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Phish.Net Review Archive

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Here are the 15 most recent reviews submitted

raidcehlalred , attached to 2015-07-28 Permalink
Back when Page was head down, reticent, a soft-spoken brother who (allegedly) would reject costume suggestions because of lyrical content, Lawn Boy was amusing....

Presently, with Page - er, Iron Man - hamming it up regularly, Lawn Boy is a redundancy. Whatever charm is once possessed has gone the way of Fish's Elivs 'cape.' It's the equivalent of Henrietta back in the day; which the band deliberately moved away from, in an attempt to focus more on form than fun - without, of course, eliminating the fun.

The time may have come to close the lounge and put a bit more shine into the Sugar Shack - just a tremendous tune, always welcome (no matter the flubs) as it sets the right mental tone.

Aside from that, the first set 'was.' The catalog is so vast now, that clunkers are going to emerge, based upon song selection alone. Halley's in this era is simply as it used to be, before it became something different. Toss in a newish ballad, an older ballad, an ancient Bouncing, and there you have it.

Set Two suffers from more of the same. Some of the old simply doesn't mesh well with the new. 46 Dogs is cool, but Piper, like Halley's, is back to what it was before it became what it was; this can sound disappointing - especially as it still holds the same post 97 set placement. (On the other hand, Twist, which has also reverted to form, can really be pretty and interesting, especially early in the first). Velvet will always polarize; I like it - and I like where they play it - but it certainly loses some resonance when placed near a promising Shade and a misplaced Waiting.

Still fun to see, and I love the tone and the energy.
Score: 0
Phrederick , attached to 2015-07-28 Permalink
Watched on webcast. First set was definitely weak, very disjointed. I thought, however, that 46 Days thru Piper was the best jam segment of the tour so far, had it all plus 46 Dogs. Ghost was OK, then the rest of the show felt like the first set: rote performance of odd song choices with little to no flow from one to the next.
Score: 2
Honeywatermelon , attached to 2015-07-28 Permalink
I was there, I was also at shoreline and forum. I still had the time of my life. Crowd energy in the pit was on fire. The ones that didnt go to the show might not want to download it or whatever, but the band played there hearts out and is keeping me smiling all the way to dallas tonight.
Score: 6
ProfJibboo , attached to 2015-07-28 Permalink
ProfJibboo A had a dream - and last night saw a major step towards its realization. The dream started on 10/31/14, after we were introduced to 10 instrumental jams that showed more hose creativity than most of 3.0's new offerings (not knocking 3.0 songs - just offering high praise for the 10/31/14 songs). The dream was to ditch the halloween album voice overs and let the new tunes organically grow out of jamming other songs. 46 Days -> Dogs -> 46 Days was the fulfillment of that dream, and the signal that Phish has the same idea. It started off the second set masterfully ...with its only flaw being that the three segments were criminally short.

Piper and Ghost, while not standouts, were strong. Shade is improving already and its going to continue to grow. Together, the three songs provided a solid 25 minutes or so of solid dance material. Thats when we reached Jibboo - my answer to the haters. How one song could do so much in 8 minutes is beyond me. In fact, Jibboo has been a very solid second set contributor every time its given the chance. I was actually surprised it was only 8 minutes when I saw the time, because it felt like 15 minutes of bliss. It was a song where I literally forgot to think about time because Trey so blissfully gave us chill lick after chill lick.

Blaze On again performed admirably and its growing on me. Unfortunately, placement was hindered by being sandwich'd by ballads. Waiting All Night and Wading are what they are - some love, some utterly despise. Some love them but despise what they symbolize: the fourth quarter. But in this case, rather than follow the now standard formula of 3.0 set II's (40-50 minutes of solid jamming -> ballad -> set closer), we were given a very high energy fourth quarter after the ballads. Bowie and Greenberg were strong - with Suzy producing a ton of energy - before yielding to the long lost Tweezer Reprise. (G_d I love that Reprise).

The first set was what it was...like so many 3.0 first sets, it was a smorgasbord of one-offs with no real flow but still very nice music. Wolfman's never fails to deliver and Possum is Possum - overplayed but so much d*mn fun. But I'd be remiss not to welcome back Dirt. Just a truly beautiful song.

Overall - I recommend this second set. Judging by .net's live reaction, that may put me in the minority, but this second set - particularly the 46 Days/Dogs and Jibboo, have a lot of replay value.
Score: 4
tennesseejac , attached to 2015-07-28 Permalink
tennesseejac A very syrupy sentimental show with both sets starting off with a bang and then fizzling down, but the boys definitely know how to end a set. I could happily hear Possum at every show and I thought tonightís version capped off a very nice 1st quarter of this show.

I love the new songs and it seems that Trey does too because he couldnít stop smiling. And, with the unbelievable light action you can certainly tell that CK loves David Bowie. The first half of Bowie shows some of the best lights ever.

Did anyone notice that they played Waiting All Night 2 shows in a row? When is the last time that happened? I thought Page really shined during this show.

Overall, I thought it was a solid show and Iím sure everyone going to tonightís show in Grand Prairie is stoked because there is really nowhere to go but UP from this show.
Score: 1
jsauce , attached to 2015-07-24 Permalink
FIRST, I'm sure we've all had this experience: Leaving the venue having just had your head BLOWN OFF by what, you are sure, was one of the greatest Phish shows ever. Then you listen to the recording a while later and think, "Geez, I mean, it was good, but not nearly as good as I remember." And that's fine. The whole reason we go to shows is to experience the extra wattage that goes along with seeing something go down in person. And if that makes us a little overgiddy in our assessment of how great the music was at the time of its playing, then that is a fair cost to pay. Still, it can be a little deflating. Like you were tricked or something.
And so it's weird that I find myself writing this sentence: This is the first time I've ever relistened to a show I attended and thought it was better than I remembered. I say this specifically about Reba and the entire second set. Three of the six songs played in the second set had monster jams which were thematically and (I'm sure) quite intentionally linked. More on that later.

SECOND, I'm also sure that anyone who bothers to find and read reviews of phish shows on this website does not need any sort of primer on the relationship of Phish to the Grateful Dead or how those two bands (or parts of them) have interacted, especially recently. A central tenant of listening to either band is as follows: if you want to hear a tease, then you're going to hear a tease. That having been said, if you don't hear the fingerprints of the Grateful Dead all over this second set, then either you're not listening or you have some sort of agenda. While I wouldn't go as far as Samsarra did in the review above, more or less insisting that a correct labeling of the show include a Wheel jam or a Rider jam (I think "tease" is more appropriate), those elements are clearly present, especially the latter. The China/Rider break shows up in Blaze on and again, even more prominently, in Twist; the Wheel is also in Twist; and a more straight-ahead Rider sound happens on the back end of Light. To my ear, it's Page who is leading these attacks.
Twist is probably the jam of the night for me, but one could make an argument for any of the songs in the second set, save Joy. Light features some really great interplay by everyone, especially Page and Trey. They break out in a very positive, uplifting jam and then switch to something darker, back and forth, back and forth. Around 9 minutes, Trey switches things to solidly major key and seems content to have things stay there for a minute, only to change his mind at about 11 minutes. Here he tries really hard to push things back into a darker minor key, but Page simply isn't having it. Mike seems content to listen to them battle it out. Around 13 minutes Page finally wins and things settle into the key of D major. And it's at this point that Rider sound is most complete and present, before finally drifting off. Beautiful music.
With all of the ballyhoo surrounding Trey's appearance at Fare The Well, and all of the speculation about what this might mean for Phish's summer tour, especially starting a mere two weeks after the final FTW show, I would say Phish did things in as Phish a way as possible: They paid solid homage to a band who was clearly a big influence, at that band's home venue (or one of them). And yet, they stopped *just* short of a true jam or a whole song. I'm sure they were quite aware of the speculation. You can almost hear them talking backstage, being like, "Listen, bros. Everyone is expecting us to do some Dead shit, so what we're going to do is, we're going to do it, but we're going to fuck with them. We're going to walk right up to the very absolute edge of the cliff, so close they can taste it, and then we're going to turn around. And then everyone is going to argue about it after the show and on the Internet."
And so here we are. I personally loved it. I thought they honored the Dead while still keeping the show solidly about Phish music, which is what I paid to see. Very skillfully executed. Very Phish.

FINALLY, to the extent that you believe the term "ripcord" made its way into the Phish 3.0 lexicon at the hands of one Ernest Joseph Anastasio III, then to the same extent do you need to vote that man the MVP of pretty much every recent show. Trey's the leader. It's his renewed patience that is allowing the jams on Blaze On, Twist, Light, and Hood to develop and not be squashed because he got nervous or bored or confused or whatever.

This is Phish 3.0 at its best: you're not going to get your brain ripped out of your skull anymore, but when things are clicking you're going to hear some very inspired music that will take you some great places. If you let it. If you're on the fence, go see a show. You're going to miss them when they're gone.
Score: 0
fluffhead108 , attached to 2015-07-28 Permalink
fluffhead108 As I'm sure many reviews will testify in the coming day, this show doesn't exactly jump out as immediate must-hear Phish. If you're like me, and you try to listen to pretty much every show they play these days (and you should -- they'll be gone before you know it) then you'll no doubt find highlights, but all in all this is actually one of the weaker shows I can think of since Summer 2013 upped the proverbial ante.

First Set:
Take the Party Time and the Dirt. If you collect Lawn Boys then this one is worth grabbing, as Mike lays down his usual ditty quite well. But skip the rest, except maybe Bouncing, so that you can hear that ungodly screeeechhhh that Trey throws in before the outro. Not memorable for a good reason, but memorable nonetheless.

Second Set:
Things start well, and the entire 3rd quarter (46 Dogs thru Jibboo) is quite good. But the real highlights here, bizarrely enough, are the slow tunes. That doesn't make for a great concert (especially in 100 degree heat) but for posterity, it gives us lovely versions of Shade, Velvet Sea, and Waiting All Night. For my money, these 3 tunes are arguably the highlight of the show. That says something about the show, of course, but it also says something about those tunes. Give them a spin!
Score: 10
Pipertheredworm , attached to 2015-07-28 Permalink
Loved It.
Texas. Texas was lucky to be there.
They came out of the gates with a porpice.
Party Time thru Loving Cup,
Thank You Phish.
1st set burn, from the start. New favorite Party Time.
Awesome Possum. Lawn Boy, we all get so overwhelmed,
Micheal Gordlion, Page is savoring it.
Bouncing echos round the water in the sky.
Elemental Phish. sky water dirt sun. drums bass guitar keys.
Devotion Sweet Spin Run
Antelope intro as always... Jon, thank you Jon...
These people know how to construct the music.

2nd set hit highs early from
46days->Dogs->46->Piper- :) Ghost
loving shade and blaze new lyrics with soul.
GottaJiboo, Waiting Bowie Suzy
Tweezer Reprise, cause they love you Texas.
Loving Cup

Only problems with this show come from the mouths of the ungrateful.
Score: 10
easysleeper , attached to 2015-07-28 Permalink
easysleeper The energy of the crowd really drove this show. I think some of the things which were overlooked include Page's Lawn Boy, in which he took time to consiliate the Rage side. There was a moment when Trey announced Texas as his birthplace and this show was a homecoming. Page helped to keep it going by first joining then recanting his own homecoming.

The end of set 1 antelope really set the mood for how the second set would open. A strong second set opening. David Bowie and Tweeprise are excellent examples of the peak of the energy. Loving cup was the only way to end as you could really take a drink of that vibe in that moment and fall down... drunk.

I do understand the criticism from some but I think they fail to see the power of the high points in this show. It was a very strong audience participation performance. I think they went off cuff more in this show than in the previous 4. Which may lead to a less clean and crisp, dare I say rehearsed sound, but it's much better for the moment and for the audience that made the journey through the shark infested waters of Texas. This was the start of the improvisation that will get tighter, and hopefully for me, will be seen again tonight.
Score: 6
KingDisco , attached to 2015-07-28 Permalink
KingDisco I hate having to call this show a low point in a tour five shows old but it takes the cake by a wide margin.

That being said there are some cool moments worth a replay. I really like the set one Wolfmans over the past year or two, this version reminds me of 12-28-13 which I think is a tad overrated as well. The rest of the first set is weak even by low 3.0 standards. Five shows in a row- Lawn Boy thru Devotion seemed like set two cool downs. But hey first sets are rarely the barometer so take all that with a grain of salt.

Set two opened with a solid "46 Dogs" jam. Really good to see Trey grin as they danced back and forth in this traditionally smoking slot early 3rd quarter. However, Piper > Ghost seemed aimless if safely played which took some wind of of the sails. The rest of the show wandered along from obvious studio tracks weakly translating live to yet another cool down song in Velvet Sea.

Overall I feel like other reviewers will point to sloppy play, I attest the inevitable low ratings to a lack of focus and a lack of direction. This seems more like a blimp on the radar screen than a sign of things to come.
Score: 5
BigBrotherD , attached to 2015-07-25 Permalink
It should be noted that, during The YEM shenanigans, after the Trey/Mike two headed guitar monster (which, incidentally, reminded me a great deal of the '97 Virginia Beach Multibeast), and while Trey was back messing around on Fish's kit, Mike joined Page in Keyboard world and played some organ while Page attempted (considerable less effectively) to thump on Mike's bass. The end.
Score: 0
bobbyluv , attached to 2004-06-23 Permalink
The segue from Nothing>>>46 Days was one of the more awkward and biggest example of bad chemistry I think I may have ever witnessed (outside of Coventry).
It had some bad juju for sure. A tug of war, of sorts, between Mike and Trey with Mike giving up.
Certainly not with the results akin to the tug of war they had with Melt and 2001 from Holmdel '99, unfortunately.
Score: 0
flyfamousmandybird , attached to 2015-07-25 Permalink
If you chase Phish you get it. I believe there are 4 superwizards of sound that know how to play their four parts as a single sound and vibration which resonates from their collaboration. The sound seems as if its controlled by a supermind as if the speed of thought is faster than the speed of light and that their four minds are joined in one entity. All controlled by what is seemingly one super mind. They can do that on their backs while air bicycling or on trampolines pedestals or confronted by dangling dancers or right in each others faces and when they take it to that level, the whole audience the fan fire the energy right back into a frenzy.. Seeing the yem in Inglewood was tough b/c I couldn't see through the tears of joy. Watching mike step up and rock the lead gave me goosebumps. So good. A mini Walfredo, or at least that's what I'm calling it, is what I remember next. Playing each others instruments made me laugh better than most comedians and they made it look so easy. So easy that they almost appeared bored, and all the while a raging y.e.m. was being funked out. After Mike took the lead Trey walked up on him and I thought Trey was getting egotistical for a second when he quickly changed guitars while reverse hugging Mike, that is hugging his shoulders from behind and they proceeded to funk out on each others guitars for awhile. At this point I could barely see b/c of joy or hear through my hyena laugh and I was in ecstasy because the music was so on point. At some point during this song mike cranks his amp(finally) and I thought (yes, yes, yes, this is good) with every cell in my body. Holding off to the end allowed all that built up energy during the show to focus being California huge vibrations for long periods of a time may not be the smartest way to reduce manmade triggered earthquakes so I get it but I liked bend because mike played loud the whole time. Back to my point, waiting until the last 10 minutes caused a roar to emerge from the crowd , the back and forth interplay of the woo jam in dwd was revisited briefly and I completely enjoyed writing this from memory, pardon any errors in chronology.
Score: 0
flyfamousmandybird , attached to 2015-07-25 Permalink
If you chase Phish you get it. I believe there are 4 superwizards of sound that know how to play their four parts as a single sound and vibration which resonates from their collaboration. The sound seems as if its controlled by a supermind as if the speed of thought is faster than the speed of light and that their four minds are joined in one entity. All controlled by what is seemingly one super mind. They can do that on their backs while air bicycling or on trampolines pedestals or confronted by dangling dancers or right in each others faces and when they take it to that level, the whole audience the fan fire the energy right back into a frenzy.. Seeing the yem in Inglewood was tough b/c I couldn't see through the tears of joy. Watching mike step up and rock the lead gave me goosebumps. So good. A mini Walfredo, or at least that's what I'm calling it, is what I remember next. Playing each others instruments made me laugh better than most comedians and they made it look so easy. So easy that they almost appeared bored, and all the while a raging y.e.m. was being funked out. After Mike took the lead Trey walked up on him and I thought Trey was getting egotistical for a second when he quickly changed guitars while reverse hugging Mike, that is hugging his shoulders from behind and they proceeded to funk out on each others guitars for awhile. At this point I could barely see b/c of joy or hear through my hyena laugh and I was in ecstasy because the music was so on point. At some point during this song mike cranks his amp(finally) and I thought (yes, yes, yes, this is good) with every cell in my body. Holding off to the end allowed all that built up energy during the show to focus being California huge vibrations for long periods of a time may not be the smartest way to reduce manmade triggered earthquakes so I get it but I liked bend because mike played loud the whole time. Back to my point, waiting until the last 10 minutes caused a roar to emerge from the crowd , the back and forth interplay of the woo jam in dwd was revisited briefly and I completely enjoyed writing this from memory, pardon any errors in chronology.
Score: 0
phrench , attached to 2015-07-22 Permalink
phrench Listening to the second set again last night has prompted me to register and leave my first review here. Despite including only one true jam (and not a big one actually), this set is awesome. The opening ASIHTOS/Waves/Wingsuit combo is top-notch, a melancholy trip to remind us that the band plays great tunes, not just great jams, and they play them with style (Fish in particular is great here). The ">" between Waves and Wingsuit feels so good I think it should count as a true "->", even though the two songs are clearly demarcated. The eerie opening to Wingsuit emerges beautifully from the dissolution of the preceding Waves.

Farmhouse lifts the mood a bit, but still retains (at least to me) a nostalgic tone that suits this second set very well. Then who can resist Simple, especially a jammed-out Simple? It has already been remarked upon, and rightly so. A high-energy First Tube propels the set to a screaming end, and good night. Oh no, here comes Bathtub Gin as an encore; the band exsudes confidence, Page is having quite some fun, as does the audience singing along.

If you're mostly interested in titanic jams, the next show at Shoreline will probably best suit you, but this second set is extremely coherent and could stand on its own as some kind of concept album by some progressive band (and of course there is no lack of solos by Trey and rich interplay between the boys). I have played the first set only once, but it has already been noted that it is quite unique in its song selection. So, as a whole, this concert should be remembered as a high-density performance by four awesome musicians. I find its current rating of 3.85 or so quite unjustifiably low.
Score: 1
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