, attached to 2003-12-28

Review by Bob_Loblaw

Bob_Loblaw I really enjoy this show. The spacey jam before Bowie is an awesome prelude to a show opener that's out of left field. Tweezer is in an odd slot in the 3rd spot of the 1st set. It wasn't necessarily meant to go anywhere new and exciting (maybe they kept it out of the 2nd set because they didn't seem to be feeling Tweezer quite as much during these years and didn't want to get peoples hopes up) but it is still none the less well played like the above Bowie. Bag was good for the majority of 2003 and this one is no exception. It's followed by arguably one of the best ever Frankie says, not only is the execution great but so is the outro jam. The rest of the set is a classic 2.0 concoction of throwing random crap out to fill the set. No complaints about a quick HYHU and Tweeprise closer though. Don't sleep on the opening Jibboo, it goes a lot further than you might think. It's a nice textbook hose jam that is very well played. Suzy comes in and at first it seems like another bizarre 2.0 setlist choice but it actually goes into a quite enjoyable jam. Theme is strong as always. Water in the Sky and Friday completely slow down the set, but on the plus side it's one of the best Fridays I've heard. Hood is an excellent closer and like most from this year it's got a nice, slight, little stretch to it. Sleeping Monkey and Loving Cup are the average encore you would expect, still well played though. I have no real complaints about this show, it's not perfect, but the playing is excellent.
, attached to 2003-12-02

Review by Bob_Loblaw

Bob_Loblaw This show to me is definitely on the very low end of the good/bad spectrum for me. This is one of those shows that I feel has absolutely nothing to deliver in future listens. The joy brought to my ears in hearing an extremely rare Hood opener was quickly destroyed by incredibly bizarre setlist choices and poor playing. It almost feels like half the songs in this show start with a stutter or fumble of some sort. The 2nd set may even do less for me than the first. The whole Weekapaug -> Tweeprise portion is so poorly though out and executed that I wish they never attempted it. The Frankenstein -> Kung -> Frankenstein is also pretty poorly executed and is pretty flubby, you can't even hear half of the lyrics to Kung. It feels like a lot of this stuff was decided on the fly and little effort was put it. All of these Dreams comes in to completely screw up the flow of the set as usual. Even Cities, the one song you can almost always count on for a buttery segue is abruptly started. The segue could be worse, but it isn't all that pretty either! Maze, although getting a little stretch like others from this year, has a jam that IMO isn't very inspired and really doesn't do anything for me at all. As crazy as it sounds, Bug might be the most well played song of the whole show. It has far more power and inspiration behind it than most of the songs from this show. I know unpopular opinion, luckily they made it to the 30th Anniversary NYE show in 2013 which was superb.
, attached to 1994-09-10

Review by Hugh_Mongus

Hugh_Mongus & 'Milestones in the Sunshine' I loved. They Fit, 'Blackberry Blossom' In the middle of MINS and leads to a fantastic section with Stacey Starkweather absolutely CRUSHING the bass toward the end, he has a fantastic solo on 'St. Thomas' in the Encore slot as well, also Airmail special features heavy bass section. Fishman is absolutely of his nut during this show, all over the place with banter and jokes, random sounds like Sugarbush 94. All around just an amazing evening of music and a genuinely good time filled with a TON of laughs. - ‘Straight from the Dungeon, an original Knight that goes Ni' ' NI!!’ - ‘The Melon French Sombrero on Bass’ - ‘I like that paper bag hat!’ Note: For a real good laugh check out the 2/23 show when Stacey is introducing the band members during Milestones In The Sunshine and eventually gets to introducing himself (with his bass), it is classic. This Review has been brought to you by someone with no background or understanding of the musical language, just an appreciation for fun music such as this show. Teases: Contois 4:32 - Gilligans Flintstones 6:40 - Flintstones Plent more I could not identify being a millennial and all. If Anyone have any clue of the bass line from Minestones In The Sunshine at 5:10-5:20? Sounds real familiar.
, attached to 1994-09-10

Review by Hugh_Mongus

Hugh_Mongus & 'Milestones in the Sunshine' I loved. They Fit, 'Blackberry Blossom' In the middle of MINS and leads to a fantastic section with Stacey Starkweather absolutely CRUSHING the bass toward the end, he has a fantastic solo on 'St. Thomas' in the Encore slot as well, also Airmail special features heavy bass section. Fishman is absolutely of his nut during this show, all over the place with banter and jokes, random sounds like Sugarbush 94. All around just an amazing evening of music and a genuinely good time filled with a TON of laughs. - ‘Straight from the Dungeon, an original Knight that goes Ni' ' NI!!’ - ‘The Melon French Sombrero on Bass’ - ‘I like that paper bag hat!’ Note: For a real good laugh check out the 2/23 show when Stacey is introducing the band members during Milestones In The Sunshine and eventually gets to introducing himself (with his bass), it is classic. This Review has been brought to you by someone with no background or understanding of the musical language, just an appreciation for fun music such as this show. Teases: Contois 4:32 - Gilligans Flintstones 6:40 - Flintstones Plent more I could not identify being a millennial and all. If Anyone have any clue of the bass line from Minestones In The Sunshine at 5:10-5:20? Sounds real familiar.
, attached to 1994-09-10

Review by Hugh_Mongus

Hugh_Mongus This show contains some amazing moments. Hilarious Banter, Creative Teases, Audience Participation and Superb Playing. Many talk about the 2/23/94 show, however I feel that the quality of both audio/playing is superior. Out of all the Standards like, 'Take the A-train' 'Jump Monk' ‘Donna Lee' 'St Thomas' etc, I think ‘Sentimental Mood’ was my favorite. Great cover of Bela Fleck's 'Blues for Gordon’ which is absolutely beautiful. Turnaround was probably the most Blues influenced song featuring Trey on some gorgeous licks. Donna Lee outro also has a great little Blues segment. ‘Jamie’s Crying’ pretty much sets the tone for whats next (‘So What’) very chaotic (In a good way) and impressive; there is a wild part in the middle where the song ventures into a scary/dark/mysterious section similar to how phish began jamming in 94. Jump Monk has a similar section to ‘So What’ that is very chaotic with a variety of plucking and repetitive, accelerating notes, theres one part where Trey makes an effect and some guy in the Audience goes ‘Yeaaahh then Ohhhh hohoho’ absolutely classic trey summoning dark and horrid sounds giving a range of emotion from the audience. It Seems like these BadHat performances helped Trey/Fish transform Phish later in the year as they began playing longer more experimental takes on songs like Bowie,Tweezer and Antelope. Jamie Masefield is a wizard and his originally written songs are fantastic, namely ‘Airmail Special’
, attached to 2017-08-04

Review by TwiceBitten

TwiceBitten This was my 100th show. In a startling yet utterly predictable move of personal synchronicity, Phish opened with a blues standard that shares a lyric and alternate title with the name of the small record label that I run (One Kind Favor). Rest of the first set was fun and I caught my first Dinner and a Movie since 2.0. The second set flows very well and is one of the better complete sets of the run. This version of NMINML has a really great vibe and sets up a debut that I'm sure a lot of fans were thrilled by. I am not a fan of Radiohead so I am being 100% serious when I say I enjoy listening to Fish sing this tune more than Thom Yorke. Trey was having a blast messing with the vocals on his Kaoss Pad. What's the Use had some more vocal-sample tomfoolery...come to think of it, maybe every song after this point contained an Everything in it's Right Place quote. The back half of Scents contained some truly unique and impressive jamming. Put that one on your mix tape kids! Caspian was shredded extra hard and Fluffhead closes the set properly. See you all at my 200th when Phish covers Coldplay :/
, attached to 2017-08-05

Review by astrexler33

astrexler33 The 1st set is a must-listen, especially from Gotta Jiboo on. I was fortunate enough to catch the last 3 shows of BD, and was surprised to say Gotta Jibboo was the peak for me, and I wasn't even much of a fan of the song going in. So groovy and such tight improvisation on that number in particular. FYF into the Boston Creme bit was mind-blowing, and Plasma to close the set was a highlight as well.
, attached to 2003-07-26

Review by Bob_Loblaw

Bob_Loblaw This show is excellent and has more to offer than meets the eye. The first set is pretty average but Wolfman and Taste both have a nice extension that is quite nice. Set two IMO is far about average. Piper has a great groove oriented jam and all segues into Mountains in the Mist are great. The Tweezer > NICU is butter, just a top notch excellent segue. Cavern gives a sign that the set may be ending but then YEM just jumps in. I love this YEM It's very finely polished. The groove section is also outstanding with some fantastic work by Mike. The whole set doesn't really have any stutters or sour moments. Wading does it's thing as a soft closer and Tweeprise has some extra thunder in it. Great show from one of the greatest weeks of Phish.
, attached to 2017-10-06

Review by Piper72

Piper72 This was a great show! Metro was slow to fill at first but later packed with a rowdy, appreciative crowd. Mike's band is ridiculously tight, full of energy and fun to watch. Scott in particular is hilarious (his delivery in Cities is priceless). Mike was smiling and cracking obtuse one-liners ("we're going to go backstage on set break and eat 120 per cent cow"), and even did some crooning during "Normal Phoebe" (I think) while looping his bass. "Crazy Sometimes" and "Waking Up Dead" were interesting to hear outside of the Phish context. Overall Mike's band, while incorporating many of the same elements with the addition of a percussionist, Craig Myers, who was rocking a "Mike Side Dyke Side" shirt), was less wandering with their jams but more complex rhythmically and intenintense dynamically. The lights were pulsating, alternating colors against grey backdrops onstage. Instead of the interactive sound pads around the stage, during the second set they passed a wheel with different light-up pads to the audience, that they could play to the same effect. And, of course there were the light-up guitars. Overall, an intense, high-energy show with an excellent band, led by our favorite Cactus.
, attached to 1997-06-22

Review by relentless_communicator

relentless_communicator Surprised there's not more love for this show!! This one set show is a prime example of the band members completely locked in and firing on all cylinders. It's also a really unique show for a number of reasons. 1. First off, the video of this show (see link in comment 1) in my opinion is among the best footage of the band and the audience out there. If the video was not available I tend to think I might not appreciate the show as much. 2. Theme from the Bottom! Although most would not put this version at #1 on the list, this in my opinion is the best Theme From the Bottom ever. Pure bliss, and amazing chemistry from the band. Shocked this does not have a [headphone] - should be highly recommended! 3. Ghost. Also should have a headphone. Even Trey thought it kicked ass. Check out 54:54 - 54:57 of the video linked in comment 1. Trey is really digging it, and audibly states "FUCK YEAH" as the bank lays it on thick. 4. I think this is one of the only shows where Fish isn't wearing his signature mumu 5. Page looks fucked up in this show. Check about the 57 through 58 min mark of the video. Whatever he took it worked! 6. CROWD SHOTS! Epic All the tunes in this show were played really well. One of my personal favorites.
, attached to 2016-08-27

Review by OceanOfOsyrus

OceanOfOsyrus This was a highlight of the weekend for sure. Fish and Russo are probably the Phish/Dead equivalent of each other so seeing them in stage together was a treat. Page stayed mostly humble and kept the sound full and left the spotlight to others, but he seemed to enjoy it all. As always it is special to see Phil on stage and having fun. I love watching him orchestrate everyone into his vision of the sound, and then relaxing into it and just kind of encouraging everyone. When Susan Tedeshci and Derek Trucks came out I knew we were in for a special show. I wish they had stayed for the whole show but they melded so well with the band. Trucks' slide with the Infamous Stringdusters adding a wonderful new sound to the Dead, Fishman and Russo holding down the fort, Page playing the organ, Phil thumping away and Susan belting out her best, what's not to love?
, attached to 2003-07-17

Review by Bob_Loblaw

Bob_Loblaw This show is incredibly deceiving. On paper this show looks fantastic, Chalk Dust opener, Divided Sky to close a set, Tweezer 2nd set opener that segues straight into Makisupa, Antelope closer. It seems like a homerun from start to finish, how can a setlist like this not deliver? Well unfortunately for the most part it does not. But the failure of this show is not necessarily in sloppy playing or short ripchorded songs. But more in the aimless meandering in their playing. Sure Wolfman had some decent stuff coming out of it, but it was a replica of every Wolfman from this year. The majority of the first set seems mailed in. I look at the setlist for the second set and see a 22 Minute Tweezer to open. This seems like a no brainer for a great fresh jam to reset the show. Unfortunately the aimlessness continues as the guys relentlessly try and find something to connect to, what is left is a series of failed attempts and nothing at all interesting in 22 minutes. Most of the rest of the set also feels mailed in and has a heavy sense that they have no idea what they want to play. The saving grace and star of the show IMO is Antelope. It's pretty solid from beginning to end and a great version, unfortunately the damage has already been done. A very boring encore only adds to this. Definitely on the low end of shows from this tour. But Antelope is worth checking out.
, attached to 1983-12-02

Review by jsomers9802

jsomers9802 I agree with AYBESEA.... I, too was in a couple college bands and hearing this show brings me back to those days. It's kind of cool to think that at one point, what would become my favorite band, Phish, didn't sound much different than the bands I was in while in school. We all know the rest of the story, but for any true Phish phan, this is a really cool piece of Phishtory to check out! I love Trey drowning out the chick yelling to play "something they can dance to." HAHAHA!!
, attached to 1995-12-07

Review by fhqwhgads

fhqwhgads It may just be because I slept overnight in between listening to Sets I and II of this show, but I find this one sort of exhausting. The sheer energy and virtuosity on display in 1995 (and Fall 1995, in particular) can tend towards that. This is also a typically stacked setlist for the time. Highlights include Demand, Slave to the Traffic Light, Possum, Reba, and Mike's Song -> Weekapaug Groove (with Digital Delay Loop Jam/general Type-II weirdness to end it.) The Split Open and Melt is pretty atonal(?) and harder to listen to, making this--as @waxbanks mentioned in his review--a "noob-unfriendly show." If you are new to Phish, though, and maybe have only heard shows from 2009-2017, you should really do yourself a favor and hear the laser-guided precision of Fall 1995.
, attached to 1989-10-07

Review by SplitOpenAndMule

SplitOpenAndMule I agree with the first review about the lackluster 1st set, which is all that's on phishtracks and phish.in. However, I DO recommend downloading this show from The Spreadsheet to listen to the second set. Dinner and a Movie > Bundle of Joy > Possum is a bizarre and fun unusual trio of songs, and the Possum is played with some extra zest. Happy Birthday is played in a funky style., ending abruptly in the middle of the second go-around. Lizards is played very well, as is an extra bouncy Bag, where the band gets quiet at the start of the jam and then builds it back up. And then in walks David Bowie, guns ablazing. This is a very, very good Bowie. It starts off with a brief, impromptu full-band surprisingly competent mess-around with Fly Like An Eagle during Fish's high hat intro, but the jam is where it's at. Several times throughout it, one of the JEMP will play a little riff, and then the rest of the band joins in for no more than four measures, before they all quickly leave it behind as they move through a sea of wild lifeforms, only to find another little riff they all pick up on, and then continue exploring. Trey even throws in a Fishin' Hole and DEG tease as if it was part of the song. Most excellent, although be warned, it cuts just before the final notes. You can hear some funny on-stage banter if you turn up the volume at the start of Contact. Trey seems to say "Contact then Highway then [let's get the f***?] outta here," to which Page laughs. The crowd brings Phish back out with chants of "We want more!", and You Enjoy Myself is played as an encore for the first known time. After Page, Trey, and Mike all play great solos, the vocal jam is an all-timer that must have sent everyone home smiling, as the band sings the poignant vocal jam lyrics: "Put 'em in the pound when the chicken come to town." Let it be known: Put 'em in the pound when the chicken come to town.
, attached to 1996-12-06

Review by fhqwhgads

fhqwhgads "Oh, God," as Fishman says several times in this show! I'm underexposed to 1996, outside of some of the archival releases (of which this is one.) But the band's chops were hot at this point in Phishtory. Curiously, I don't perceive Mike to be taking much of a leading role in this show. I think Fishman is more driving the bus at this point. There are probably obvious implications to that involving the "grid"-style playing Phish was said to have been going for at this time, or the continuing presence of the percussion rack. I'll leave that to someone more knowledgeable. To get down to brass tacks: there are some quote-unquote gimmicky segments to this show, arguably: You Enjoy Myself has a donuts vocal jam (nice to coincidentally revisit this show so soon after the Baker's Dozen!), and of course the encore is the stuff of legend. Down with Disease in the first set is really fiery, though, and the Mike's Groove is remarkable. Simple gets very pretty. The Harpua in the encore is also notable (as if it weren't already notable enough) for being played in a 4/4 time signature, in contrast to its usual 7/8.
, attached to 2000-09-27

Review by A_Buddhist_Prodigy

A_Buddhist_Prodigy I listened to this show yesterday on the anniversary of being at this show from my office, which overlooks Fiddler's Green. It was a really cool moment to look down on the lawn remembering myself there 17 years earlier. I didn't have a clue that I would be working right next to the venue way back then! The Piper through Mango is top notch stuff, really great groove. Trey's effects in Piper was so stupendous. It was special to get the Brother.
, attached to 2017-09-27

Review by WeatherReport

WeatherReport This was my fifth Mike show, my first was also in New Haven (Toad's Place). Much has changed in those seven years, and I've watched the progression of Mike's and Scott's band, which was born from two of my favorite bands, Phish and Max Creek. I will admit I had grown tired of Max Creek shows after about 25 years of seeing them fairly regularly. But,,,then came BK3 and Mike Gordon, and the void was once again filled once again. I like when Mike's band does an old Max Creek tune like Jones or Willow Tree. It's like seeing an old house you always liked with a fresh coat of paint, and the yard all cleaned up. Getting back to the show, great energy, room was psyched, and the sound in that newly renovated, old theater is pretty amazing. I know a bit about acoustics, and the CSMH (formerly the Palace), was built for music, the sound of the bass rolls perfectly along the floor. I did like the show, but was a tad put off by those electric/acoustic hybrid drums. It was messing with me at points, and I found myself asking are they playing with a click track or using a drum machine at points. My guess is no, but the sound of those weird drums made me wonder. The drummer was amazing, I would have love to here him hitting the skins on vintage Gretch or Premier drum set someday. I found I do like a few of the new songs quite a bit especially Victim, Steps, and Whirlwind. But, I also wish Mike was little more in favor of revisiting his recent past. Green Sparrow, Moss, and Overstep are great albums, I would have loved to hear Peel or Surface again, and I'm still waiting to here Horizon Line and Soulfood Man. To the reviewer above, yes that was a great version of Yarmouth Road, it had a sweet jam at the end.
, attached to 2017-09-27

Review by ljstella

ljstella First Mike show for me, so maybe I'm wrong, but this was the best Yarmouth Road I've ever heard. I know some people make it a bathroom break song at a Phish show, but this version is jammed. Definitely felt like it was going to >Boogie On Reggae Woman, even before Mike swapped the effects over to match the tone for that intro. Hoping this show was taped so I can listen to it again and again. The rest of the show was great stuff if you knew what you might be getting (read: this is mostly weird and goofy Mike, not funky & groovy Mike). New songs are pretty cool, especially Steps.
, attached to 2001-07-11

Review by FunkyCFunkyDo

FunkyCFunkyDo This was my first Phish-related show (and second show overall! My first show, of course, being Jimmy Buffett). Anyways, I remember this venue being tiny, the crowd being awesome, and a HUGE meteor streaking across the sky during Gotta Jibboo. I also remember TAB coming out onto the stage in a conga line procession, while playing, which blew my mind. Musically, man, my then 15-year old brain was totally overwhelmed and discombobulated with how awesome the entire experience was. I specifically remember Sand and Jibboo being smokin hot, but other than that, don't remember much other than having an absolute blast! Wish I could find an AUD or SBD of this show, if anyone knows of one.
, attached to 2017-09-22

Review by Vermillionqueen

Vermillionqueen It's always fun to see Mike leading his own band. This show was fun and funky. The Cities was a major highlight of the first set, and it was fun to hear Mike and the boys bring out some new stuff- both from Ogogo and otherwise. Trapezoidal Sunshine was awesome, and everybody had fun with Ruby Soho. What a way to kick of the tour!
, attached to 2000-09-20

Review by Abe_Froman

Abe_Froman I took a couple college friends with me to this one, we were freshmen at UK in Lexington. Our preshow consisted of eating peanuts, smoking a bowl, playing All-Star Baseball on Playstation, and hitting 75 north at 420. Wolfman's Brother is a standard, excellent version (even a little Trey fiery?) and Mike's through Weekapaug is great. Guitar Gently Weeps was a nice touch. The second set is "workmanlike", though the Ice>Velvet Sea has been a personal favorite since that night, and remains so now. Has Kevin Shaprio gotten that into Bunny radio or Live Bait? I'd love to hear a soundboard. Fish plays drums along to the rain that fell outside the pavilion, and the rest of the band takes it from there. It's lovely. BBFCFM is a fun tune. It rained a ton that night. When we got back to Lexington, I set my shoes out to dry, but they were done. Waterlogged. Fun night, great friends, good memories, Ice>Velvet Sea is your jam takeaway.
, attached to 1995-12-29

Review by type2funk

type2funk The 'Gin' -> 'Real Me' is one of the better examples of the concept of "hose", which I take to mean a heightened flow of musical energy. See the discussion by Charlie Dirksen: [url=https://phish.net/faq/hose]"musical [b]Hose[/b]"[/url]. I also appreciate the 'Jam', which is a rare piece of smooth jazz.
, attached to 1995-12-30

Review by Sixtus

Sixtus My second show. My first, a year earlier more or less, in Philly. This was MSG. With my friend J High. He is the $hit. This introduced me to 2001, some Gamehendge lore, and a massive second set dose of awesome. I recall the MSG crowd's infectiousness. Head, mind blown. That setlist. My happiness. Sixtus
, attached to 1994-12-28

Review by Sixtus

Sixtus My first show. My younger brother got us the tickets. It was Christmas break; I was 'home' from UVM for The Holiday. My first-ever listen was Junta's 'Contact', in the Summer of '89 and I was intrigued to say the least. It was my friend TJ who played it on cassette in his mother's minivan. I distinctly remember this. I was floored by the energy of the crowd. I had been to a Dozen Dead shows but nothing prepared me for the roof-blowing energy release that occurred time and again on this evening. Peaks. I was agape and so very happy to be a part of it. I distinctly recall the Weekapaug and the Little Drummer Boy tease, as I was home for Christmas and it was entirely proper. Even though many of the song titles alluded me, the jamming and dancing was intense. This was a self-sold on arrival and ever since I have coveted this band Phish in a personal and uniquely respectful way. First posts can be daunting. Glad to be here. Sixtus
, attached to 2017-09-17

Review by FrontMan

FrontMan Super fun, upbeat sort of homecoming show for Trey and his bandmates. They played one two hour set and had a some special guests. Trey was gushing about VT, Burlington and his memories here. For headlining someone else's festival (GPN), the crowd was attentive and high energy. The effort the band was putting in more or less demanded it. Since noone else has provided a setlist, I'll take a crack. Pretty sure I'm missing a song or two: Cayman Review; Sand; Curlew Call; Money Love & Change; Burlap Sack and Pumps; Everything's Right; Valentine; Shine; First Tube*; encore: Water in The Sky**; Push on Til the Day * w Page **acoustic w Mike and Grace Potter
, attached to 2000-09-27

Review by hambone024

hambone024 This second set is one of the best I've seen of my 38 shows, spanning 1.0, 2.0, 3.0. Just incredible. The Piper > Gumbo > Ghost > The Mango Song stacks up against just about any 4 song sequence I've heard. Love the "mellow" Piper jam, with a guitar effect I've only heard Trey use at one other show, the 7/12/2000 Piper. That one was bonkers, this one was minimalist perfection. As if the former set up the latter. That slow, funked out Gumbo turned me on to slow, funked out Phish. The Ghost is a beast. Mike really drives this. Great to get a Brother. And the YEM is solid. Only down point of the set is Heavy Things, and it was kind of a needed breather after 56 minutes of jam and that ripping Mango. As of this writing, the ratings are in the 3.8 range. Seems low.
, attached to 2003-07-19

Review by hambone024

hambone024 As of this writing, the ratings here are 3.992. Seems low to me. First set: Good Reba, nice Wilson jam, the Leo trio. Fun first set. Second set: One of my favorites of my 38 shows spanning 1.0, 2.0, 3.0. Big Piper. Perfectly placed, needed Rock n Roll. And that YEM, my favorite of the 12 I've seen live. If you listen to nothing else from this show, listen to the YEM. Precursor to the more recent 3.0 jamming style (but without the echoplex). Sounds like the jam was precomposed. Really nice example of jamming around and building an idea, rather than some of the lost, meandering they often did around this time. Trey employs a strumming chords style in here that is lovely and unusual for him. But the tight funk jam they drop into was absolutely incredible live, and still packs that punch.
, attached to 2017-08-05

Review by StoryOfTheGhostHit

StoryOfTheGhostHit Fortunately/Unfortunately this was the last show of the Baker's Dozen run I was able to attend in person (fortunately because I did make 5 of them and this show was off the charts, yet unfortunately due to what lay ahead the following night). My fiancee, now wife, and I were set up to the side of the stage, slightly behind, yet not all the way. I had never sat there before at MSG and it was an interesting vantage point. I remember once thinking (or maybe, probably, definitely, more than once) that I would never ever sit behind the stage...I'd rather just listen the next day. Not sure if that still holds were I directly behind the stage, but being a little behind yet to the side was absolutely fine. The energy and vibe of that area was something I will never forget. If the previous night was the most energetic Phish show I ever attended, this show and, specifically, our location just had the perfect vibe to it. Musically, I remember just feeling that, by this point, they had clearly reached and were in "the zone" and could do no wrong. The first set was highlighted by (besides the Boston/Cream medley) the best Gotta Jibboo they've played since 7/4/00, with this one being a more focused, patient endeavor to the true Type II behemoth that was that aforementioned Fourth of July version in 2000. Additionally, it feels like Plasma has settled in somewhat to the repertoire now as a silky smooth number that is somewhat flexible in where it works within the set, and, for that matter, which set. The second set is obviously highlighted by the set opening, we all knew it was coming, MONSTER Ghost, of course the basis for my username. And this Ghost definitely went full on GhostHit, holding it in and in and in until there was nothing left, exploding in the process. It was an exploratory, raging, cathartic Ghost. And, I am shocked that this Ghost somehow is not on the Jam Chart. I am chalking that up to administrative oversight...one the should be rectified in due course (i.e. NOW). The transition to Petrichor completely changed the tone of the set...it felt that the subsequent Light would have been more appropriate in the 2 spot. A heavily compositional, plodding song after a monster Type II jam just did not seem to flow within the context of the set. That being said, I love the song, and despite a few minor flubs, it was relatively well played, and anything that the band is enjoying playing, which they clearly are with Petrichor, I am totally in favor of overall as that passion certainly comes through in their playing. The following Light was out of the box, not entirely memorable, but a good excursion nonetheless, which yielded my favorite segue of the night, The Lizards, which was greeted with feverish excitement from the now Gamehenge ready crow. The crowd exploded during the chorus making the singalong another massively energetic moment, which this run has been full off. The set rounded out nicely, but was clearly just add-ons now that the meat of the show concluded. I left the show with that Jibboo stuck in my head with swirling memories of that Ghost forever implanted in my memory. And, as I write this now, a little over a month later, and reflect on the show and the setlist above, I am left with just one unresolved thought: HOW DOES THIS GHOST NOT MAKE THE JAM CHART!!!!
, attached to 2000-09-14

Review by bl002e

bl002e The weird thing was how absolutely gorgeous a day it was that afternoon. Mid-70s, mostly sunny and blue skies. During the show, I was in the pavilion -- or as Trey says at the end of Suzy, "...underneath this big tent," -- but in the back section. While that Suzy Reprise Jam was building and building, the ground in the lawn behind us cheered louder and louder. Right as it reached the absolute top of the peak, a rush of cold, ankle-deep water came crashing in. Really put an extra exclamation point at the end of one hell of a set. Setbreak hits, and within 10 minutes any warmth that the afterglow of the first set was gone. I can't even imagine what it did to those of you on the lawn. Listening back to the Drowned now (literally now -- I put the end of the Suzy on to quote Trey correctly, and it just reached the start of Drowned going Type II), in retrospect it's one of 2000's darkest and most experimental jams. At the show itself, the jam's darkness and lack of danceability just absolutely killed the energy in the place, which never recovered for the rest of the show. When they announced a year later that 9.14.00 was chosen to be one of the first six LivePhish releases, I couldn't imagine why. It only took one relisten to understand completely.
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