american friend have this to say: "why does god blow out the scout's lantern when he is exploring the rich folds of mother earth, increasing the chance that he may have to spit roast his dog, just to survive? why does god take the farmer's mule back to heaven, putting him more increasingly at the mercy of his wife's mood swings; she who is sometimes but a flurry of fingernails and sharp words? these are rhetorical questions, but i think you smell what i'm cooking."

we of phish listening club, euro chapter, wholeheartedly agree. as we had been following the webcast from couches with location all throughout the greater europa, some with areas as far distant as minsk, communicating with each other via sms, telephone, telegraph, tin cans connected by string, walky talky, smoke signal, snail mail, video conference, thank you note, notes baked into no-bake cakes, courier, homing pigeon, secret language, and in some cases regular conversation, and e-mail, we generally could not help thinking there was so much of forest, great big, really expansive forest, and, only tiny little insignificant bit of trees. for reason such like this, we have had such a time, excellent, cool, really nice, and great, in it's overall general fun and special feelings. only one from among us, being traumatized, on his visit to tallahassee, florida, by such a truck stop clif bar as to make him 'puke-up guts' and thus confining to him motel 6 room whilst friends went as tourist. we have said to him, 'Jan, clif bar perhaps is made within facility also which processing peanuts.' Alas, we can nothing assuage him irrational fear of green tea and thus, he has discontinued his webcast, early second set.

we of phish listening club, euro division, therefore believe, very nearly in unanimous way, that this show really is worthy of rating: "worth a listen." with so much forest, we think these songs are thus nicely together, and was really classic time. Jan will be ok, was great way to put nice stamp on new year. Jan admitted he is allergic to peanuts and wants to seeing show in person. now that's what i am calling progress! so, from our farmhouse to yours, perhaps via intercom, we wishing everybody happy new year, with abundant and righteous phishing!

This will almost certainly be the consensus choice as the show of the run, and it's not a hard argument to make. It's certainly got the best first set of the run, benefiting from great song selection, some inspired playing (and a few fugly moments, like Melt being butchered in a few spots), and an always welcome Divided Sky as the centerpiece. But the second set is what's going to bolster this baby's rep, and it's a gigantic second set indeed, right up there with 12/31's magnificent second set.

STFTFP opens the set and injects some instant energy (the way Birds did on 12/31), and then we get an utterly epic and marvelous Disease. The regular Type I Disease jam feels more inspired, thanks to Trey really pouring it on, and then just when it seems like it might be coming to a premature close they switch to a new jam segment on a dime, Page going to the clavinet, Trey flipping on one of his fancy effects. Mike pushes forward in the mix with some thick notes, and things enter a quieter and dreamier space as the meatball effect gets fired off. This is a pure 3.0 jam, blissful and melodic, but with Trey playing more lead than he usually does. The band luxuriates in this space as Mike fires off the drill and Fish starts really going off, then Trey moves to chords and the intensity picks up (making one think a DWD reprise a la 12/29/13 might be in the offing), but instead Trey decides "it's rock god time" and the band blasts off into purely thrilling hose instead. Trey moves to a repeating pattern of notes as the hose dies away, Page moves to the electric piano, and Mike flips on a filter to really add some bottom to a very laid-back 70s-rock jam, before things turn plinko-y and Trey decides to move into Light.

It doesn't take too long for the Light jam to move into something funkier and meatier, not unlike the brilliant 10/26/13 version, as Lil' Punkin makes its presence felt once again and Fish dances around the rhythm*. The jam gets even thicker as Mike really starts to shine, Trey hangs back and lets Mike and Page do their thing, and Fish goes to the toms to add to the stew. It sounds like Trey might be returning to the Light theme, but he gets a better idea and we get a nifty segue into Sally instead (the 3rd of 3.0, and all 3 segues were quite nice). Sally gives us the typical vocal jam, then briefly breaks into another Type II jam, Page going off on the ivories as the tempo really rises, then dies away as the band kicks into Sand. The Sand here is a very nice version that occasionally threatens to break free of its structure but never quite does, but still does some things differently (for example, Trey hitting on some really nice chords) that make it feel like part of a whole jam sequence that started with the opening burbling notes of Disease. A nice enough Hood and Suzy close out a really big set.

* aside: I watched that video from NYE 2012 (?) of Fish at his kit, and it really gave me a stronger appreciation of what he does and how he does it. The man is a drumming genius.

Final thoughts: Probably the best top-to-bottom show of the run; I'd still give the "best set" honors to 12/31 II, but the second set here is well worth multiple listens. Can't wait for 2015 proper to begin!

Okay so I rarely, and I cannot stretch this enough, give a show 5 stars. However when you are digesting a show such as 1/3/15 you have your work cut out for you. Starting with a first set we arrive to a Maze opener which has only opened 1 other show in 3.0 I believe, which is more than enough groundwork for a wild show. Divided sky had its moment during the pause, which was a slight nod to the Hampton run in 2013. Perfectly orchestrated by the boys they continue to show admiration for the crowd by playing fan favorites such as Mule and SOAM. The Melt has a particularly slower vibe than usual (maybe the tropics) and ends with a bizarre miscommunication from the band as it feels some want to continue in a jam, but Fishman misses a cue? Either way it's a great placement and deserves a listen. Character Zero is always a fan favorite, and to close the set it had everyone on a level of pure adrenaline. Definitely something to wet your ears with.

Coming around to second set we see exactly what Phish is made of. Anyone who dissed the second night got what they wanted on 1/3/15 (if you didn't you might want to reevaluate the way you comprehend music my friend). STFTFP gets the crowd in a warm up groove because... well because of the Disease. I've listened to quite a lot of Phish but have never seen the boys slaughter that hard. In my opinion, much like people's take on the Tahoe Tweezer, this jam had 3 distinct parts, one being the Is It Finished? part. Where they seem to revive the distinct sound of 1997. Stop start jams always bring crowd induced energy, and this Disease provided fans with a heavy dose. It's gnarly, it's groove-driven, it's Phish! You should honestly stop reading this review and go listen to it! Light next. I'm an advocate for the darker jams and ironically enough Light is one of those vehicles that take me there. To put it simply this Light is dark, but not as much as I wanted it to be. Great segment from DWD > Light. What's next on this oh so glorious set EH? Sallllyyyyyy. I lost my mind and so did everyone else around me. What differs this Sally from others is that in literally a millisecond it goes straight to Type 2. I NEEEDDDD MORREEE. Oh sure lets go ahead and blow everyone's mind and do Sand > Hood > Suzy. Which is bar none one of the most killer ways to end a set. I'll do a re listen to that and delve deeper, but it'll have you grooving all day for sure.
Collectively the band showed all the haters that "I've tried to do all those things the best I can. No matter how I try, I find my way into the same old jam." Phish aren't your minions. They are developing a new sound that echoes their creativity. Love it or don't... But I sure as hell do!

This the only show of Miami that gets 5 stars from me, and it is for the simple reason that the golden hose comes to play in BOTH sets. Divided is wonderful and delicate in a way I've not heard in years. Mid-set Cavern is high energy and I much prefer it here to the traditional closer slot it often occupies. Mule is obviously awesome, but nothing too far off the standard, just insanely well executed. Plasma was a treat, never seen Phish play it yet, Devotion to a Dream reminds me of Dead tunes like GDTRFB. Water got the crowd pumped for the obligatory "Everglades" line, then Melt drove them into a phrenzy, despite Trey seriously botching the composed solo. The jam had energy and MOVEMENT, something too often missing from the 3.0 era until 2014 dawned on us. Even Zero had a little something extra; I don't particularly care for the song, but found myself jumping and headbanging with everyone else as Trey just DESTROYS it, maybe the best I've ever seen (and ive seen it too many times, lol)

Set II though...oh. my. god. A whole other planet for 3.0 Phish, it's right there with Albany 09, Dicks 12, MSG 13 and BGCA & Vegas 14 as the best of the era...and at times, maybe even better. Faulty Plan...whatever, let's talk about DAT DISEASE...26 minutes, and so flawless at times it feels composed, it is THE GOLDEN FUCKING HOSE, right there with Tahoe Tweezer and the other huge jams of 3.0 in quality and execution. Trey kills it, then kills it again, then kills it again, and right when you think the ripchord is coming, we go Type II, right over the goddamn moon. This Disease is good enough to stand with the all-time classic versions of the song, and though it doesn't necessarily surpass them all, that's really a matter of opinion; it is just as good a version of DwD as they have ever played. Yep, I'll say it. It has a sweet "Destiny" jam (at 1/3 to 1/2 speed) to start the type II segment, then floats into this crazy "Manteca" based Trey jam that just keeps going, and going, and going. Surprised that neither of these things are noted in the setlist, because they are obvious and very present.

When it at last drops into "Light", one might expect a happier jam segment to follow, but THE HOSE is back again and it's straight into some seriously dark and dirty (VERY '97-ish) cowfunk, then drops into Sally via a "true segue" (vs. a ripchord, thank god). Place absolutely erupts, because we're near 40 minutes in from the start of Disease already. "Sally" is the best version I've personally ever witnessed, it goes Type II again right out of the vocal jam, then to outer space...then, SAND!? Are you kidding me? This Setlist reminds me more than a little bit of the 12/11/99 masterpiece Philly show. The Sand is nowhere near the heights Vegas achieved, but it fits very well here and the jam out of it feels like a continuation of the epicness that happened right before it. Harry Hood and Suzy, while nothing for the all-time books, are both super high energy classics. And there it is, the second Set II in two nights without a cooldown...no time to go get water or go pee, because it was just too good!

Though many (myself included) would certainly have preferred the YEM encore that we all thought was coming, at the line "no matter how I try I find my way into the same old jam" I absolutely got it, because that lyric describes this set to a tee. The jam out of Light feels like the DwD jam. The jam out of Sally feels like the Light jam. The jam out of Sand feels like all three; this set just snowballs and gets stronger the whole time. They were absolutely on fire (en Fuego, you might say) both of the last 2 nights at Miami, but this show really was something super special.

One of the best sets I have ever seen them play, full-stop, and that is saying something as this was my 71st show dating to 1996. It wasn't #miYEMi, but it definitely was #miJAMi. I won't ever forget it.

nOOb100 is on point. I was hoping for an old time show and got it. It felt like 1997. Yes, the Split was fumbled a bit, but artistic license and such. Maybe Trey meant it to be that way. The Disease goes down with the Weekapaug as memorable jams for this run. At some point I was standing there staring off at the crowd, and thought "Is this still Disease?" Fuck yeah it was.

Didn't expect Cavern or Suzy. A little sad, however, that there was no Fluffhead, Reba or YEM. Can't win them all.

In any regard, after a 5 year wait, I was very happy to have them back (in my home) in Miami.

Sure, the Phan base down does not rival West Coast or Northeast, but there are a lot of here. We're not just plastic tits, salsa music and cocaine.

I wish the asshole with the shoe sale would stay off this site. Christmas is over.

This show is amazing from beginning to end. Maze opener, that never happens. Old school water in the sky is nice. Disease is sick. Great close to a great 4 day run. Hope to see you guys this summer.

The Maze opener was great, the cavern was unexpected and fun and I loved hearing the Character Zero.

Like pretty much everybody already wrote, the Disease was awesome.

I had a blast at this show and spent a good part of it sitting by myself taking it all in. Trying to absorb the fact that my first taste of this amazing band was 24 years prior!

To my left, lots of young happy faces all around enjoying the music in a way that I remember so well: eyes closed, big smile, dancing furiously. And to right of me the middle age guy, about my age, greying hair, big belly and a stretched-out Great Went tee doing the same damn thing!

Thanks Phish, so glad I can sneak out on a Saturday night and catch my favorite band still kicking butt all these years down the road.

I've never felt compelled to write a review on this site, especially on a show I didn't attend. Especially on just one section of one jam. One freaking section.

But what happens in this Disease from 18:54 to 21:57 compels me. Manteca-flavored jams have been a staple of 3.0 (Lighteca et al.), and I've heard some opine that it's a crutch. I prefer to think of it as a touchstone: a certain vibe from 1.0 that they've decided to keep and be influenced by. A pillar of the 3.0 sound, as it were.

This is the pinnacle of that, and is so damn good that it manages to be self-referential in a layer of ways while somehow remaining in the moment. As someone who was blown away by Manteca at 10/30/98, I can say for certain that this is just as exciting. If I could attend any 3.0 moment that I missed, it'd be this one.

Hot damn.

first quarter felt old school and raging. trey slipping sly yet aggressive licks into the perfect little spaces. loves the song selection and energy of the first set. two SOAM's, divided sky/water in the sky, both pretty gemmy. split dah dah dah, i loved the slow jam, then fumbled ending, not goin out like that, spitfire zeroed.
second set we have serious liftoff. just go listen to the whole thing. off the hizzzukky
GTBT closes with more spitfire and ends the run in style

sun is shining and the weather is sweet,
mek me wanna move my dancing feet

As a fan of type I wankery, let me give a shoutout to Zero and GTBT. Both versions are prime shreadfests. The Suzy piano solo also had some extra hot sauce on it.

Everything others have said about DWD>Light->Sally is correct. Speaking of shreadfests, the climax of DWD was really something. Light is such a great jam vehicle that this version will probably end up being underrated. The Light->Sally segue was absolutely flawless.

The only real hiccup for me was Melt. I wouldn't care so much that Trey butchered the beginning, but he also seemed in way too much of a rush to end it. Maybe he was just excited for the rest of the show.

Well someone has to mention the fact that trey played Concrete Jungle for about a minute, early into the 2nd part of the DwD jam.

Very surprised not a many phans on the tronz have noted this, let-alone phishnet.

*
Well someone has to mention the fact that trey played Concrete Jungle for about a minute, early into the 2nd part of the DwD jam.

Very surprised not a many phans on the tronz have noted this, let-alone phishnet.

*

January 3rd, 2015 marked the final hurrah of a hootenanny-filled New Years extendo-weekend in beautiful, sunny Miami. This had been the first time in a long time that I had spent part of the holiday season in a seasonable clime, and I can report that the sun and the beautiful weather added a wonderful…season…to the holiday.

The entire Miami experience had been great, most especially the weather. Now, I’m not one of those Canadians who has convinced himself that cold weather is a blasphemy against my very existence – the way some people carry on you’d think we all lived in igloos with the windows open – quite the opposite actually. And while I’ve taught myself to enjoy and even look forward to a nice chilly winter (by teaching myself how to snowboard and how to skate) I somehow found a way to appreciate the novelty of a hot and sunny New Years week. Shorts and sandals, frosty beers and patios, and four consecutive easy outdoor strolls from hotel to Phish concert…it’s something worth getting used to.

For this final night of the run I started my evening the same way I started all of them, trying to find cheap tickets out front of the American Airlines Arena. And while this night was the hardest of them all (I actually ended up being a bit rushed getting in the door in time for the show), just like the previous night I scored one ticket for zero dollars and the other for $20, bringing the price paid for eight tickets over the course of four evenings to a total of $100 even*. The face value would have been around $600, so what we saved on tickets probably paid for most of our expenses aside from hotel and flights. I suppose it’s inverse scalping, but I still manage to sleep at night.

But never mind the weather and never mind the ticket price, there was a whole concert to report on, and what a concert it was! With all the gold that Phish dished out on this final night of a no-repeat weekend I am at a loss to recall what songs they might have had available to play on the other three nights! I mean they started –started! – with one of my all-time favourites, Maze** followed by AC/DC Bag into one of their bestest dreamiest random-sounding globules of precomposed sonic bliss, Divided Sky (a song I’m convinced started out as a van-tour vocal jam based on a “divided highway” sign). The set ended with another pair of favourites, Split Open and Melt (the final bar of which always and aptly [in this setting, anyway] reminds me very strongly of Conga by Miami Sound Machine – once you hear it you will always hear it***) and a raging Character Zero that almost tricked me into thinking that the show was over.

The second set and encore grounded the whole weekend by reminding us all that at the heart of it Phish is simply a fantastic rock & roll band. Suzy Greenberg, Down With Disease, Sneakin’ Sally Through the Alley, and a Led Zeppelin encore (Good Times Bad Times) kept the room dancing despite the collective exhaustion that bound us all together. It was all so very raging that I won’t even bother mentioning the late-set Harry Hood reggae-fest that saw my arms raised to the girders (though I suppose I just did).

In summary, while NYC is a fun place to spend NYE with Phish & Co. I would be very pleased if they booked the weekend in Miami just a little bit more often. As it stands this run was their third and thus far final time ushering in the new year down there, and given the vast differential of ticket prices and availability between the two cities I can’t really blame them for skewing northward.

*I only know one person that paid more than $20 for a ticket over the whole run, and almost all of my tickets were in the 100 level. On the last night there were people asking for face value, but I didn’t see anyone pay that amount.

**Aside from the great lyrics and just the overall grand composition of Maze the thing I really, really dig about the song and what elevates it to one of my hands-down Phish favourites is how the band staggers their parts against one another at the end, a rhythmically unstable cycle that comes so close to throwing off the entire tune that it actually holds the whole thing together. Every time I hear the band play it live I try to find the breakaway point and figure out how they do it, but in the moment I can never catch it. I would have to sit down and figure out everyone’s parts and while that would be really fun and probably pretty educational I’m worried that doing so would erase the mystery from the song and downgrade my interest in it. There’s a fair chance that learning the secret would do the opposite and somehow elevate my penchant for the tune, but I’m not sure it’s worth the risk.

***Just like how the verses of Halley’s Comet reminds me of 50 Ways to Leave Your Lover.

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