, attached to 1992-12-06

Review by Lifeboy444

Lifeboy444 Cool Jim to start the show. Awesome 1st set. Highlights are Foam, My Friend, Coil, and Antelope. 2nd set was also good, but not as good as the 1st. Stash had a nice, dark jam. Highlights of the 2nd set are Stash, Bathtub, YEM, TMWSIY, and the extra long Lenghtwise. The encore was special. Super creative doing Possum into The Vibration of Life(which itself is a fun listen), back into an energetic Possum to end the show. Overall, pretty great show. Possum!
, attached to 1989-11-10

Review by Lifeboy444

Lifeboy444 A good show overall. Highlights of the first set are Melt, Suzy, Divided Sky, AC/DC Bag, and La Grange. La Grange was full of energy and an amazing closer for the first set Highlights of the second set are Harry, Bathtub Gin, The Lizards, and Possum. The best of the encores is Antelope, which made for a nice closer for the show. Overall, a pretty good show with some great standout tracks.
, attached to 1998-08-03

Review by dr32timmymeat

dr32timmymeat I LOVE 98 shows, especially this stretch of 98. That said, this show kinda can't get out of its own way. Moma Dance has 2 very messy moments. Axilla is noticeably choppy too. (And I don't mean like "Oh Trey hit the wrong note," I mean they aren't together.) Gumbo is great, as mentioned elsewhere, LxL is good, it seems like we're on our way... but no. Hold Your Head Up > Bike > HYHU... just really bogs things down.
, attached to 1993-05-08

Review by Midcoaster

Midcoaster Reba is a beast to behold. It isn't just the fact that Trey brings everything down to a whisper and then back up to a wailing away blast off. It's that Mike's bass line underneath is a slippery funk with phased timing weirdness that holds everything together in some groovy psychedelic funk lounge manner. Wow. It was good to be young, even though we couldn't live.
, attached to 2004-09-18

Review by play_it_leo89

play_it_leo89 What a phenomenal way to open the second set! A hulking, multi-headed beast of a Mr. Completely, that, by the end, will have you believing you're listening to James Brown. Everyone gets a chance to shine here. There's really something for everyone. Add to that a hell of an interesting segue into the TAB debut of a wonderful horn-filled Stash that has the feel of the late '70s Doc Severinsen-led Tonight Show band ("...and heeeeeeeeere's [i]Johnny[/i]!"). This show is an absolutely spectacular treat.
, attached to 1995-06-19

Review by TooManyUrkels

TooManyUrkels Call me a plebeian if you must, but I was turned onto this show - as I'm sure many of us were - by the DAAM broadcast during the thick of the first COVID lockdown. Like most phans, I love '95 but this show flew way under my radar for standout shows from that year, but was super into it on first listen. Now that it's on LP+ I've since listened again detached from the filmic accompaniment - and yea, it really stands up. Theme, Bag, Reba, Simple, Bowie, YEM and Possum are the standouts. Flubs in Rift and RLAA as others have noted. Nothing so bad that it throws the show off. I'll leave it at that I think, but I'll urge anyone reading this review to check out Trey's lick from 6:59 - 7:02 (per the LP+ timing) of this Theme. Very tasteful stuff. I guess I'd give it 4.5 stars if I could but I'm going 5/5, flubs and all.
, attached to 2009-06-06

Review by life_boy

life_boy I really, really love this show. I wasn't sure if I would even listen to it at all due to the low rating and how uneventful people said it was but I decided to listen straight through Early Summer 2009 and I'm so glad I did. People complain about it but Set I is just a great summer set, IMO. Great flow and mix of songs. Faulty Plan is a great opener and I love Nothing both as a song and in the 2-spot. Great BOTT and this Taste is up to 1.0 standards. Everything is there to put a smile on your face and that's how I feel with this whole show. Beautiful -7, Fluffhead, and Heavy Things. Then the Hood>Possum, Bug closer is just tremendous. Not everything has to be about Type II insanity. Sometimes its nice to just sit back and go with a bunch of well-played songs that feel like a breezy summer evening. Overall, the whole show just has a great, laid-back vibe that I just love. So, if you're willing to set aside the rating bias and just sit back to a fun summer show, give this one a try. Worth it.
, attached to 1991-04-27

Review by MarcReyn27

MarcReyn27 30 years ago today...hard to believe. One of my first tapes, I think I literally wore it out. So much to say, but I want to focus on this Reba. As a previous reviewer said this is an extremely under-rated version. Trey is soaring with a tone that is beautiful and "weep-inducing", and he just keeps pushing this forward to new heights. Mike is playing all over the place in a fantastic melodic way and nicely high in the mix so you're able to key in on him. Everyone is absolutely tight and SO in the pocket - intently and psychically linked to each other but doing their own thing. One of those versions you need to relisten a few times and focus on each individual member just to hear their contribution. There is a moment at 8:37 that literally gives me chills each time I listen. This is Phish at their finest.
, attached to 1995-06-19

Review by JMart

JMart Obviously this show is getting bumped hard due to being featured on DaaM as well as archival release. Listened to the whole thing yesterday. The whole thing is pretty darn awesome, but I'd like to make special note of the Reba here. First, the first six minutes are played basically perfectly. Like, seriously I don't think they missed a note. The jam starts out innocuously enough, fairly patented Reba fare. Then, around 7:30, Mike and Page hit a weird jumble of notes. Trey immediately notices and follows them down into a very swift minor key transition. From there, Mike takes up a nifty bass line, which Trey and Page echo. This blossoms into a neat little bop rock aside, which lasts for about two minutes, before sliding back into the Reba jam proper. This moment is everything that is right with Phish in 1995. Also, it is Trey who messes up the landing at the end of Antelope, not Fishman.
, attached to 1986-10-31

Review by dr_strangelove

dr_strangelove I prefer the show before this one (10/15/1986), but this first Halloween show is not too shabby. First known version of Bowie, first recorded version of Melt The Guns. There are definitely moments that make the listening worthwhile. Here are my highlights: 1) [u]Slave[/u]: Short & sweet, but Trey's glittering '86 tone really makes the ending of this Slave shine. [b]2) [u]Melt The Guns[/u]:[/b] Love the original, and this cover tune seems perfect for Phish's vibe. Unfortunately it didn't stay in the repetoire. However, it does fluidly 'melt' into one of Phish's most beloved cover tunes… [b]3) [u]Sneakin' Sally[/u]:[/b] When has this song not been a smoke show? It seems like all these early versions rock. Trey's lead is confident, and the whole band is a little groove maker [b]4) [u]Jam > AC/DC Bag[/u]:[/b] The jam the precedes the bag is kind of simple. Trey noodling over Fishman. However, the build-up immediately preceding the transition to Bag is pretty hot and the ensuing Bag is also very hot. I think the jam was the engine revving up to unleash. [b] 5) [u]Bowie[/u]:[/b] First known Bowie, the arrangement is pretty much the same we've come to know over the years, although there is one notable difference with a tempo shift and slightly different melody. Kinda neat. As far as the jam goes, freaking smokes! Honestly, it makes me happy that from day 1, Bowie has been a juggernaut. 6) [u]Alumni Blues[/u]: Another early Phish tune where the band has the raging blues down pat. Some heroic rock band energy here. Both Trey and Page scorch.
, attached to 1991-11-09

Review by PHATTSKIS

PHATTSKIS This was my first actual PHiSH tape to receive in a trade back on spring Grateful Dead tour 1992, and is still a favorite. I had heard them on the lot in Cal Expo summer 1991, and then in some random encounters across fall tour, but this was my actual first PHiSH tape. Several things about the show stand out to me: my favorite song is on there (Foam), the great acid-grass of Sparkle, great pairing of Tube>YEM, and barbershop quartet of Sweet Adeline, which was my first hearing of that stuff. The second set is for sure a great set as well top to bottom, and there was some secret language in Possum. Well played, this young band impressed me and I gave that tape many listens over the years. Great way to get to acclimated and not overwhelmed with this new band (to me) at that time. My first show didn’t come until 2/18/1993, but I jumped in full steam in summer
, attached to 1998-07-02

Review by dr32timmymeat

dr32timmymeat This YEM has a really strong Reba 7/6/94 vibe... that soaring, climactic sense that is as much emotion as it is music. The sort of feeling that comes not from an overwhelming number of notes getting churned out by a hyperactive Trey solo (not that there's anything wrong with hyperactive Trey solos), but instead a harmony across the four of them. They all seem to step back and, as a result, everything paradoxically gets elevated. It's great.
, attached to 1997-11-30

Review by mancubism

mancubism Love for Stash -> Free >Jam -> Piper Rocking Stash through 13:00 - reminds us it doesn’t take them long to go deep in a set. Anchors the Q3 through Manteca teases around 8:00, with consistently strong syncopation & collaboration, ultimately rock star domination. Sharp smooth, buttery tone shift by Trey at 13:00, passes the mic to Mike, Fish keeping it afloat into sublime bliss at 20:00, inevitably and unavoidably into the only Free for Fall 97. They don’t wast time getting back into the groovy (moo-vy) funk that we heard in set 1 Funky Bitch & pre-darkout Wolfman’s. Strong finish to Free - showing us their ability to just kill even a rare song that tour -> lush coda giving us breath & pause after that workout. Delicate into Trey & Page on point opening up a lovely Piper. Perfect ending, another lush coda. What a fun romp all around.
, attached to 1989-05-26

Review by mancubism

mancubism Standard, well-executed set up thru Mike’s Groove. I’ve only heard Fast Sanity a few times and those seemed sloppy - but this one is tight & funky. Nancy singing Halley’s with them makes a silly song sillier and still they rock it. Interesting to hear this ending to Sloth - before the counting up to “onze!” And can we keep talking about this YEM? Great buildup to BOY, straight out of Washa Uffizi Page lays a quiet jam and you can just feel Trey itching to take over. Page has no problem with that. Trey’s off the hook, all the way through. I’m telling you - Trey went back & listened to this jam when writing My Soul & Guyute. So good. Talking all about their new songs, playing with the audience, the bet you didn’t notice our new gear rant before Lazy Lester - messing around and having fun. This is the banter you love. They’ve always loved communicating with the audience. Not a shabby Lazy Lester taboot! Early intro for Mango that they eventually scrapped for Trey’s melodic intro - good choice. Similar to the Sloth outro in set 1. On Relisten Mango fades out, then back in on the steam dream part of SOAM. The first Gin ever (“you heard it here first!”) - has a kind of From the Bottom from the top / limb by limb by limb vocal outro. Cool to hear their excitement about this new batch of songs - they never really stopped writing after releasing Junta More great banter from Trey tying Antelope to playing hockey - being a musician and pro hockey player sometimes not being very different. And teasing the audience before Golgi (“We won’t play it if you stay, but we will if you go”) - lots of playing around with timing of the Golgi melody too - all over this show are traces of Trey’s ability to take the songs to the next level. Set 3: Slave has a powerful minimalism that builds the tension in the first half - maybe from a slight misstep, then Trey jumps in with a weird fuzzy filter that sounds out of place, which Mike’s co-opts around 4:30-5:00. And then the song ends with heavy & deep organ & bass, lifted by Trey’s fire jamming - on par with this show’s theme. Nice spots for Mike & Page in FB & Cutis - Mike sticks with the fuzz & Page sounds like he’s had a fifth of wine singing lead. Cute riffs from Trey. Trey wants Molly’s hat for Possum. They’re all pretty loose at this point. Trey gives Possum the Johnny B Goode treatment. Mike gives the vocals the ....loose treatment. The only logical encore is Practical Song - prescient, singing about goods shortages years in advance of COVID
, attached to 1998-04-05

Review by islandtour1998

islandtour1998 first ever show. 17 years old, behind the stage (for Craig). a novice phan at the time, somehow knew most songs being played, but spent most of the night in awe at the entire scene. had no idea such a thing existed in which fans were so committed to celebrating a band. opened my eyes to a whole new world. enjoyed every second, especially seeing trey and mike on trampolines. highlights for me included yem, theme from the bottom, soam, dwd set 2 opener and ya mar (although not a phish original, one of my favorites). lots of other awesome moments in there as well. some serious funk, esp. in the second set. great times with a great buddy. i remember going to school the next day with a bit of a chip on my shoulder and bragging to classmates about the show.
, attached to 1994-04-11

Review by qushner

qushner One is supposed to review one's first show, after all. At 15 years old, this was the night that changed my life. Now middle aged, I return each year with older ears, a bit more critical, and also better able to appreciate the ups and downs of an evening with Phish. Despite whatever sentimental attachment I've got to the show, there's not really much to distinguish it from any number of other shows on this long, strange, in-between tour. Not quite polished, but decidedly graduated from the clubs they'd regularly haunted as recently as two years prior, Spring 1994 strikes me as a tour that casts about for an identity. Sometimes, Phish tries to ride its new material, and with varying degrees of success. Julius, for example, works quite well, pretty much from the beginning, and I think what later became known as the Julius Syndrome developed quickly: every version is the best version ever: this was certainly the case on this night at UNH. Other songs, most obviously Disease and (especially) Wolfman's, really had no idea what they were, and they fit awkwardly into the repertoire. When not working out the new stuff, Phish would fall back on their old habits: as the tour bled into May and June, the narrations and inside jokes piled up, but they didn't seem to work nearly as well when the band could no longer make out the faces at the back of the room. This show really is a tale of two sets. The first set is a run-of-the-mill 1994-vintage first set—but it's hot, top to bottom. The cool-down song is Glide, and that tells you what you need to know. Nothing here is necessarily a "must hear," but you could do far worse than to spend an hour listening to this set beginning to end. The two jazz tunes, which would be abandoned by year's end, both work here. Trey's solos on both are fiery and fluent. Though he'll never be confused for a "real" jazz guitarist, he follows the changes with confidence and dives down a few harmonic rabbit holes, building an admirable amount of tension using notes, phrasing, and the occasional double stop—not the delay, phase shifting, and loops that would eventually become his calling cards. Each of the proper Phish songs that round out the first set includes a canonical Big Phish Peak. Again, nothing revolutionary here—just what you'd expect/want to hear on any given night at a generic mid-'90s Phish show in some forgotten hockey arena. I thought I heard the tubes in Trey's amp gasping for breath after Divided. The second set, for better or for worse, also happened. Nothing quite comes together, though it's not for lack of trying. Maze... happens. Forbin's and Mockingbird do, too. The playing is good enough, and there have certainly been shows with poorer song selection, but the fire that filled the first half of the show has gone missing. Even the Mockingbird Trey leads, which are melodically competent, feel a bit forced. In the end it's a mishmash. An unearned psych-rock peak in Maze. A long narration in a too-big room (before this was rare enough to be Something Special). A recent single that you'd be forgiven for never having heard on the radio. An [i]a capella[/i] tune. A Big Ball Jam that was fun at the time (one big ball landed on my young head), but they realized they'd grown out of a few months too late. A perfunctory YEM. An apology of a closer in Suzy—at least we'll send you home smiling. Nothing's wrong, but nothing's quite right either. All together, this show has tremendous meaning to me, and I look forward to hearing it each April. But my older ears have learned to appreciate the show for what it was: just another Monday night on another long tour. I hope that you'll give it a listen. If you wander away at setbreak, I won't hold it against you.
, attached to 1997-07-01

Review by caswell318

caswell318 I saw this show and the following night at the Paradiso. Tickets were sold out long before the band got to Europe. Everyone had mail ordered. But randomly I met some guys that spent the day before hanging with the band at the Grey Area and they wrote down their names and added them to the guest list. So at the door, they said their names and were let in without tickets. they handed theirs back to me and we all went in. Ive never seen a venue like the Paradiso in my life. Its beautiful. small. intimate. the sound was amazing. And then the sets they played those two nights... the recordings dont entirely capture it all. The sound was so heavy. The bass ripped through your chest. it wasn't crazy loud, but they were pushing so much sound. Its hard to explain. Its like they dropped all the amps from a huge venue in a little place and turned it down to sound right, but you could feel everything. And there were maybe 1,500 of us in there. DO YOU KNOW WHERE YOU ARE? YOURE ON THE BACK OF THE WORM! I tried to explain this to my friends for years and no one really understood. And just tonight I went looking for a recording of that night and realized it was released as a part of a box set. Seriously one of the best shows Ive ever seen. So lucky I got to see it and feel it in person. I wish I could go back.
, attached to 1992-03-27

Review by Miguelito

Miguelito This show is loaded with energy, especially in the first set, and to my ears it’s somewhat underrated. I will admit a little bias towards this time period as I caught my first show just 13 days prior to this one, and then saw a couple of others later that May. And while there were numerous better shows this tour, this one still has some things that are worth checking out. Llama is one of my favorite classic openers and this one doesn’t disappoint. It’s a rager and sets the tone, leading into a great Reba. This is a fantastic 1-2 opening sequence. An upbeat Paul & Silas leads into The Sloth, a song I always love catching. Page does some nice organ work on this one. The band seems fired up. Divided Sky follows, and they play this one with the same high-energy and intensity as the songs preceding it. Once again, Page’s playing is noteworthy here. Guelah and Maze are more high-energy playing by the band and, at this point, this set is pretty stacked. Antelope is the perfect, fiery closer to the set, containing some a We’re Off to See the Wizard tease that is well-placed and leads to a nice peak. The Mike’s Groove to open the second set was solid. There are some fun vocal antics during Weekapaug but overall it seemed that the there was a slight dip in energy after set break. Also, intentional or not, the band’s segue into Hydrogen and then Weekapaug was unusual and interesting. MSO is notable for the numerous signals contained within. The Gin D&M Magilla Hood run in the middle of the set is a nice sequence. Although the Gin is pretty short, it’s welcome here. Both D&M and Magilla are tunes that have been basically shelved but both were fairly common back in those days. Still, they’re both really nice to hear and are really well played. Next we get a respectable, solid Hood. The show ends with an entertaining Love You and Golgi, followed by a pair of a capella tunes for the encore. This is a fun, solid show. I liked the first set more than the second but overall this comes across as a show that’s a bit underrated.
, attached to 1996-07-06

Review by dr_strangelove

dr_strangelove Check TheEmu's review, pretty spot on. As far as an opening set of music to a crowd that may be unfamiliar with Phish, they did a great job of playing everything well and with energy. As far as essential Phish, however, this can safely (and for good reason) be put on the backburner. Highlights: 1) [u]Reba[/u]: Well played, straightforward, and reaches a nice, if standard, peak. 2) [u]Maze[/u]: Mama mia, rage city! Wish I knew what that Italian crowd was thinking! 3) [u]Hood[/u]: Nice build and peak where Trey holds on a note for an uncomfortably beautiful amount of time
, attached to 1989-05-14

Review by Reelife_Tom

Reelife_Tom Sunday, May 14, 1989- was planned to be in the Southwest area quad and called The Southwest Spring Concert. (Not Campus Pond as noted above) but moved to parking lot due to heavy rain. There were skydivers that parachuted into the show... I was a member of the Southwest area concert committee and I contacted John Paluska yo get Phish to play at this show. I helped coordinate their contract...I got the band's autographs (Fishman signed his “John Hancock- since I asked for their :”John hancocks) and photos of them on stage. They opened up for (!) Canned Heat. Other performances were by The Incredible Casuals & Atlantic Steel Drum Band.
, attached to 1998-07-17

Review by TooManyUrkels

TooManyUrkels No matter how you slice it, this show deserves 5 stars and to be rated at least a 4.6 overall. Legit just came to leave this review and drop 5 stars here when I noticed it fell below 4.6. Absolutely filthy the whole way through. Set I is a blast top to bottom. Ya Mar > Sky are where the jams lie and each one is as thick and chunky as they come. Set II is legendary for a reason. Just nonstop groove. Fishman's the obvious MVP here. Pocket so deep. How this show hasn't been released on LivePhish yet is beyond me. I'm pining for sweet remastered audio of this iconic show.
, attached to 1998-04-04

Review by JMart

JMart Sometimes the show's greatness lies in the details. This being one of the most famous shows of all time, I don't think I have to spend too much time setting it up. Right when Birds ends, Trey rips a little chord before putting on the delay loop, which eases into some really sinister space, which keeps building and building. Then Trey turns on this effect that almost sounds like someone electronically yodeling, when then morphs into the yodeling person sounding like they're having a molly-drenched seizure. Riiight when that hits perfect freak out level, only THEN does Fish drop the snare/kick hammer into 2001. It's a tiny, beautiful moment. One that shows how exactly in control Phish were at that point in their career.
, attached to 1986-04-25

Review by cleantone

cleantone Just recently transferred my old cassette of this performance. It's not really any different or better than circulating versions by the way. I was going over it in some restoration software. I'm pretty confident that Makisupa Policeman was not performed from this date. Or that the Makisupa Policeman that commonly ends Side A is a filler or remnant of something else. Checking [url=https://phish.com/tours/dates/tue-1986-04-25-outside-bailey-howe-library-on-the-green-uvm/]Phish.com[/url] it's not present. The frequency content is different and it sounds like it's recorded indoors. It's possible an early dub was taped over something else or that this was intentionally spliced on as a filler. [url=https://imgur.com/gallery/duEPHSL]Here[/url] is the newspaper clipping that helped figure out the correct date.
, attached to 1997-07-23

Review by dr_strangelove

dr_strangelove Stellar show that caps the stellar opening weekend for Phish's return from Europe. Must hear material laced throughout. Incredible show. Highlights: [b]1) [u]Julius[/u][/b]: After hearing Julius follow the same mold time after time, what a delight this version is! This Type I jam goes from full-on rage mode down to cool, bluesy mode and stays fun the whole time. Mike is particularly excellent in this version, with Page and Trey setting a nice backdrop for his bass riffing. The energy ramps back up for the final coda, foreshadowing the arrival of many more unexpected delights. [b]2) [u]SOAMelt[/u]:[/b] Drops straight into some lite porno funk which is awesome. Didn't know you could f*** to this song. Eventually, the jam begins a meandering journey to the more familiar tension-building dynamics. The journey is worth the effort, because the band finally locks in and raises some spine-tingling moments of anticipation. 3) [u]Possum[/u]: Hey kids, ever heard the phrase "rage tits"? No? Define it in a sentence, you say? Hmmm.... the 1997-07-23 Possum is rage tits. [b]4) [u]Ghost[/u]:[/b] tl;dr: Gravy funk that bubbles over into the the theme song for a baby elephant dying in a mud pit... OK, the jam starts with slinky clav, Mike's snap crackle and pop basslines; the makings of smooth gravy funk. Trey cranks the burner, causing the gravy to bubble from smooth to hyper-groove. The jam persists in this realm for a while (like 12+ minutes?) and its all grade-A bacon fat mixed with flour. Danceable flowing mini-grooves galore. At ~17:30, Trey goes in for the kill, attacking on a theme he had been flirting with. The peak is so good, Fishman literally starts screaming over the funk. After about 2:00 mins of this amazing peak, the jam down-shifts into a slow, plodding funk, with a melancholic feel. Like a baby elephant stuck in a mud pit, Mike's bass notes marking the slogging, plodding steps while Trey and Page are the swirling savannah birds offering pitiful cries of woe. This weird, amazing jam grows in intensity until the plodding becomes thrashing and it ends with an orgasm of weird Page synth effects before Trey's guitar emerges above the din with a great transition to Sample in a Jar. [b]5) [u]YEM[/u]:[/b] tl;dr: very well-played YEM becomes a demented bar mitzvah dance party.... OK, so the YEM proper is well-played and follows the funky pattern we've all come to expect. And then suddenly it's just not that anymore!? Fishman starts playing a simple 4/4 woodblock beat and this is where the jeopardy tease comes in. And jeopardy naturally leads to a Nagila Hava-esque bar mitzvah dance party? Mike takes an astounding lead (which is part of the reason this jam is resembles SOAMule), and suddenly the band starts reciting the "wash ufizzi drive me to Firenzi" refrain over this Klezmer beat. The refrains grow to ridiculous insanity, the beat speeding up, audience clapping along, before ending with a cacophony of noise that is punctured by fractured hits. And now the band is... what in the hell is going on?!? The band is playing... 6) [u]Rocky Mountain Way[/u]: ROCKY MOUNTAIN WAY!! GTFO!! The journey getting to this song was amazing and the energy carries over into this awesome cover tune.
, attached to 1994-06-14

Review by arrows42

arrows42 Was right about dead center for this small show. Cool modern theater, great sound. Being there's no balcony and one big slope, felt like everyone in the place had a good view. Of course the band was tight, it's June '94, Trey was especially going for those mountain climb type runs. I remember being mind altered and folks selling "ReadIcculus" bumper stickers outside. Very little vending scene for a small 1-stop show like this in Iowa. Very fun crowd, you felt like we were seeing the best guitarist of our generation; hey, we were.
, attached to 2017-12-30

Review by TooManyUrkels

TooManyUrkels Finally gave this show a listen today and it deserves the praise it gets. Set 1: Mike's > Gin is all exemplary stuff. They could have just stopped there and I'd have been satisfied. While the downtempo Brother must have been a fun bust-out for those in attendance, I find it a little goofy and awkward on tape, so much so that I'm going to call it the show's low point. YMMV, however. Set 2: Jams on jams on jams. DWD is top-notch long-form 3.0 jamming, going all sorts of places and modulating feels/tempi/key seemingly at-will. The Steam outro jam is my favorite type of Phish - weird, freaky, boundless, arrhythmic abstraction, and is the biggest highlight to my ears. Farmhouse's outro jam is lovely, airy, and quite pretty, as expected. Antelope is powerful, tense stuff - you can really hear the audience get hyped and impend the big buildup to double-time, which elevates the payoff. The boys are really on-point in this one and summarizes the entire set's thesis. Easy 5 stars. This show really feels like it should be a 4.6+ rating, since I think it stacks up against 7/25/17 and other heavyweight 3.0 outings.
, attached to 1994-05-12

Review by Miguelito

Miguelito This show gets off to a fun start with Catapult and Rift. The DWD which follows, while still in its infancy, is a nice early show boost of energy. After Fee, we get to the first major highlight of the show with a knockout Maze. This one is just blazing with frenzied energy. The Foam is fantastic, with the band bringing it down to near silence and then building it back up again with that ‘94 precision. And then we get to the Gin. I’m a huge fan of this song and this phenomenal version is likely often overlooked, since this show isn’t really discussed much or ranked too highly. This Gin deserves more recognition and, after numerous listens, has become one of my favorite early versions for its pep and the band’s collective exploration, leading to a nice finish. The ensuing Lizards and Sample end the set in fine fashion. This brings us to set II. A typical short-for-the-era 2001 opens, leading into a welcome Antelope. I always love when this tune appears anywhere but in its usual set-closing position, and here it serves nicely in the second position. A couple of tunes later we get to another major highlight of the show - Fluffhead - that is really well-executed. Then we get to Possum, which is stunning. I love the Bring it on Home tease (also heard in Fluffhead but this is a bit more extended) and the band is on fire here. Overall, this is a slightly underrated show but with the quality of the band’s playing, together with the highlights, there is enough here to warrant checking this show out.
, attached to 1990-11-06

Review by Svenzhenz

Svenzhenz No a review as much as a footnote to this show. I just learned that my neighbor's band, Machinery Hill, opened for Phish at one of the Cabooze shows in '90 or '91. Not sure if it was this show or both. I'll press for details... A Story he shared was that his band was in their backstage room drinking cheap domestic beers, when all of a sudden Trey came bursting into the room with a 12pk of Heineken under each arm, looking to hang out. Evidently, the trade-up to drinking Heineken for the night made a lasting impression on my neighbor...
, attached to 2014-07-01

Review by TooManyUrkels

TooManyUrkels Showed up mid-way through the first set with the crew. This was early in my exposure to Phish, so was chasing some ALO classics that I got at this show (Stash, BATR namely) and was psyched on that. My mom came too and was stoked on the scene. Listening back, everything is well-rendered in both sets. Set 1 is played pretty close to the chest - no particularly notable jams or renditions to note, but the Fuego tunes sound crispy. Set 2's highlights are the Ghost > Hood trio; unfortunately Mike's > Free was mostly a non-starter in hindsight, although tightly performed. I remember my good buddy, who came to the show despite not really liking Phish, was audibly impressed by a moment in the second set (I don't remember which song) where the boys - and CK5 - linked up on an accented hit amidst some ambling, middling passage of a jam. Good times. I'd give it 3.5 stars if I could, but will settle with 4.
, attached to 2013-10-25

Review by TooManyUrkels

TooManyUrkels I was at this show with a close friend. My first time dosing in an arena, bugged out a little but had a great time. Late-night Worcester post-Phish is a weird scene, especially so whilst spun. We accidentally went the wrong way coming out of the DCU and ended up by some theater crowded with what I thought were attendees of a Juggalo convention. Strange vibes but made it out alive. Listening back to my attended shows, this one comes off as a collection of thicc type-1 renditions from top to bottom. Definitely not a bad thing for a Friday night, but not super engaging in hindsight. This show is what 3 stars ratings are for. Highlights: The Curtain With, Waves > Carini, and the encore
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