, attached to 1994-11-18

Review by Miguelito

Miguelito Another fine show from this fantastic tour. This one opens with Rift, performed solidly by the band and immediately raising the energy level. The subsequent AC/DC Bag is excellent and, while not straying too far, it’s also full of energy, with an ending jam that really smokes, taking this version to the next level. There are some solid tunes following, including the always-welcome Tela, but the next real highlight is the chaotic, frenzied Melt. This tour has several excellent versions and this one is right up there with them. I love this version and this to my ears is the clear highlight of the set, full of tension and release leading to a nice peak. Page is particularly noteworthy here, wailing away on the piano keys throughout. The acoustic numbers that follow are a treat, closing out the set, with Rev. Jeff Mosier joining the band on banjo. The Llama to open set II sets the tone for the remainder of the show. This version rips. I really miss this tune being in regular rotation and opening sets is the perfect placement for it. This leads into a fantastic Gin, which appears after a 22 show gap, close to the start of the tour. This high-energy, multi-tempo version leads into a lovely Lifeboy. After Poor Heart we get another major show highlight, Tweezer, which was enjoying a strong tour. This one holds up but is perhaps not on par with some of the best versions from this tour. It’s a frenetic version that builds and builds, and for better or worse, lacks much of the exploratory jamming that the longer versions from this tour contain. After the peak, it dissolves into Contact. The Possum that follows is more high energy antics. This one is worthy of several listens and is arguably the highlight of the show, despite numerous other candidates. We get a double encore to close out this excellent show. Rev. Jeff rejoins the band for these tunes. The first acoustic tune, Roll in My Sweet Baby’s Arms, was nice but the following Jim is pretty special. The banjo is a welcome addition, and the band takes this tune for a nice spin. Overall, this show has numerous highlights that make the entire show worth a listen.
, attached to 1989-04-14

Review by EducateFright

EducateFright Personally I don't think this Esther belongs on the jam charts - it's really rough. This Fire, on the other hand, is quite interesting. It sounds to me like Trey detunes his E string to get a low, growling sound. He focuses entirely on this sound, which throws off the rest of band and very nearly derails the entire song. The recovery is sloppy, though I must admit I get excited when the band pushes a song like Fire to the brink. I'll also say I'm always impressed at how enthusiastic the crowd sounds at many of these early shows. Imagine seeing Phish play Esther or Harpua in a bar or dorm hall in 1989. It must have been so bizarre. I guess people consistently "got it" from very early on. It sure sounds that way.
, attached to 2010-06-26

Review by pootytang

pootytang I wasn't there and just want to comment on the cover of neutral milk hotel's in the aeroplane over the sea. This album is an absolute masterpiece. If you've never heard it, go listen to it 10 times. This cover does not add anything - Phish is just playing the chords and singing the song. Clearly it isn't well rehearsed, and frankly it's boring and lacks the energy of the original. Love Phish, love nmh. Can't win 'em all.
, attached to 2017-12-28

Review by massofparticles

massofparticles Plenty has already been said about this show here but I did want to share a story from this night that I was reminded of recently. My friends and I ended up getting 200 section row 1 behind the stage. There are TV screens in front of every seat in this row (not sure if this is is the case the entire way around the arena). During set break the TVs were showing the set break screen from the Live Phish stream. Moderately intoxicated and feeling mischievous, I start playing around with the buttons on the side of the screen and somehow managed to change it to the Caps game. As a Caps fan, this was a fun discovery and I was feeling rather proud of myself. After enjoying the game for about 15 minutes in my seat, cold beer in hand and an entire arena buzzing with excitement all around me, Tom Wilson scores on an epic breakaway. SWEET!!! Seconds later, the lights go down for set 2. "Well this is an easy call," I think. OBVIOUSLY it's gonna be.... DUH NUH. DUH NUH. WIIIIIILLLLLLSSSSOOOOOONNNNNN!!!!! Of course they are playing Wilson. OF. COURSE. What else could they have played? There are no coincidences with Phish. I've learned this many times over by now. Of course, I was visibly and audibly losing my shit over the hilarious synchronicity of it all but couldn't properly explain it to anyone in the moment, or since really. Does that feeling sound familiar to you? I think it's a Phish thing. Anyways, behind the stage is sweet and the sound is good. Also, this show is underrated.
, attached to 1994-10-31

Review by soundboy1

soundboy1 I just have to say this day was one of the most disappointing of my entire life. I had caught a ride home after UVA to get my life together so I could get into this show. I rode up with a crew of I guess what people call wooks and in the 2 days it took us to drive home we did some of the craziest shit of my life. I almost got left behind in a tiny little town in West Virginia. Some local dude was like "I think your friends are leaving without you dude" We get to Pittsburgh to this girl's house and her mom starts bugging out about her being on tour and pulls some wire off her carburetor and says "you aren't going anywhere... The rest of you get the fuck off of my property or I"m calling the cops!!!" We had like 6 people in her car and another 5 in a Jeep Wrangler. We all had to pile into the Jeep which was a trip and go to a local park. One of the guys we were with knew cars and said he could fix it if we go to an auto parts store and get the wire. So we do that sneak into the girls garage while the mom is distracted and steal the girls car back and take off... Then we go to my house in upstate NY with no gas and no money and had to siphon gas and empty gas hoses at every gas station we could find. An 8 hour trip took like 18 hours... So anyway day of the show we get there early. We had been traveling with this 16 year old kid JR who had a funny story. He was a metal head punk rocker who went to a Dead show on the West Coast and fell asleep in a school bus. He then woke up at the next Dead show and just kind of fell into the scene. He hated the Dead and Phish though and just liked to party. We get to Glens Falls and he tells us he's moving to Glens Falls to be the roadie for this metal band he had met walking around the town... I am there early trying to get a ticket using all my connections and having no luck. I finally get a lead on a ticket around 6 at night. The dude's like hey get me a 10 strip of the clean stuff and I will get you a ticket. The tour was kinda dry of the super clean stuff but I found some, find the guy and he's like you know what I'm good I"m gonna do some blow... I was so fucking pissed off. I spent the entire show trying to sneak in at one point I was on the roof. No fucking luck. Meanwhile it's like 40 degrees and raining. I caught a terrible cold and dropped off tour. I had a ride all the way out west and back again and I blew it off because I was so disappointed about missing the White Album I went into a depression for months. It was a really terrible day for me...
, attached to 2009-08-14

Review by soundboy1

soundboy1 Not much to add to what was already said except for one interesting tidbit... I met a younger head at Darien the night before and he showed me his wish list of songs to see which was pretty extensive. One of his songs was Psycho Killer and I stated "well not too much chance of that happening" I was never so happy to put my foot in my mouth. This show to me is what Phish is all about. It doesn't have to be precision playing all the time. Just having fun and making people happy...
, attached to 1994-11-20

Review by Phishrabbi

Phishrabbi I remember this one vividly; a girl I knew from my humanities class and I somehow got a ride in a frat kid's bmw. We left Hyde Park early, and got to Madison by noon, where we immediately fell in with some folks on tour who were on our way to hang out with Fishman... In my mind, the encore was totally unique. As I remember it, and I'd love confirmation here, the lights actually came on after Icculus. But the crowd just wouldn't stop going nuts, so they dropped the lights again and played Fire.
, attached to 1995-10-31

Review by RubyWaves

RubyWaves This review is for the YEM and the YEM only. Before we get to the jam, I just want to mention that the tone used in Mike's solo is great and I don't remember hearing anything else like it. So the main jam starts at 9:20 (we're going with the timings on LP 14) and it's pretty normal for the first part. Trey hits this sweet riff about 10 minutes in and starts getting things kicking. After that Trey starts to quietly solo as some start/stop jamming happens. Around 11:50 the jam goes into more of a blues state then funk. Release happens at 12:20 and it is pretty sweet. Jam speeds up at 13 minutes as Trey plays some rocking riffs.Trey and Page are feeding off of each others energy as they create an amazing peak. At 15 minutes the jam starts to quiet down and at this point they are really grooving with Page in front. Blues starts back up again at 16 minutes. Jam starts to quiet at 17 minutes as Trey moves to the mini kit and Page turns on my favorite keyboard tone in the history of Phish. Loops start to come in at 18 minutes as they peak as hard as this setup will allow. Eventually the loops consume this jam whole. Weird ass jam at 20 minutes. 21 minutes and the jam morphs into an ambient space. Really like Fish's work during the transition. Page here is beautiful as the rest of the band compliments it. Trey's noodling at 23:30 really adds a lot to this section. At around 24:10 you can hear Mike start up a riff. What follows next is indescribable. It's just too weird to explain with words. The book really did get its ass kicked. The next 4 minutes are complete maniacal. At 28:40 they drop into space again except it's more sinister this time. Trey goes to the mini kit and starts building a groove. The groove gets realized at 30 minutes as Page takes a solo. At 31 minutes Trey is back at the guitar and immediately starts wrecking shit. Trey gets to take a quiet solo until they go into the vocal jam. All you need to know is that this VJ is easily my favorite one I've ever heard. And that's the YEM.
, attached to 1995-12-14

Review by soundboy1

soundboy1 This show was the peak of my Phish experience. I went to many shows on the Fall 95 tour and this was the best. 11/14/95 was also pretty crazy. It snowed a lot that day like 2 feet or more. As we all know the boys always treat the people who show up in those situations pretty special. Add in the fact that they were completely on fire and you have the perfect storm. My favorite part of this show and really my quintessential phish moment happened during the silent jam at the end of SOAM. As the band stopped playing the crowd was absolutely in lock step with the band, everybody was GROOVING it was one of the most amazing experiences of my entire life. I really don't have anything to add to what people already said except I think this is the best first set ever...
, attached to 2019-10-30

Review by mcbeeferson

mcbeeferson I loved this show! The evening started out in the beautiful Carnegie Hall with a sort of quiet respect, not just for Trey Anastasio up on stage with his trio of acoustic guitars and his suit, but the hallowed hall itself. When Trey played his first few songs, the room was silent outside of the ecstatic applause and cheers that bookended each tune. As the night went on and Trey told a couple stories about his youth and his more recent realization that it's the man that makes a pair of pants look good, not the other way around, everything gradually loosened. With NICU and Bouncing Around the Room, the crowd helped with the harmonies to Trey's delight. We laughed at the lyrics of My Problem Right There, and in Twist we all woo'd along. By the time Bathtub Gin ended the set, there was a sort of unmistakable giddiness in the room. There was so much smiling and laughing. There were two things that Trey said this night that stuck with me. The first was, "Live music is the antidote to my perpetual discontent." A melancholy line that I think gets at the heart of why so many of us go out to these shows and speaks to their power to recharge us. The second was thing was in the middle of Sleeping Monkey, as everyone in the hall was singing along with the chorus and Trey laughed at the lyrics. He joked, "This is what they were waiting for when they built this room." I can't speak for the people that built that beautiful hall, but it's what I've been waiting for.
, attached to 2019-07-14

Review by seantirello

seantirello the rating for this show is low, and summary written by phish.net is lacking. This was intentionally supposed to be the show of the decade based on the the setlist and how much fun the band was having. Trey came out and intended to blow minds with this show. for it to be rated anything short of 4.9 is just crazy. this show was perfect. a keeper and reminder to anyone that is a fan that this band will continue to blow minds for years to come and is one to be reckoned with. what an absolute treat this is. i love this band. and anyone that adds words to how awesome this night was will always be an understatement. All hail phish, forever. this is the greatest band to ever play a live show. and this may be one of the strongest and most unique shows ever to be performed.
, attached to 2019-10-30

Review by Col_Radicones_Ascent

Col_Radicones_Ascent God....there is something to be said about singing Phish songs in Carnegie Hall. Tonight will be a moment I will remember for a long time. That was so much effing fun, the Bathtub Gin sing-a-long into the encore, the acoustic jams in Twist and 46 Days, my favorite acoustic tunes. Someone please articulate this for me, I am having trouble, but...damn.
, attached to 2019-10-29

Review by Matty1222

Matty1222 Last night had a very unique feel to it. It was a rainy night but not cold which made walking to the venue not horrible. My wife and I got in around 7:45pm and there was zero wait. They took the metal detector, did a quick wave of your body, and off you went. Plus, when you think of the location compared to MSG, there is a lot less hustle and bustle outside the venue. No major subway lines or train stations gave way to a more peaceful outside venue vibe. My wife and I wanted to get in early to tour the venue and I am very happy we did so. There is an area called the Rose Museum where they display tons of old playbills and various pieces of art from the venues long history. I believe its located on the floor called "Blavatnik Family First Tier". Check it out before the show. There are also tons of framed pictures and sheet music from artist who have graced the stage. There are bathrooms and places to buy beverages on every floor. You can only take water inside the venue, meaning if you have any other drink in your hand, you won't be watching the show. There were zero lines for the bathroom all night. There is also no use of camera/phones during the show. They will come up to you and tell you to shut it off but after a while they were letting it slide. We made our way to our seats located in the dress circle and got ready for the show to start. So given everything i mentioned above, by the time you got to your seat, you knew you were in a special venue for an intimate night with an incredible artist. Trey took the stage and the place erupted but then with a few strums of his guitar the place went silent. He wisely choose "Theme from the Bottom" as the opener as it starts off so slow and quiet and really set the mood for the rest of the night. I am not going to review every song as I don't think there is any value there. I will say that I got the feeling that Trey really liked how slow songs sounded and how his voice was very powerful in a venue that is known for its amazing acoustics. I thought the crowd was great. We knew when it was a sing along, we knew when to keep quiet, and we knew when to go nuts. There were a few people that needed to be shushed a few times but all in all, the crowd was very respectable. Trey shared a few stories with us ranging from Tom Marshall embarrassing himself, his Grandfather's passion for classical music, his previous experience at Carnegie Hall, and what it meant for him and us to be sharing this moment together. After the crowd helped him sing "Limb by Limb", his response was something along the lines of...."you guys can know cross that off your bucket list, you have now performed at Carnegie Hall!!" Pretty funny stuff. When he spoke during the encore, he kind of got lost talking about the history and beauty of the venue. I think what he was trying to say in plain English was, "Guys...can you believe this...we made it to Carnegie Hall!! The show wrapped up around 10:30pm, getting out the venue was easy, getting our car out the garage was easy, and the ride home was nothing but good vibes and a complete reflection on how special the night was and how special we felt to be apart of it.
, attached to 1996-10-31

Review by ND61400

ND61400 Of the 12 sets of music Phish played on 10/31 in 1994, 1995, 1996, and 1998, the RIL Set 2 from this show is the single best set of music. Each of the other sets and shows contain moments of brilliance, of course, and the 10/31/98 Set 3 looks awfully tasty on paper, but it's this night's musical costume that holds up best some 23 years later. For me, Perazzo works absolutely perfectly here, and the energy he brings and which is palpable among the crowd and the band (listen to Trey "Woo!" a few times during the set) takes it over the top. Just *listen* to the way they explode into C&P (which they also do in West Palm Beach two nights later before taking that jam into the stratosphere). It's just a magnificent set of music.
, attached to 1993-04-13

Review by A_Buddhist_Prodigy

A_Buddhist_Prodigy This is a great example of the boys traveling across the country gathering fans as they go. While there isn't a huge jam (not expected during this point in their journey), one can feel the energy and joy they are putting into their shows. You can tell the fans (new and old) are eating it up. The Mike's Groove is the obvious highlight, but the first set Possum was a treat. I really also enjoyed Sloth. Good song choice at that point in the show. Great, average show.
, attached to 2019-10-19

Review by NICU4LIFE

NICU4LIFE First solo acoustic show for me and it was excellent. Not only was it a great musical performance but you get to experience an intimate interaction with the artist. You feel Trey’s authentic personality with every song and the little story interludes. Trey radiates so much joy and gratefulness. This is a man who loves life, music, and the fans. I also believe that what makes these shows unique is that many of these songs were meant to be played and heard acoustically. Hearing them live from Trey offers you a distinct look into the artist’s original intention and presentation of his work. Hearing Waste, Inlaw Josie Wales, Lifeboy, and Driver were highlights for me because of this reason. Of course, it was still fun hearing Trey jam out on songs that one would not usually hear acoustically such as Carini and Say it To me S.A.N.T.O.S. I would particularly recommend listening to Twist and Wingsuit from this show. Trey does some awesome looping action on the two songs and the jamming comes out. Trey adds some choral synth sounds to the Wingsuit jam which creates an awesome spacey rendition of the song. Overall, a great experience!
, attached to 2019-10-23

Review by Pinhead_Larry

Pinhead_Larry Canton Palace Theater. Upon learning Trey was coming to NE Ohio, I thought for sure he'd be playing somewhere in Cleveland's famed Playhouse Square. But Canton seemed like an odd stop for the chief singer-songwriter of a band that has consistently sold out MSG. Though, in hindsight, Trey is all about odd stops. He is, after all, 1/4 of the band that can, and did convince 75,000 fans to trek out to middle-of-nowhere upstate New York, Maine, and Florida (in that order). Simply put, the Canton Palace Theater simply makes sense for a Trey Anastasio concert. Downtown Canton (as it's labeled by city-ordinance; it's really more of a 5x5 block town square) seemed much larger than what it really was that night. The Palace Theater is clearly the city's center-piece in all its Victorian beauty; the marquee still yearning for its Vaudevillian roots. It really is a pristine building; the interior has perhaps been renovated, but never wrongfully updated. Just walking through the building is an experience itself. Everything from the wide staircases, the texture of the walls, the restrooms (aptly labeled "powder rooms") the ceiling decor, the chandeliers, and the [i]real[/i] theater seats (as opposed to the loungers that many mainstream movie theaters have). The excess of American entertainment of nearly a century ago is still alive in that marvelous beast. I can't speak too much on each individual song of the concert as there were so many. I do recall some highlights, but honestly, the concert felt like it was more than just a bunch of songs and some highlights. It truly was a unique experience that you simply can't get from Phish now, or anytime back until maybe 1988. The banter, of course, was its own highlight. Since the theater has a capacity of 1,500, and because even the furthest seats still had a decent view, the show felt very intimate. The crowd was conversing with Trey multiple times (even so much as to egg him to play Fee), and Trey (to his credit) obliged and acknowledged the crowd. This will be the closest I'll ever experience to watching Trey practice in his living room. Beyond all of that and everything else stated, the show simply rocked. I mean, in all sincerity, it was a great time. I went in completely open minded having never listened to a solo Trey show before. I was surprised to hear songs like Ghost* and Chalkdust, and even more surprised when I saw the pedalboard. But with those tools, Trey really makes himself a one-man band and then songs like the aforementioned two make sense. Trey even seemed to use the audience as an instrument as well. See Bathtub Gin where he plays rhythm and we all played the melody. Of course, the traditional acoustic songs were also joy. Mountains in the Mist, being my favorite Phish ballad, made my night, and Inlaw Josie Whales (nailed almost perfectly) were the cherry on top for me. I can't say for sure if the show will hold up well on tape. But that's okay for me if it doesn't because it really is something you have to be there for to appreciate. Of course, the recordings will do if you can't make it. But if you can and have the means, then make it priority to do so. Go for the stories, go for the intimacy, but if nothing else, go because you get to see the man behind the band where he's most comfortable: playing music for friends where there isn't any pressure to put on a life-changing concert. And in that sense, it works really well. *Ghost was surprisingly appropriate at the Palace theater as well, as the theater hosts semi-regular [url=https://www.cantonrep.com/x26172861/Ghost-hunters-to-converge-on-Palace-Theatre]ghost hunts[/url] in honor (or in spite) of the theater's original organist, gunned down by a mob boss in 1930 in the theater basement. The drury and melancholic sentiment of the Ghost jam could summon spirits eternally lost and taken too soon.
, attached to 1995-12-11

Review by hfl_coder

hfl_coder This was my very first Phish show, and remember having an absolute blast. We met and hung out with some other guys that were doing the whole tour, and can distinctly remember them saying, "This wasn't your normal Phish show" after it was done. After going to dozens of shows myself in the following years, I can now confirm that was absolutely true. The My Friend opener was great, launching straight into a brief Ha Ha Ha. Scent of a Mule was awesome as always, and Suspicious Minds was a real treat. Probably to this day the best Fishman singing performance I've seen live. Plus, the humorous 'dog log' crowd interactions were really fun, and can remember us debating whether or not a 'Dog Log' album would actually be coming out. lol. Warren Haynes showing up was also entirely unexpected. Not sure why he appeared in Portland Maine of all places, but it was great to see him on stage with Phish. I wound up seeing him play with the Allmans a few times shortly thereafter. This show really illustrated the fun the band was having at the time, and it absolutely transferred over to the crowd. They were clearly this whacky, uncannily talented band, that didn't seem to take themselves too seriously, and were still somewhat flying under the radar. (somewhat, and not for much longer). So this was my virgin Phish experience, and I still look back on it nostalgically.
, attached to 2013-10-27

Review by Stevenmig802

Stevenmig802 SIMPLY THE BEST. The opening with the ode to Lou was crazy, electricity in the air before a single note was played. Amazing flow to the 1st set, I LOVE MAZE, lots of fun but the real meat is to come in set 2. THE TWEEZER MY GOD, I personally nicknamed it the "I can do anything jam" cause it makes me feel like I can do anything :) goopy golden age for the ages MIKE BOMBS in bound. 2001 > Fluff yessss please and a slave to ease over the mind blowing insanity we just went thru. Solid encore gimme little drink to rage my face off one last time with that tweeepriseeee!
, attached to 2019-10-18

Review by GreatWent19

GreatWent19 Trey was great. And I loved seeing him in this setting. Some songs... Waste, The Connection, Ghost of the Forest, and BDTNL really stand out when given the acoustic treatment. But this isn’t about the show. This was a crowd that wanted to party. And Trey wanted to play acoustic guitar, with loops and quiet parts, and maybe tell a few stories. So what did we get? Fans screaming requests during quiet parts of the songs. Fans hollering while Trey was telling an emotional story about C Cott. Trey even had to admonish a fan at one point... “Hey Man, this is a love fest and all but you really shouldn’t have done that”. That was when some drunk moron screamed “WINDORA BUG!” during the quiet sections of The Inlaw Josie Wales. Disrespectful to the point that Trey had to say something. So to all the party-fans who want to get drunk and scream though an acoustic guitar show, I’ll say the same thing Trey said while they were yelling during songs. “You really took me out of it”.
, attached to 2018-10-28

Review by Ry_storm

Ry_storm I had the amazing treat to fly from Toronto for the 10/27 and 10/28 shows. They were my first since Wrigley 16 and did not disappoint. Going into the second night I was unbelievably amped for what was to come. Set 1: As soon as Everything's Right started, a huge smile appeared on my face. I absolutely love this song and had been hoping to catch one at these shows. For a show opener, this sprawling version featured extended Type-II jamming and an absolutely INSANE white-light peak. There are very few ways to start a show better than that. Must-hear. Next up came the funky Destiny Unbound. Composed section featured a couple minor flubs from Trey but the jam got absolutely swamp-nasty. Heavy Things and Miss You are great songs - one is a laid-back dance tune and the other is an emotional-yet-still-uplifting song. I was not unhappy to hear either of them. The Tube that came next was amazing. Starting in typical Tube territory, Page hopped from clav to Wurlitzer to Rhodes and back while Trey sprinkled staccato notes over Mike and Fish's deep groove. Switching to major key and reaching a nice peak, Trey instigated some sick I'm A Man teasing and Page hopped over to the B3 as the closing verse brought a rousing burst of energy from the crowd. Though Petrichor did bring the energy level down a bit, but it was a song on my bucket list and I enjoyed its performance. Though I am not a huge fan of IAWITW, the jam was fiery and brought the set to a great close ahead of a quick Grind. Set 2: I remarked to my dad during setbreak that I would love a Carini. When the first grating power chords rang out across the arena, I freaked a little bit. The dark and nasty jam turned funky and after a brief major-key peak, Page brought the jam to an ethereal close on the Rhodes that signaled the start of the Zeppelin classic No Quarter. This version got extended past its normal structure with around 5 minutes of Type-II jamming that got nice and funky before a slick -> to Cities. Unfortunately, this got a bit of a ripcord ahead of a bright and airy Gotta Jibboo, which seemed to summon a light breeze to cool down the arena a little bit. The Twist that followed was a gorgeous Type-II version with a segue into WTU?. This was my first time seeing this song live and the silence in the middle was absolutely beautiful. The little Twist Reprise after was a nice treat. Shade is a gorgeous ballad that is a favourite of my mom's, so she was very happy to see it. At the time, I wasn't too familiar with Plasma as a song, but as the jam got grooving, I made a mental note to check out other versions. This 12-minute jam felt so much longer as the band brought it to a massive peak. As they strummed the last notes, I prayed that we'd get one more rager to close out the set, and they delivered in the form of my favourite Phish song, Character Zero. I still don't understand why this song gets so much hate as a set closer. There is no scenario where this song doesn't absolutely burn the house down, and this version featured Fishman egging Trey on and a gnarled guitar solo that left a massive smile on my face. Fluffhead is Fluffhead. Unreal song that has probably my favourite moment in live music ever at the Arrival section. Unreal show.
, attached to 2019-04-05

Review by RoanJivers

RoanJivers This show stands out as one of the best shows I've ever seen. I went in completely blind minus listening to Ghosts of the Forest when they released the single. Wasn't sure what was going to be played and was kind of hoping to hear a Phish or TAB song played. So glad they didn't though. I've never gone to a show where I felt so connected to the band and what was going on onstage. Everyone behind me could have left and I wouldn't have known. You could feel the rollercoaster ride of grief through the whole show. Sadness, depression, hope, joy, etc.. I felt it all. I'd also like to add that this venue was amazing. The staff was so receptive to the fan base. At one point someone asked the security guard up against the stage if he cared that we dance in the aisle. His response was perfect, This is a Phish show. Of course you can dance in the aisle. Overall, great experience
, attached to 1995-11-30

Review by TweezingSpaceRanger

TweezingSpaceRanger When Phish plays a show with this type of maniacal energy, songs like Ha Ha Ha can earn you strange looks in the subway when you're head bobbing and singing the lyrics to yourself. Every song played during this show is loaded with crisp, tight playing by all 4 band members. Of course, the Tweezer->Makisupa>Antelope segment is the peak of this show, but just listening to that sequence alone sells this show sort. The first set has explosive versions of The Curtain, NICU>Bathtub Gin, Fire, and an extremely tight Lizards. Even the version of Free in the second set is loaded with tension that 3.0 versions just don't have (and this is coming from a 3.0 newb). The Harry Hood to cap it all off is just sublime. Overall, this is another fantastic release from LivePhish and a great representation of what made fall 95 such a special time in the band's history.
, attached to 1995-10-27

Review by 3PointOhKeePa

3PointOhKeePa I so rarely leave reviews, but I felt I needed to for SOMEONE out there. I've accepted the challenge of listening to every show Phish has played, and this was show number 864 for me, so I've heard a bit at this point. I used to pick shows to listen to based on jam charts and ratings, but with 1.0 there are often too many gems glossed over by doing so. I write this review in hope that it some day helps someone who is on the fence about whether or not to listen to this show choose to toss it on. While this show may not be the best of 95 (probably far, but not as far as you'd think, from it), it has a lotttt to offer despite the rating it has (which if you're reading this and it's now highly rated, please disregard). The fact that the Stash and Bowie aren't charted not only exemplifies how strong 95 is for Phish, but also how good this show is that two of the strongest jams are not highlighted (and so rarely get discussed.) It's a classic Fall 95 show with some ferocious playing and amazing moments at a time just before they changed the game forever (again!). I hope you all enjoy it as much as I did!
, attached to 1998-11-24

Review by Laudanum

Laudanum I've been re-examining Fall '98 after the release of the excellent 11/11 show earlier this year, and this second set is definitely deserving of more praise, and maybe a track or two on Live Bait. The opening Ghost falls somewhere between the white-hot rage of 11/11 and the deep, dark groove of 11/19, opting instead for Trey-led speed boogie that downshifts before the overdrive truly kicks in. The subsequent melt into Halley's is atypical and laced with ambience. Halley's is its usual bubbly self, and serves as a bridge between the two jams of the set, linking the following Tweezer nicely with what came before. Tweezer, then, is where the goods are. Make no mistake: this is an under-heard, underrated version. It dives almost immediately into Manteca waters and stays there, intensifying and shaking, until it too melts into ambience and the old school Tweez ending. Compare this jam with the incredible Manteca->Tweezer from 10/30, and you'll hear its genesis. Fish is the hero of both, typifying the wave Mike so aptly described him as this year. Trey does some weird things in Possum, and ratchets up the melodrama to absurd levels in Zero, elevating the closing trio of songs above what the setlist implies. The whole set is worth your time, especially if you've got a new taste for the electro boogie of '98.
, attached to 2019-07-14

Review by thewiz

thewiz Most things have already been said but I thought I'd point out that the week following this show was the premiere of Between Me & My Mind in theaters. Numerous references to the movie are woven throughout the show, including in the Icculus narration (Fishman as sad, sullen, melancholy man) and the Ruby Waves jam itself (in the movie Trey mentions, "this song doesn't really go anywhere"). Very Phish-y.
, attached to 1995-10-27

Review by Miguelito

Miguelito A bit of an underrated show, this show has numerous highlights. The opening sequence is phenomenal, particularly the Jim which shows the band coming out of the gates swinging! Fluff in the two spot is nice and the following Taste maintains the energy. A few songs later, the Stash is pretty fantastic and while not nearly on the same level as my favorite version that occurred just a few weeks prior on 11.14.95, this one is worthy of a couple of listens and I’m surprised it didn’t make the Jam Charts. The second set has lots to offer too. The Bowie has been mentioned by other reviewers and I am in agreement with them that this is a great version. It’s different and exploratory, while maintaining the listener’s attention throughout. Why this one isn’t on the Jam Charts is mysterious. The Simple > McGrupp is a wonderful combo, and the Possum to close the set is another major highlight. Overall, this show deserves a bit more recognition than it seems to get. Then again, there are so many great shows on this tour I can see how this one can be overlooked.
, attached to 2019-09-25

Review by RunawayJim4180

RunawayJim4180 Super cool experience last night at the Grammy Museum here in LA! Trey followed a screening of "Between Me and My Mind" with a Q&A session, where he talked through some of the major themes from the film (life, love, loss, songwriting). There was also a brief Q&A session with the audience, where they took three questions. The first was a bit long so I forget the gist, but a girl from the audience made Trey something that looked like a book and handed it over to him after the question. The second audience question was "What happened at Alpine Night 3??". Trey mentioned that they had planned to jam out Mercury, but it just didn't happen. And Ruby Waves "just kept going", which was cool to hear. He also mentioned that during soundcheck that day they basically said to each other "would't it be cool to play TMWSIY and some of the older stuff?" Then they proceeded to rehearse all of those older tunes because they hadn't played them in forever. Finally, the third question was a throwaway of "who were your influences growing up", which you could find in almost every interview he's ever done. Anyhow, the music was great and the stories even better (check out his idea for a "Free" music video here: [url=https://www.youtube.com/watchv=5a5Ynw9NnIM]Free music video[/url]. Hilarious! Great night of music in an intimate setting (200 people)
, attached to 2019-09-21

Review by Jman428

Jman428 First time seeing Vida Blue, second time going to the Cap. Cool little scene outside the show, didn't see much of a shakedown besides some wooks selling stealie patches on the corner by the train station. Lots of extras to the shows on CashorTrade before hand, my brother and I scored two floors below face earlier this week and decided to go last minute. Also a fair amount of extras outside the venue for the show as well. When we got inside a half hour or so before the show started, there was a decent amount of activity going on at Garcia's, the bar/small venue attached to the main venue. We decided to grab a beer from inside the main venue instead and find a decent spot on the floor. We went Page side, and were able to sit on the carpeted floors and hangout before the show. When the light went down, they band took the stage and the crowd lit up a bit. They started with Analog Delay, which was fitting, and you started to notice the unique lighting set up that they had for the show. They took the tune out a bit, i guess you could say that it still stayed "type I" but Page was throwing out some wild sounding psychedelic synth layers with effects to create a bit of insanity, along with some cool guitar layer effects and Russell's energy-driven rhythmic drumming. The lights were set to plan white for the first song, and incorporated a Crossing Lines album logo that was suspended behind the band and surrounded by strips of some sort of LED lights that project inward towards the logo as well as outward and towards the crowd. Once they got into Real Underground Soul Sound, the lighting took to the RGB color spectrum and was actually really impressive to see for the first time. This song is my favorite off the new album. It is that slow funk, clearly inspired by The Meters. Page said something along the lines of "If you deconstruct that last song you can see who wrote it. It was Russell". This one got the crowd to really settle in and get a bit of a party vibe going. There were some good solos thrown in, and it was here that I started to recognize how good of a drummer Russell Batiste is with his ability to switch up the feel of a funk tune in so many ways, all while playing relatively simple patterns without over-the-top fills. Really cool tune. I went back for another beer at this point, this time to Garcia's with a shorter line and noticed that they were streaming the show from inside of there as well. There was no noticeable delay either, which means they must be hard-wiring the feeds from cameras. That was pretty awesome that you could get a break and still not miss any of the show. They also had a much wider selection of beer inside of Garcia's. I, of course, had to opt for the Sip of Sunshine that they had on tap. We settled back in on the other side of the venue on the floor now, and watched the rest of the show from there. Before "Where's Popeyes", Russell really got the crowd hyped up saying he wanted us all to lose our shit when that part came in the song. After a couple test "where's popeyes", they started the song and the crowd got hyped when they time came for it in the actual tune. At one point during the show, Russell said something along the lines of "Make it sound like we haven't been a band for 15 years and this is the last night of the tour". You can tell it wasn't planned because Page was grinning ear to ear and trying to hide it. This was probably the peak energy of the crowd the whole show, we got pretty loud and sustained it for a solid 30 seconds or so. Russell really is the hype-man of the band, and people love it. Page also eluded to the fact that they essentially will continue playing. I can't remember the exact quote, but it something along the lines of "can't wait to do it again soon" or something like that. I was also very happy so see "Sheep", though it was almost expected having played it at the other two shows of the tour. I didn't really care, as I love Pink Floyd's Animals. They played it very well, before ending with their classic, Most Events Aren't Planned. Setbreak came, and I stupidly pulled out my juul and took a hit of it. An usher made me go to the main lobby for a 5 minute warning he called it, which I thought was fair enough instead of kicking me out. But then the guy in the front took my license and wrote down every single detail of information from it. He wrote down my eye color and everything before handing it back and asking me to sign the sheet. I asked him what it would be used for and all he said was "we keep it on file". I was reluctant to sign it, but wanted to get back inside to catch the rest of the encore. I was sort of ticked off that they took all my info at this point, and regretting signing the paper and giving them my license, so it was hard to enjoy encore. It was cool that they chose "Cars" with Ric Ocasek recently passing this past week. Again though, they played this at the other two shows so it was almost expected as well. Still cool to see, though. The show got out and we walked up the street to the spot where we parked for free, and headed out. I would have rather taken the train, considering how close it is to the venue, but nothing really ran that late back to where I'm from and it would be more of a pain to park in New Haven and then have to transfer trains than it would be to just drive the whole way. Still was pretty in and out though, not terrible traffic after the show got out too. Good show overall, this is what I thought of each member. Adam Zimmon was a cool guitar player to see. He didn't have much of a forefront role that we are used to seeing with Trey, so it was nice to see Page take more of the leads role. This is not to say that Adam didn't have some great solos at points, it just seemed for his to have a more rhythm-player role most of the time. Sort of the least well-known and overlooked player of the group. Russell Batiste was pretty incredible to be honest. A phenomenal funk-drummer that could play a bunch of different styles, as well as the hype-man of the group. His ability to variate funk-grooves seemed to have no limit, and his sort of less-is-more style was very cool. Oteil Burbridge played a solid role in the grooves, I would have liked him just a bit higher in the mix though. I think that he didn't do too much to stand out really, didn't play many solo's but some of the brief bass line fills that he had were cool. Just didn't take the center of attention as much as I had expected really. Solid player, and I am sure he is capable of more, but just seemed underutilized. Page in this environment was cool to see. He sang just about every song, and his playing was much more lead-centric than in the Phish context. He had a variety of tools that he got to play with throughout the show, including a melodica and various synths. Seeing him be more of the center of attention at times was cool. He held up just fine for the long winded set vocally, probably sang more in that one set than he would sing in a week of Phish tour. Some real cool psychedelic sounding stuff coming from his keys at times. Would see them again.
, attached to 1994-11-14

Review by Miguelito

Miguelito Another strong and interesting Fall ‘94 show, this one has a lot of highlights with one pretty significant jam that elevates this show. Opening with MFMF, which is my favorite placement for this tune, is a promising start. The Jam Chart describes the outro jam as evil, which is aptly put. Scent and Guelah that follow are both solid, leading to Melt, keeping the energy high. The Landlady that follows is fun, and then we come to Maze where things really take off. This version doesn’t disappoint, leading to a frenzied and chaotic peak before concluding. The Cavern that closes the set is worth mentioning as 1 of only 3 that get Jam Charted. Set II opens with the ever-welcome Peaches. I love the placement. And then comes the Bowie, which is a fantastic piece of improvisation. This was just one of several significant jams that took place this month, which is clearly an important month in the band’s evolutionary development. And while I continue to rank the 12.29.94 version as my favorite Bowie, this one kept my attention throughout and this version’s importance shouldn’t be overlooked. As far as I can tell, it was the longest version played up until that point, only to be surpassed on 11.26.94. If you’re a fan of jammed out versions of Bowie, this one is worthy of your attention. After that monster we get a lovely Yerushalayim Shel Zahav followed by an excellent Slave. After a few breathers the band closes out this pretty packed set with YEM, which maintains the excellence found in the rest of the show. Overall this is a really great show with some major highlights, particularly the Bowie which is worthy of several listens.
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