey. Just great stuff here – I don’t know what else to say. As the jam becomes more bass dominated, Trey starts playing his acoustic and before long they’ve segued – yes, segued – into "The Horse." "The Horse" and "Silent" are their usual selves and "PYITE" – still a pretty major treat in 1993 – follows. Nothing much to say about "PYITE" except that looking back on it, it seems to be a pretty tight version, especially at the end where they go in and out of "The Landlady."

"McGrupp" immediately starts up and the next fifteen minutes of the set are pretty much perfect. The Page and Mike duet out of "McGrupp" is absolutely gorgeous – yet another highlight in a set filled with them. The crowd is absolutely silent. Mike’s anchoring bass line fades into nothing and then comes back, along with the rest of the band, as they crescendo back into the "McGrupp" theme. "Weekapaug" starts smoothly out of out of this and what else can be said about this "Weekapaug"? It’s pretty short and certainly straight ahead, but the entire song is one long machine gun Trey-fest. After the hilarity of "Purple Rain", a "Slave" chant started up near the stage. And sure enough we got it in all its glory. The build starts very slowly with Page and Trey playing beautifully off of each other. Right up until the peak, Page is banging away on the grand piano, perfectly complementing Trey’s screaming leads. All the while, Kuroda’s lights are swirling around the arena in a siren-like effect. Just another one of those Phish show moments that’s permanently imprinted on my brain – talk about a smoking crater. "Rockytop" and "Good Times Bad Times" sent us out into the sub-zero Maine night. What a set! Sure, there have been better musical moments in Phishstory, probably even better sets. But there are few sets that hold up as a whole the way this one does almost 16 years later. Not a single boring moment, every song executed perfectly, gorgeous segues, exploratory jamming. I knew as soon as I walked out of the civic center that night why I had seen eleven other shows in 1993 and why I was about to see one more – to see that show.

(Published in the second edition of The Phish Companion)

For a change, there were going to be wrinkles in our usual New Year's tradition. There would be a new venue and a new city. Huddling in protected areas of the lot in a desperate attempt to stay warm would be out. Going on a pre-show beach run would be in. For once, there wouldn't be a late December trip to the dirty, dreary cities of the Northeast. Instead, we'd get to go to a dirty, sunny city down south.

The first obvious beneficiary of the scene was Shakedown. Freed from the usual constraints of a winter show, it was hopping. The cops just let people set up tents and do whatever they wanted. There were two weird things about the scene though, there was a lot of meat for sale in the lot (this vegetarian actually had a hard time finding something to eat) and the scalpers were out and getting desperate. One almost got into a fistfight with a random hippie who was just trying to miracle someone. It was a scary moment, especially for someone like me whose word association to "Miami" is the murder of his friend Oren here in a car jacking in 1988. Fortunately, nothing became of the fight, and we went back to lying in the warmth before it was time to go in.

American Airlines Arena isn't going to win too many points from the Phish crowd, at least not from Section 309. It made a bad first impression as it didn't have nearly enough bathrooms. The whole point of building these new venues is to not have that kind of issue. The food was expensive, even by venue standards. There were no merchandise stands at all set up in the upper level, so if you wanted a shirt, that required going up and down two flights of stairs. Security was very tight at checking tickets even in the upper levels. All throughout the show, they lit up every single aisle in order to keep them clear. Even though the seats weren't bad in theory (second row in the upper level, a quarter of the way back Mike side), the stage seemed very far away. The acoustics weren't very good, especially in the first set.

The actual show started out oddly. We were looking around, trying to figure out the pattern of the coloring of the seats and speculating about what was behind the large black curtain over the stage when the lights went out. Much cheering. A minute or two passed though and the band failed to come out. They started piping music over the PA and the house lights actually came back on. People booed. Quickly, they turned them out and the band came right out.

The set opened up with a deep space jam. This was a fascinating moment. Would this be a new song? Would they just open up with a weird jam? Alas, Fishman ended all of my speculation about two minutes into it by starting the “Bowie” fill. It's not that “Bowie” is a bad song mind you, but there were just so many interesting possibilities there that didn't come to fruition.

The set started out strongly, if not spectacularly. The “Bowie” and the “Tweezer” were solid, but won't be making top ten lists. The set didn't really come into its own until “Frankie Says”. Yes, “Frankie Says.”

The version didn't start out too promisingly. There was some confusion to the lyrics and it sounded like the whole, "Lost my mind/Lost my way" part wasn't sung. They made up for that, though, with an interesting jam out of the end of it. It started out a bit spacey, with Trey using the effect that he used a lot during the Loaded cover set. This jam soon turned angry and just kept going and going and going. As on the summer tour, any song at any point could go anywhere. I figured this jam would be the highlight of the show. It turned out it was just foreshadowing for the second set.

After a “Llama”, we were to get another treat. For the first time since the Hiatus ended, we were going to get a traditional Fishman front man song. Hearing the “HYHU” theme brought back all sorts of memories. Alas, those memories didn't help out Jon. He forgot the second verse of “Love You” and was first forced into some scat singing before finally improvising, "I can't remember the words/but it doesn't matter/because I can't sing either/so I guess it's time for the vacuum cleaner." He made up for it with his post-song antics. While everyone else just kept playing “HYHU”, he raised his arms in triumph, did a few victory laps, and did a band introduction. It was just like old times.

Speaking of old times, the second set was a flashback to the old days of Summer Tour 2000. There, the ever present “Gotta Jibboo” second set opener was something to lament. This tour, though, it was a bit of a novelty. It was well played too, so there's definitely nothing to complain about there. They came to a complete stop and played “Suzy”. I figured this would be a breather tune. Little did I suspect.

The jam between the first and second verses was nice. It was a Page-led groove jam that went on a bit longer than I was expecting (in a good way that is). As a result, I took notes to see if the second music break would also be longer than usual. This bit started five minutes and forty five seconds into the version. Nearly fourteen minutes later it would still be going strong. The third verse would never actually be sung.

No, this wasn't a long vamp on the “Suzy” chords. Rather, it was a heavy metal inspired jam. It took off where the “Frankie Says” went, and went much further with it. I was hearing hints of Led Zeppelin and Jimi Hendrix themes throughout the jam, but I think that was just the tone rather than any actual teases. Phish rarely play like this and the show is worth hearing solely for this jam.

That was the peak of the show. Sure, it was nice to hear the cheer for "filter out the Everglades," back to a Big Cypress roar and we did get the fun of the double double entendre encore, but when people talk about this show, the focus is mainly going to be on the segment starting with “Frankie” and ending when “Taste” started. This wasn't an all time classic by any means, but it was a solid addition to the tradition of great New Year's Run shows.

(Author's note: this, and my other reviews of this Run, were written only hours after each show, without a chance to listen to the recordings.)

This was a pretty rockin' setlist for my first Phish show since the return. Energy level was at an all-time high for Red Rocks. One of the best versions of "Stash" I have ever heard and looking back on the entire weekend, "Stash" still stands up with Friday's "Drowned > Crosseyed" as the jam of the weekend for me. Listen to it again on the tapes. Stash's jam section was simply AWESOME! Fairly high energy second set as well and even though "Billy Breathes" brought the energy down at bit, it was a welcomed treat, showcasing Trey's intense vocal vibrato. :)

Really great show. 46 Days jam with the light show on the wall was a particular highlight of the 1st set. DWD was absolutely smokin. One thing I was not glad to see was the band being bombarded with glow sticks or rings or whatever. At one point someone threw about 30 of them all at once on the stage. I enjoy a good glow stick war as much as the next person, but keep it in the audience. After 20+ years of giving us some of the greatest music and concerts in the history of the world, not being pounded with glow sticks is something they've probably earned at this point.

(Published in the second edition of The Phish Companion...)

I've been seeing them for almost ten years, and I swear, I felt the same exhilaration this night as I did at my first show in 1993. The jamming was just top notch. Incredible. The energy apparent was so thick you could cut it. Every song seemed to fit in perfectly. Although the “Birds” opener threw me off, I was quickly put at ease with the positivity oozing from the stage.

And of course the “Destiny Unbound” breakout...

Everything about this show was just right. Seriously. After seeing more than seventy shows, I think this is easily in my top ten (including 10/31/94, 7/16/94, 12/31/95, Big Cypress and Clifford Ball). This is one to remember. Looking at the setlist may be misleading. It has none of the crazy stuff (albeit the “Soul Shakedown Party” and “Destiny Unbound” are crazy rare) such as “Fluffhead”, “Mike's Groove”, “Harpua”, “Col. Forbin's”, “Icculus”, etc.. which for me comprise a dream setlist, yet this show itself turned into a dream setlist. They were jamming tunes voraciously which up till then were more standard. (Listen to the “Get Back on the Train”!)

For those that weren't at this show, but were at 4/3/98, remember the insane energy during the “Tweeprise”? Well, this “Tweeprise” has that same energy, only the whole night was full of that energy.

This was THE show for me. Its been years since I was that pumped all about one show.

What is it with Nassau? They must love it there.

-Adam Schneider

Great show. Period. The energy from the band and crowd was mixing together and it was stellar. 1st set had a decent flow to it. Ice and Horn were played nice. I got a kick out of hearing Poor Heart. The second set nearly took the arena down. DWD>Free was sick, Mike played great. Also Mikes>Hydrogen>Groove and Cavern was an excellent way to end the show.

Shout out to the group in B11 row Jish great group to sit by!

Excellent C&P - Phish had Alpine ROCKING when they dropped into this tune with a great jam to follow. TMWSIY > Avenu Malkenu > TMWSIY was a real surprise.

(Published in the second edition of The Phish Companion...)

Due to the fact that a tape of this show has never come my way, this review will have to consist of mainly my personal memories of the show. Most of the music has long since been lost to me.
The first thing I noticed after the trip across the Hudson River from New Paltz was how different the feel was at the Chance that particular night. We had bought tickets at the door, but many people were bummed later to find it had sold out shortly thereafter. However, unlike other sold-out shows I had seen at The Chance, this crowd seemed friendly and familiar with each other. Not like the drunken, rowdy crowds at shows like Joe Walsh and Johnny Winter. I had gotten this feeling at Phish shows before, but this night was different.
After getting into the tiny, ancient vaudeville theater, my companion and I walked past the merchandise table. I was already signed up for the mailing list, but after she jotted her info down, I wrote my name and a little note saying "hi" to the band. It was for this reason that I think the following happened.
After getting a spot to stand near the center and against the second rail (about 1 foot up and twenty-five feet back), my friend went to use the bathroom. So there I stood, watching the opening band more or less alone when a guy came by and stood next to me, in her spot. Our conversation went something like this:
Me: "Excuse me, but someone is standing there. She just went to…you're Mike Gordon."
MG: "Yup."
Me: "Cool. Pleased to meet you." (while shaking hands)
Then a long pause passed by as we watched the opening band…
MG: "Pretty cool band huh?"
Me: "Actually, I think they suck."
MG: (chuckles)
There was then another long pause as we took in Skratch Baxter. Then a couple of guys came over fawning, screaming "MIKE GORDON!" and asking for autographs. He obliged them, then excused himself as he disappeared backstage. About that time, my companion returned to her place beside me, and I proceeded to relay the story to her. Her response? "Well, don't look now, but Fishman is standing on your other side."
I turned to look just as he was leaving. Drat! Perhaps another time, Henrietta.
Eventually Phish hit the stage, and I remember a slow start followed by a toe-tapping “Rocky Top”, and then an equipment malfunction. Our setlists remind me that it was “Colonel Forbin” that brought us a mystery guest on some large, odd instrument (reported to be a didjeridoo, but I remember it as one of those big horns they play on the mountains of Switzerland). “Sweet Adeline” was preceded by an explanation of how The Chance used to be a vaudeville theater way back when. Trey felt this was a good reason to sing “Sweet Adeline” without the benefit of amplification.
I believe it was during set break that some friends from college convinced me to join them on what passed at that time as "the rail": leaning against a five-foot stage, right at Trey's feet. I spent most of the second set marveling at Trey's guitar playing. I remember at some point being amazed by how many frets he could spread his fingers across.
I remember less of the second set then the first. But what sticks with me most is that when Fishman came out from his kit to sing “I Didn't Know”, he was wearing that funky superhero suit he used to have. It was made of a red and blue satin-like material so form-fitting it looked like the seams were about to bust! Hilarious. As I recall, my comment after the show was "that outfit was so tight you could tell if he was circumcised or not." (No, I don't remember the answer.)
Oh well, I guess if I was to keep any memory of this show it would be Zeroman standing at the edge of the stage with only his face protruding from that tight, red hood with the tiny cape coming off the back of his neck.
Speaking of “Hood”s, that's what the encore was, I believe by request. There were many people screaming what I thought was "hairy" when Phish came back onstage (not only did I not have many tapes then, but Harry was relatively rare). So Trey did a little speech that was lost on me, concerning the Vermont Dairy Farmers. And away we went….

"This is Cock Rock" - Jon Fishman 9/29/00
Indeed. The band really revved up their Rock n’ Roll engines for this show. Was it because it was the opening night of Phish's last Vegas Run before the Hiatus, the frenzied Friday Night crowd, the knowledge that Kid Rock would be sharing the stage later, or perhaps all three? I like to think it was just in the air.
Besides a “Bathtub Gin “ that slowly opened like a flower (reminiscent if my all-time favorite played on 6/28/00) and a short two minute Siket Disc-like meander between “Fluffhead” and “Meatstick”, the Grand Funk Railroad impersonators onstage seemed to skip any real jamming. In fact, a standard version of “Meatstick” might have been the only other tune The Kid might have deemed a "Hippie Song". “Moma Dance” and “Fluffhead” were tight and all business. Nearly flawless. Even “Chalk Dust Torture” failed to show any glimpses of the jam vehicle it sometimes has been since the Hiatus (and occasionally before). Only pure adrenaline here.
From the grinding “Carini” opener to the arena rock of "Frankenstein" and the punk "Dinner and a Movie", all through Kid Rock's lengthy appearance; both band and audience never let up on the fury. During "Rapper's Delight" Fishman rapped and danced a Joe C. imitation while those in attendance waved their arms in the air and sang along. The lack of apology for "supposedly" offending vocal improvisations was, for me, woven into the ferocity of the music that night. Whether or not the audience was tired of his posturing and screeching; the momentum was just too much not to bring Kid Rock out for the encore. The ovation after, while the lights came up, left me with visions of The Boys smiling tired smiles while wiping the sweat from their hair with towels backstage. After all, this was "Cock Rock".