Everyone has their favorite shows and particular nights that they enjoyed more than others. But what often strikes me as bizarre, is how some people in the Phish community habitually pick out all the “bad,” or unexciting, aspects of a show and obsessively discuss them ad, criticizing, to no end, the experience they love so dearly.

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Life is too short to focus on the negatives, so when one reads my reviews, I may not mention the lesser points of the show. Why waste anyone’s time harping on them? It makes no sense go me; very rarely are there not enough improvisational highlights to carry a show. But on one night along the course of Summer 2000, Phish played, what I still consider, the “worst show I’ve ever seen.”. Phish 2000 (pollstar) Now, “worst” is quite a subjective word, and this is most definitely a subjective article, but for me, when Phish stopped in Raleigh, North Carolina on June 25, 2000, the show flat-out sucked. Don’t go getting hot and bothered if this was your first show and it meant the world to you – I’m glad. And it had nothing to do with my personal experience.

In fact, the Sunday night show seemed less than crowded, and my friends and I had prime real estate in the flat handicap section on Page side. Security seemed completely chill, and after two smoking shows in Atlanta, (the previous featuring one of the year’s best jams in “Tweezer), the conditions were set for takeoff.

But Phish tossed an air biscuit. The first set faded in with a string of singles that read “NICU,” “Sample,” “Old Home Place.” Ho-hum. But many great Phish shows feature song-based first sets, so who cared. The first glimpse of energy, “Punch You In the Eye,” was followed by another string of event-less songs, this time five. The only glimmer of hope in this run came via “Funky Bitch,” but Phish gave the song particularly sloppy treatment in a version that dragged rather than popped.

As the band prepared for a set closer, nothing had, happened throughout the entire set. Phish '09 (unknown) But even the bunkest Phish shows have a musical peak, and Walnut Creek’s high-point came together in a vicious, set-closing “Split Open and Melt.” As if Phish turned on a dime, they focused their improvisational prowess in this multi-faceted exclamation. While the version did contain some early communicative speed bumps, it proved to be a scintillating version, especially in the context of this show. Moving through an early section of spacey grooves, Page took the melodic lead, as Mike and Trey followed along. Soon, the band connected in a menacing theme that remained firmly rooted to “Split.” Trey’s hard-edged offerings began to lead his cohorts further into into the unknown, slowly building out of the song’s natural groove, and bursting onto a more ethereal and melodic plane. Fully immersed in improv, Trey and Page came together, playing uplifting harmonies, while Mike and Fish chugged forth in a heavy groove.

The entire band gradually drifted into darker waters, reconnecting to “Split’s” ending jam and taking it to the top. A high quality Phish jam, no doubt, but little did we know that it would end the excitement of the show.

Polaris '00 Phish came out for the second set with a painfully generic “Jibboo,” a song that opened almost every other show that summer. I’m never one to care about repeats, but the band is gonna’ push a jam into most of their shows – be creative! Thus began the post-Japan era of 2000, when the band’s sense of adventure began a steep decline.

Needless to say, this “Jibboo” went nowhere, possessing little, if any, musical dynamic. The band seemed to be going through the motions, each playing their own lines with little concern for creating a greater whole.

They weren’t flubbing anything, but they weren’t doing anything interesting either; an incredibly sterile performance to say the least. And to follow up the less-than raging opener, a cool down with “Fast Enough For You.” Undoubtedly a gorgeous song which I hold dearly, it had no place batting second in set two, usurping a power hitter’s spot in the lineup. Phish 2000 (unknown) Then, the set-killing, thrash-grass of “Scent of A Mule” emanated from the stage.

Laughing at this point, my friends and I wondered if the band was pulling some sort of joke on this evening. But, apparently, they weren’t. “Scent” can easily dominate a set with less-than-engaging music centered around the slow, extended “Muel Duel” between Page and Trey. Occasionally a cool segment emerges from said “duel,” but not on this night in 2000. Page and Trey traded intentionally slow and, ultimately, uneventful solos, sucking any energy from the pavilion.

A tortuous segment of second-set nonsense, Trey continued the non-jam with a series of sparse effects that created a monotonous chunk in the middle of the second set. The band joined in the effect-laden texture before moving back into the slow, eastern-sounding build of “Mule.” After an oddly placed interlude of “Meat,” the band revved up a mid-second set “Maze.” Hmmm. Apparently, the band had no intention of jamming on this evening. Once again, we’d have to settle for generic Page and Trey solos for the “improv” of the song. “Mazes” have their times and places, but this one, dropped randomly into the middle of a set that was going nowhere, did nothing but further that cause. Hartford '09 (A.McCullogh) And it wasn’t just the song choices. The band’s playing screamed of carelessness and laziness all night long, characteristics that seeped into their repertoire during this summer.

On this night in Raleigh, the band’s primary objective seemed to be reaching the 11pm curfew, rather than creating any interesting music. Their music didn’t jump of the stage, it dragged along like a tired bulldog on a blazing hot day. Increasingly hit or miss, Phish shows of 2000 entered a new type of unpredictability. In retrospect, none of the shows seemed as sluggish live as they sound now, but the irony of Raleigh was the immediate consensus on the instant stinker. Phish picked up the vibe at the end of the set, tacking on “What’s the Use?

Slave,” but the triumphant combination seemed wholly out of place with no musical fireworks to celebrate. The same lackluster playing that defined the night carried through the end of the set, and once the band stepped off stage, we were all ready to move on to the next show.

Dropping the bizarre encore of “Uncle Pen,” “Bold As Love,” Phish faded into the evening. We all go to shows for different reasons, and one man’s trash may be another man’s treasure, but this night in Raleigh couldn’t have done much for anyone. If you’ve read this site for any amount of time, you’ve probably picked up on my positive perspective on Phish, but I would call this show the only true disappointment in my time seeing the band. There just wasn’t enough meat to carry the show, and never before or since have I seen one so thin.

I figured I’d write this piece at some point, but there you have it, my least favorite Phish show I’ve ever seen. I: NICU, Sample in a Jar, Old Home Place, Punch You in the Eye, Water in the Sky, Funky Bitch, Horn, Heavy Things, Dirt, Split Open and Melt II: Gotta Jibboo, Fast Enough For You, Scent of a Mule, Meat, Maze, What’s the Use, Slave to the Traffic Light E: Uncle Pen, Bold as Love. Audio Archive AUDIO ARCHIVE UPDATE: Due to the diligent work of Phish Thoughts’ community member, Halcyon, the has been completely updated with every show that exists on this site!

Included are the majority of both Trey and Mike’s winter tours under the newly-added “2010” tab. So scroll and scour the site no more! Head right over to for all your downloading needs, and have at it!

Jam of the Day: “” 6.15.00 I An under-exposed first set gem from Phish’s first show in Osaka. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.

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State Theatre - Minneapolis, MN This one goes out via reader request to the Phish Thoughts NCAA Tournament Challenge winner, Kaveh! Enjoy the trip down memory lane, my friend. I: Chalk Dust Torture, Sparkle, Guelah Papyrus, Stash, The Horse Silent in the Morning, Maze, I Didn’t Know, It’s Ice, The Divided Sky, Cavern II: Buried Alive, Suzy Greenberg, All Things Reconsidered, Llama, Mound, My Friend, My Friend, You Enjoy Myself, My Sweet One, Big Ball Jam Hold Your Head Up Love You Hold Your Head Up, Possum E: Sweet Adeline, Golgi Apparatus Source: Unknown Tags. Jones Beach 6.4 (W.Rogell) Standard Buffer Zones: These encores neither add to a show nor take away. They are often the meaningless, missing pieces of many a late-night, hotel room, setlist re-creation. Sometimes these encores are exactly what one needs to gather their wits and personal belongings before exiting the vehicle. These encores can pop up after any two sets of music, standard or superb, representing the requisite 5 to 8 minutes that the crowd has come to expect, in essence, mere formalities and definitive farewells until the next show.

Examples: “Julius,” “Suzie,” “Frankenstein,” “Character Zero,” “Loving Cup,” “Squirming Coil”. Signature Encores: After particularly stellar shows, Phish often comes out with one signature piece that leaves an indelible stamp on the evening. These encores not only bring the show to another peak, they are played to celebrate the mastery that has just ensued. Like putting the finishing brush strokes on a masterpiece, these encores are Phish’s musical autographs on unforgettable shows. Examples: “You Enjoy Myself,” “Slave,” “Harry Hood,” “Harpua”.

12.29.09 (W.Rogell) The Rocking Encore: Often following high-energy sets, Phish will come out with a ballad into a rocking finale, or simply a rocker alone. Meant to leave everyone geeked-out and drooling for more, these encores, often taking the form of covers, generally leave everybody smiling. Examples: “First Tube,” “Good Times, Bad Times,” ” Sleeping Monkey, Tweezer Reprise,” “Rock and Roll,” “Fire,”Chalk Dust Torture”. The Token Encore: Falling within the conceptual framework of the “Standard Buffer Zone,” these encores are even less significant. Providing time to spark a final joint, or do whatever it is you need to do, these encores are going nowhere from the get-go, and that is their point. Often squeezed into shows running late, or tacked onto sets in which the band wanted to get off stage, these encores represent the minimal required effort for the band. Examples: “Bouncin,” “Rocky Top,” “Waste,” “Sample,” “Contact,” “Golgi,” “Cavern”.

12.30.09 (S.WIlliams) Wild Cards: Occasionally Phish will come out and play a encore so disjointed from the show, one wonders where they came up with the idea at all. These are not necessarily poor encores, just final statements that come directly out of left field. The one you never saw coming, and nobody in the place predicted.

Odd song placement to end a show can end an evening with a strange vibe, not spoiling anything – just plain odd. The following encores, with dates, provide some concrete examples of some of these bizarre phenomena. Examples: “Axilla, Taste” – 9.18.00, Blossom, “Reba, Bold As Love” – 9.21.99, Tucson, “Rocky Top, Hydrogen, Julius” – 10.7.99, Nassau.

Multi-Song Finales: Sometimes Phish will kick down two or three songs at the end of the show, exciting some more than others on a routine basis. Perhaps stringing together a couple “Token” encores, or featuring one larger song amidst some slower ones, these encores come in all shapes and sizes.

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I’ll choose one long encore over couple shorties any day of the week, but to each their own. These final couplets can feature bust-outs in their run of songs as well. The Classic Example: “Glide, Camel Walk, Alumni Blues, Tweezer Reprise” – 7.24.99, Alpine Jam of the Day: “” 7.5.94 II This scorching and creative Summer ’94 “Gin” morphed into the second set’s improvisational highlight in Ottawa, Canada. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.

You also need to have JavaScript enabled in your browser. DOWNLOAD OF THE DAY: Icculus Fly Famous Mockingbird, Sparkle, Reba, Maze, Bouncing Around the Room, Stash, The Squirming Coil, Llama II: Glide, David Bowie Band/Crew Football Theme Song David Bowie, Tela, Foam, You Enjoy Myself, Chalk Dust Torture, Cold as Ice Cracklin’ Rosie Cold as Ice, Cavern Encore: Sleeping Monkey, Big Black Furry Creature from Mars Notes: Both Forbin and Stash referenced the Los Angeles riots that ensued after the Rodney King verdict was announced. Source: (FOB) Neumann RSM191A-S Neumann MTX191A Panasonic SV255(@48K) Tags. Alpine '03 (unk) Here are two shows from the end of a long year of playing in 1992.

Totaling 121 shows throughout the year, December culminated of a huge year of growth for Phish; a year that primed them to really take off come ’93. – –.

Lengthwise Hold Your Head Up, The Squirming Coil, I Walk the Line, Runaway Jim E: Golgi Apparatus, Rocky Top Source: Schoeps CMC5/21 @105 degXY D3. First Avenue, Minneapolis, MN I: Axilla, Poor Heart, Maze, Glide, Sparkle, Foam, Fast Enough for You, All Things Reconsidered, Split Open and Melt, Bouncing Around the Room, You Enjoy Myself II: Chalk Dust Torture, Reba Llama, Horn The Vibration of Life My Sweet One, It’s Ice, Fee David Bowie, Hold Your Head Up Love You Hold Your Head Up, The Squirming Coil, Sweet Adeline E: Runaway Jim Source: Unknown Jam of the Weekend: “ ” 10.28.94 II A phenomenal Fall ’94 “Bowie” with a full-on slip into “Manteca” late in the jam. Must-hear stuff! Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.

You also need to have JavaScript enabled in your browser. VIDEO OF THE WEEKEND: “Mikes Hydrogen ” – 3.31.92 Columbia, MO “Weekapaug” – 3.31.92 Tags. 12.31.09 (W.Rogell) Welcome back to Friday, and these ten tunes focus, specifically, on summer tours past. With a couple months separating us from Summer 2010, I figured we’d take a trip down memory lane. Please choose to either download the selections OR stream them to minimize bandwidth cost. Thanks, and have a great weekend!.

“” 8.2.03 I A brilliant highlight from IT’s first set. There’s nothing like an afternoon, festival-sized “Reba” jam. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser.

“” 7.25.98 II A Summer ’98 classic featuring larger-than-life, bulbous dance grooves. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser.

“ ” 7.11.00 I Flooding over from yesterday’s “Drowned” post, here we have “the Phish from Vermont” indulging in musical-comedy, best blending this jam into the old-school, anthemic, “Chalkdust Reprise.” Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.

You also need to have JavaScript enabled in your browser. “” 6.11.94 II A concise, power-packed version from Red Rocks ’94. A perfect example of musical density. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.

You also need to have JavaScript enabled in your browser. “” 7.22.93 I An old-school shred-fest for Big Red under a deluge at Stowe, VT during Summer ’93. On stage Trey remarked that the stage crew was talking about canceling the show due to possible electrocution. His response?

“I told ’em Fuck that. Put the plug up my ass and count out Llama!” Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. “ ” 6.26.95 II A personal favorite, and a deep dive into Summer ’95 psychedelia.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. “” 8.17.97 III Oh no, the quintessential set-killer! Think again, this is Limestone, Maine, and in final set of The Great Went, “Scent of a Mule” became an ethereal launchpad. Out of the usual “Mule Duel” segment, the band decided to play as the spirit moved, drifting into an beautiful and experimental segment of music.

The band delicately passed through the “Mind Left Body” theme and a digital delay jam before awkwardly crashing back into Gordon’s speedgrass. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. “ ” 6.24.94 II This smoking experimental “Antelope” hails from the intimate confines of The Murat Theatre, circa ’94; a magnificent, multi-faceted piece of music. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.

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6.4.09 - Jones Beach (W.Rogell) In 2009, “Drowned” became a go-to song for Phish, producing high-paced, multi-faceted rock and roll jams. A launch pad that became musically synonymous with its 3.0 alter-ego, “Rock and Roll,” both songs often led the band into formulaic, three-tiered jams that moved from rock textures, into percussive grooves, before morphing into ambient outros. Some became better than others, but in the end, many of these jams blended together. But when Phish first decided to bring “Drowned” into their repertoire, its improvisational course was anything but predictable. Always breaking out of the gates with The Who’s hard-rock textures, throughout its history, “Drowned” created more than a few engaging pools of improv.

Below is a short, audio-laced history of the well-loved cover. Halloween '95 Pollock Following the band’s Quadrophenia set on Halloween ’95, “Drowned” first resurfaced on New Year’s Eve at Madison Square Garden as the second set opener.

And for the first time, Phish shaped the jam with their own creativity. Following the song’s rocking outro, Phish entered a churning land of piano-led grooves. Focused on percussive playing for much of its first Phishy incarnation, Trey took the lead towards the end of the jam, taking the piece through some dynamic improv and to fruition, (and through an eternally debated, though dubious, “Fire On the Mountain” tease somewhere in the slower ending of the jam). The first bust out of “Drowned” succeeded with flying colors. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser.

Skipping ’96 all together, “Drowned” appeared once in Europe’s Winter ’97 tour, and once at the band’s Waterwheel Benefit in celebration of Phish Food in Burlington during March of ’97. Remaining dormant all the way through December, when the song returned during the latter half of Fall ’97, a new beast emerged. The cover first came back to life in the first set of 12.3.97 at The Spectrum, as the song adopted the straight up funk stylings of the tour, cloaking itself in danceable rhythms for the duration. A perfect example of a song merging with Phish’s present focus, there would never be “Drowned” like this again.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. 6.6.09 (G.Lucas) In fact, when the song showed up only a week later in Rochester, New York, the band took the jam 180 degrees in the other direction.

After improvising proficiently around the song’s chord structure, Phish hit a point where the charged out of the song, full speed ahead. Eventually slowing into a bluesy and soupy psychedelia, the band jumped ship into an ocean of darkness. The jam crawled with an ominous pace, yet the band remained fully connected; a perfect example of virtuoso playing. Taking this exploratory piece further into the underworld, Trey took the subtle lead on this life-or-death musical mission.

Moving away from conventional beats, Phish explored a shimmering realm of ambient playing as Trey continued to play spine-tingling licks amidst this milieu. People always marked Fall ’97 as a funk-only tour, but this “Drowned” is another in a long list of pieces that proves that Phish were at the top of their game, regardless of any number of dance jams. Eventually blending this near-perfect jam into the debut of “Roses Are Free,” the Rochester “Drowned” quickly jumped to the top shelf of Fall ’97 offerings. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version.

You also need to have JavaScript enabled in your browser. Phish continued playing “Drowned” throughout ’98 and ’99 to differing musical places, but more often than not, forming unique and creative pieces. In this prolific period for the song, some of the more successful versions came at Ventura ’98, Albany ’98, Tucson ’99, and Hartford ’99, peaking with the sacred version in the middle of the night at Big Cypress. In their final tour before hiatus, Phish threw down an one more instant classic at Darien Lake, and this one became a monster.

When “Drowned” appeared as the opener of set II, the band remained anchored to the song for about six out of 30 minutes of pure improv. While Fall 2000 may have been hit or miss, on this night the band most definitely had it. On the course of an incredibly compelling jam, the band passed through periods of subtle groove, textured playing, and outright alien-encounter-psychedelia.

Taking the jam on perhaps the most sublime ride of its career, the band delved deep into the dark side of Phish sorcery, crafting, arguably, the defining jam of Fall 2000. This multi-staged organic escapade provided outlandish music where the band allows any connection to form and structure drop away, within subconscious communicative mastery. Layered realms of space-aged sounds emanated from the circus tents of Darien Lake, as the band dove into the void on this stormy evening. For a true appreciation of this masterpiece, grab the LivePhish release, but for now, check it below, crank the volume, and prepare for blast off. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip.

Download the latest version. You also need to have JavaScript enabled in your browser. The Who - Quadrophenia In the post-hiatus era, Drowned appeared four times, and three developed into legitimate excursions.

A blistering rock and roll-based version ended the first set of 6.20.04 at SPAC, while, the band featured a more exploratory and meandering venture a year earlier in Charlotte ’03. In a musical oxymoron, “Drowned” provided one of the highlights of Coventry, late into the third set of the first night with a delicate tuned driving jam, starting from almost nothing at all. Ever since its inception as a Phish cover, “Drowned” has been a vehicle to diverse improvisational places. Although the improv grew predictable in 2009, “Drowned” still exists as an almost-guaranteed open Phish jam. As the band steps into 2010, and things begin to move in new directions, “Drowned” will find its niche. Whether in rotation or just guest-starring now and then, when “Drowned” drops, an adventure will follow close behind.

Jam of the Day: “ ” 12.12.99 II This dark-horse ’99 “Drowned” from Hartford, CT goes out to my brother, if you’re out there listening. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. DOWNLOAD OF THE DAY: Golgi Apparatus, Drowned Prince Caspian, Piper, You Enjoy Myself, Been Caught Stealin’, Llama E: Something, Guyute, Free Bird Source: Microtech Gefell 210 Aerco SBM-1 Tags. 12.29.09 (W.Rogell) After an extensive run down the eastern seaboard, hitting up all the classic sheds, Phish will wind up the first leg of summer wi th their return to Atlanta.

Visiting Encore Park in Alpharetta, for the first time, fans will find this venue setup perfectly for a tour-ending party. Wi th an over-sized GA orchestra “pit,” there will actually be the ever-elusive dance floor right in front of the band!

Seats don’t even come into play until the “100” section of the venue, behind the first moat of the pavilion. Only one of strip of seats will line the inner pavilion before an undersized lawn rounds out a rather intimate 12,00o person amphitheatre, 7,000 less than Phish’s usual stop in Lakewood. Alpharetta Seating Chart This medium-sized landing point for summer’s first leg seems to be an alteration of the classic cookie-cutter shed. While still bearing the Verizon Wireless brand, Atlanta’s design team had some foresight, putting removable chairs in the lower pavilion, creating the potential of a huge GA orchestra section, something that should be a staple at every venue built going forward.

Wi th open space to throw down, and a fully-oiled Phish, sixteen shows into tour, Atlanta has the makings of a tour ending gala. The July 4th weekend is part of five two-night stands during leg one, as only six shows will float alone.

Catering to less travel for everyone, Atlanta provides a final destination weekend for fans from all over the country. Coupled with SPAC, Alpharetta comprises the north-south highlights of the first leg, and, arguably, the four most-anticipated shows of June. But there are a few others. NTelos Pavilion - Portsmouth, VA What started as a down-low highlight has blown up into one of the most anticipated shows of tour at nTelos Pavilion in Portsmou th, Virginia. Wi th a tiny capacity of 6,500, and a first come, first-serve GA policy, one can be sure people will be lining up long before doors open for this gig. Wi th rail spots at stake, there will be a mad dash to the front where people will sit for hours before showtime. Wi th everyone able to go anywhere, dance space could materialize nicely at the smallest show of June.

Located on the water in Southeastern Virginia, only a stones throw from Hampton, Portsmou th is one of only two sold-out shows of the first leg, the other being Great Woods, and looks to be a special Tuesday night. Camden '09 Poster Two weeks later, Phish will make their return to Canandaigua, New York for the first time since the infamous “Theme Tweezer Reprise” set during Summer ’95. An out of the way stop on a Tuesday night spells a recipe for free tickets, but, simailarly, CMAC looks like the quintessential show that many will skip in favor of continuing sou th from Merriweather to Raleigh. The combination of rural New York, a Tuesday night, and many heads moving south, creates a forecast for a standout show. While the venue nor locale are anything special, everyone knows Camden will blow up – it always does. One of the other shows that looks like a gem-in-waiting is the band’s return to Walnut Creek in Raleigh, the site of so many momentous Phish shows dating back to ’94. Coming in the last four-pack of tour, the band will be firing when they return to the familiar environs, and this could materialize as an indelible tour highlight.

We can sit here and predict all night, however, sometimes that’s all there is to do when there’s only 58 days left before tour. Tick, tocktick, tocktick, tock Jam of the Day: “ ” 6.15.95 I A dip into darkness during the first set of Lakewood. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. DOWNLOAD OF THE DAY.

12.30.09 (W.Rogell) Never has a singular experience, at the same time, been as intimately personal and intensely communal, as a Phish show. Though ultimately navigating this rite alone, with companions on the ride, relationships are forever changed and deepened.

Regardless of any psychedelics, Phish provides a drug unto itself, and when people share in the highest imaginable high, bonds are cemented, relationships fostered, and irreplaceable connections made. It’s all a bit different when meeting on the astral plane rather than the local watering hole. And interestingly enough, a Phish show shared in silence can trump hours of beer-driven small talk in forging a personal understanding. Congregating amidst this phosphorescent fantasy land eliminates a lot of the formalities that one encounters in conventional social situations. Without speaking, people connect through, dance, spirit, and shared energy – meeting points that create intimate relationships. Powerful Phish jams can spark or strengthen interpersonal bonds, as the unspoken experience of the moment allows for ample common ground. Shared moments catalyze legitimate friendships with the understanding that everyone is on the same page.

12.29.09 (W.Rogell) With an air of universal magic surrounding Phish shows, most people bring their best selves into the arena, leaving their everyday baggage elsewhere to be picked up another time. Shedding these layers of societal pressure, individual worry, and the ennui of routine, Phish shows become beacons for basking in the moment; places where conventional responsibilities fade away. As people enter this realm on individual missions, the similarity of their spiritual goals unite them in a profound way.

Raging a monumental “Tweezer” together will bring two people closer to an existential understanding than four martinis could ever do. Interestingly, American culture values surface level interactions lubricated by alcohol, rather than spiritual exchanges facilitated by hallucinogens that have proven, since the beginning of time, to bring people closer to each other and the natural world.

But that’s another subject for another day. 11.18.09 (M.Stein) Whether people become a close friends, or even just show acquaintances, powerful emotions flow between those who connect on the plane of Phish. More than any other place in my own life, Phish has introduced me to my best friends on the planet — unquestionably, friends forever. Attracting eccentric characters from all walks of life, the Phish community provides a patchwork of unique personalities that radiate vitality. And within this spectrum, friendships naturally arise due to mutual love of Phish and the irreplaceable live experience. Not to paint shows with the intimate brush strokes of Kesey’s acid tests of lore, but within the many subgroups at Phish, these type of personal dynamics takes shape nightly.

And every now and then, a profound moment will occur with someone you never met before. Although you’ve never spoken, for that moment, you both completely get IT. Maybe a nod suffices, or perhaps a high-five or a hug, depending on the context, but that moment of understanding – seeing soul to soul with someone – lives within you forever. 11.20.09 (W.Rogell) At Phish, we expose our true selves without fear of judgment, allowing our inner core to commune with the music in an unmatchable symbiotic journey.

Simultaneously, thousands of others are immersed in the same process of introspection, forming a glowing and connected whole. The energy exchange between individuals, and between the audience and the band, becomes palpable, and the unknown adventure unfolds, in slow motion, before our eyes. Within three hours of a Phish show, one can learn more about themselves and their place in the world than three years in school, as few things provide the perspective of a transcendent experience. Feeling a part of something larger than oneself – a glimpse of a greater potential – everyone donates to something more, and a sense of communal purpose glows. While this may sound a bit over the top, the unparalleled Phish experience pushes the boundaries of human possibility; conjuring magic like nothing else on earth.

And that is exactly why we keep coming back. Jam of the Day: “ ” 7.17.99 II This musical triumvirate provided the meat of the second set on the first night of Oswego.

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. DOWNLOAD OF THE DAY. Merriweather '09 (Jess3) Phish made up for an underwhelming first set with a fiery second frame. “Punch, Free” sparked the set with adrenalized textures, while a thick “Mike’s Twist” with a “Macerena”-laced “Weekapaug” brought things home. And a “Hood” encore to cap things off in style.

I: Limb By Limb, Farmhouse, Back on the Train, The Divided Sky, Train Song, Llama, Driver, Runaway Jim II: Punch You In the Eye, Free, What’s the Use?, Meatstick, Mike’s Song Sweet Emotion Jam Twist Weekapaug Groove E: Harry Hood Source: FOB Schoeps mk4v KCY VMS021B DA-P1 Tags. Pollock Summer '93 On the brink of August, Phish carried a month of momentum into Tennessee this evening, and it typical Summer ’93 fashion, crafted a beast.

I: Contact., Llama, Horn, Uncle Pen, Stash, Esther, Chalk Dust Torture, I Didn’t Know, Reba, Cavern II: Also Sprach Zarathustra Tweezer, The Horse Silent in the Morning, Poor Heart, Fluffhead, My Friend, My Friend, Golgi Apparatus, The Squirming Coil, David Bowie E: Walk Away, Amazing Grace.cuts in late Source: Set I: Crown Stereo PZM Mic Sony PCM DAT SSL SBD API EQ Pultec Compression DAT / Set II: Unknown. Osaka 2000 Listening to Prague ’98 this week inspired me to dig into the international archives. I’ve dug up two stellar show, continents apart. The Osaka show from 200 features a creatively demented “Down With Disease” that may be the greatest jam that nobody talks about from Phish’s prolific run in the Pacific. The first set “Ghost” brings another dark-horse highlight from a show that took place three stories up in a massive shopping complex, (the second show of Japan to take place within in an elevated shopping plaza!) The second selection comes from the transformative tour of Summer ’97, and the band’s gooey, raw funk is on full display throughout.

The second set brings the heat from start to finish, bookended by thick explorations of “Wolfman’s” and “Ghost.” Have a great weekend! The Lizards, Bike Hold Your Head Up, You Enjoy Myself E: Gotta Jibboo Source: source: DSBD+AUD Matrix Mix AKG C1000’s. SX-M2 D8 Jam of the Weekend: “ ” 7.10.97 I A relic from Marseilles, France in early Summer ’97; back when tapers tracked “funk” jams, and Phish grooved unmercifully. Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version. You also need to have JavaScript enabled in your browser. VIDEO OF THE WEEKEND: “Farmhouse” 6.11.00 Hibiya Outdoor Theatre, Tokyo, Japan (.).

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