Phish at The Gorge
With all eyes on three more shows at Dick’s to officially close out Phish’s 2013 summer tour and a hotly anticipated Fall Tour ready for liftoff this October, the present buzz around Phish is as high as it’s ever been. After eight memorable shows on the West Coast they can now lay claim to their own “Elite Eight”. Were they the best eight Phish shows ever? Maybe so, maybe not. But in a world of subjective musings revolving around this purely one-of-a-kind band, it is certain that their most recent West Coast tour will be referenced as yet another highpoint in the bands illustrious 30-year career.
The Gorge
After picking up steam in Chicago and Toronto to close out leg one of summer tour, Phish descended on Gorge Amphitheater is the middle of nowhere Washington for two of the most anticipated shows of the summer. The Gorge is simply a magical venue to see Phish. If you love this band, this is a mandatory venue visit, something to the effect of a non-produced West Coast style festival. With six previous trips before this summer’s visit, the majority of Phish’s Gorge shows have produced something special. The latest two shows continued this historical trend, offering arguably the two most complete shows of the summer.
On night one the band came out firing right from the start. With a more jammed-out version of “AC DC Bag” than what’s been more recently offered, right into the first “Timber Ho” of tour, the crowd went from gaping at the dramatic scenery into a complete instantaneous throw-down in no time. A funky “Wolfman’s Brother” followed, where keyboardist Page McConnell brought a dance party groove early in the set.
If Phish didn’t offer the possibility for something truly special on a nightly basis, fans wouldn’t keep going, would we? So when Trey grabbed a “Wilson” t-shirt from a fan in the crowd and proceeded to banter about how the NFL would start playing “Wilson” next season to welcome star Seattle Seahawks quarterback Russell Wilson to the field, you knew the rest of the evening had the potential to leave something special. So if you hear “Wilson” played at Century Links Stadium next football season to 67,000+ attendees, possibly on national TV, just remember Trey called it at the Gorge.
It also turns out this night was none other than Chris Kuroda’s birthday. Chis, aka the “fifth member” or “CK5”, has a new lighting rig and is a central part of the Phish madness. Knowing it was his birthday only grew anticipation for the remainder of the show. While a little stretch in “Tube” was nice to push the fan favorite beyond a mere few minutes of play, it was the set closing, exploratory “Split Open and Melt” that received the most attention at set break. It’s definitely worth another listen. As is set two.
Kicking off with an out-there “Crosseyed and Painless”, Phish offered a unique, dark jamming sequence that is easily one of top moments from this leg of tour. The following run of “Twist”>”Steam”>”Waves”>”Twenty Years Later” was pure, flowing, seamless Phish. Since it was Kuroda’s birthday, it made sense that “David Bowie,” what he’s said is his favorite Phish tune, would get played. Another standout version of a staple Phish song, this “Bowie” put the cherry on top of a show that felt more like it was falling at the end of tour rather than the beginning. Maybe that’s because they weren’t done yet. “Character Zero” played as sort of an exclamation point on a complete show which allowed the band to blast off one more time before Trey asked Kuroda to kill the lights so the entire Gorge could literally howl at the almost full moon. Here in one show we had beautiful type II improvisation, tight takes on type I fixed jam sequences, quirky madness with the “Wilson” banter and howling at the moon jam, something memorable in a “Happy Birthday” sing-along for beloved lighting director Chris Kuroda, with a little bluegrass, funk and rock and roll taboot. And I haven’t even gotten to the beautiful encore pairing of an original in “Harry Hood “, and the seldom played Jimi Hendrix cover “Fire”. What else could you possibly ask for?
Enter Gorge night two.
After one of their tightest offerings of the summer, Phish showed up on night two of the Gorge and dropped arguably the most total show of the summer. Again, right from the start things were immediately interesting. “Architect” opened the show followed by “Golgi Apparatus.” A strange couple that somehow worked. When “The Curtain With” dropped everyone was as locked into the show as conceivably possible. The “With” jam was light, flowy and transcendent. The rest of the set carried on in a rather straightforward, but groove featured fashion.
With the sad news of JJ Cale passing many fans thought the band would make some sort of offering to the late, great musician. They did in closing the set with a blistering “After Midnight” that was preceded by a wide-open take on “Ocelot.” But “Say Something”, had something to say. Many were unfamiliar with the song and actually thought it was a JJ Cale cover. It had a similar feel to a JJ tune in its bluesy, rockabilly style, but it turns out it was a Mike Gordon original (co-written with Scott Murawski) and a debut at that. Give it a re-listen and let’s hope to hear this one at Dick’s. It’s got all the makings of a new classic and deserves a place in the catalogue.
Set two, night two. Here’s were the exclamation point went down on what really ended up being two unbelievable shows. The opening frame of “Down with Disease”>”Undermind” is the clear standout. While the previous evening’s standout jam was “Crosseyed and Painless,” this “Disease” was patient, unique, a simply beautiful jam. But it was the segue and playing throughout “Undermind” that was the stuff of brilliance. Only two songs in and Phish was clearly winning. While nothing else from the rest of the set touched the improvisational quality of the “Disease” and “Undermind,” what’s left is what one can call a truly complete set of Phish. Song choice, place and style all fit perfectly. “Light” wasn’t as crazy as we’ve come to know and love. “2001” was still shortened to only a few minutes in length. But together, the set worked in such a way that if you’re going to listen to any one set from leg two of summer tour, this is the one. The funk of “Sneaking Sally Through the Alley”, the ripping chords of “Walls of the Cave,” and closing notes of “Fluffhead” >”Antelope”- ultimately, it’s a textbook example of how masterful Phish can bring it in the now, and why as a fan you should never miss a show at the Gorge.
“Lawn Boy” in Tahoe
Tahoe
After two top-notch shows it was time to return to stunning Lake Tahoe, a place most fans would’ve thought was a one-off gig for Phish back in 2011. While those previous shows were fun enough, both of 2013’s shows exceeded what was previously offered and then some.
Tahoe night one was an inspired dance party with 7,000 lucky fans throwing down just over the California boarder in Stateline, Nevada. With late-night shows planned for both days and the jewel of the Sierra, aka Lake Tahoe available for daytime fun, the band came out sending and clearly passed on the fun they were feeling to the crowd.
A “Wolfman’s Brother” to open the set initially sounded a bit odd as it had just been offered at the Gorge, but the rhythms were so funky any doubt was immediately cast aside with Harvey’s Amphitheater off and running. “Gotta Jiboo” carried the danceable groove and kept the set running with tight takes on “Birds of a Feather,” “Cities” and a raging end to the set in “Tube” >”Walk Away.” However, the highlight of this set came in a unique “Bathtub Gin.” It wasn’t the longest take, nor was it the most out-there version, but the peak served as clear pinnacle moment, making sure everyone in attendance knew there’d be no letting up from the Gorge.
Set two switched things over to more of a hard changing, rock and roll feel for the remainder of the show. A breakout jam in “Golden Age” bled into a huge, rocking “46 Days.” If there was ever any question in this show, the groove laced “Ghost”> absolutely raging “Carini” shook any doubt. The segue continued, into a swift, bouncy “Piper”. The “Mikes Song”>”Slave to the Traffic Light” was a solid way to cap the set.
Rolling into night two, after three incredible shows, would Phish raise the bar once again? In a show that will be remembered indefinitely, that answers any questions if this band can play on a level they once consistency brought 15-20 years ago, and actually does not need a date to place it, the answer is an undoubtable yes.
Another atypical first set showcased an always welcome “Camel Walk”, “Its Ice” and another nicely jammed “Ocelot.” Other highlights include the bands fourth take on the Mike Gordon reggae tune, “Yarmouth Road” and a intricately woven “Stash.” A great first set, truly the seventh well played set in as many offerings, but the opening tune from set two is why this show needs not be remembered for anything other than two words.
Tahoe “Tweezer.” It’s a jam that just doesn’t get old. In fact, as surreal as it was experiencing it in person, the jam gets better and better every time you listen to it. Each section of music is unique, well-thought out and goes somewhere. There’s a clear “Dark” and “Light” jam. There’s a section where it’s hard not to hear some form of 70’s classic rock, one where many of us thought the jam was done-and it still would’ve been hailed as a top-tier jam, and several more layers beyond that. There’s even a spontaneous back-and-forth energy exchange with the crowd yielding a “Wooo!” call-out that saw life in each of the remaining four shows of tour. Phish has produced some mind-melting music over their illustrious career, and while the band and its fans are as esoteric as anything in music, and subjectivity is at the helm in every one of these “best of” conversations and reviews, nothing can take away from the fact that this is one of the proudest things Phish has every created. It was almost hard to listen to the rest of the set after this monumental “Tweezer” but they tried their best, playing only the seventh “Tela” since 1998 directly after “Tweezer.” The set closing “Antelope” was pure fire, as was the rocking “Julius” >Tweezer Reprise” encore. But the singular moment of this Phish era took place on this evening outside the norm in “Tweezer”. It will stand the test of time and continue to receive as much hype as it deserves because it quite simply is that good.
Hollywood Bowl
San Francisco
Now what? After four incredible shows and a career defining jam, Phish came out and offered yet another complete set of music. Interestingly, set one had more flow and pop than set two, but when you change venues to San Francisco and throw an indoor Phish vibe into the mix anything’s possible.
“Free” has only opened a set three times since the MSG New Year’s run back in 1998. Toss in a “Meat” to follow up “Free,” Vultures” and a “Halfway to the Moon” and there you have some deeper pulls from the catalogue that saw play in set one, night one in San Francisco. The double R’s of “Roggae” and “Reba” were the real standouts in this set, especially the “Reba,” a song many fans still cite as a favorite, but has failed to provide the take off it was once renowned for in the earlier days of the band.
Set two was fun. “Punch You In The Eye” got things off and running as it always does when dropped as a set opener, and “ Down with Disease” provided yet another springboard of memorable improvisation that’s worth another listen. “Seven Below” was a highlight for night one in San Francisco, which was ultimately a quality all-around show.
Several rare songs were dropped on night two at the Bill Graham Civic Center, even though as a whole the show didn’t pop like the previous five. That said, when you look at what individual songs were played in set one and listen back to the two amazing jams in set two, it speaks to the utter brilliance of Phish in the now. Kicking things off with an a capella “Grind” and moving right into “Alumni Blues”>”Letter to Jimmy Page”> “Alumni Blues”, Phish was once again clearly stating you have no idea what the band will choose to play at any given show, at any given time. The sixth “Lengthwise” since 1993 followed right into a “Maze” that brought the first high peak of the evening. Another infrequent offering in “Jesus Just Left Chicago” continued the set of rarities before “First Tube” brought the energy back up before set break.
Second set might be best characterized as one more Saturday night. While a huge “Slave to the Traffic Light” brought things to a brilliant end and another entertaining take on “Steam” was well received, it’s “Rock and Roll” that’s arguably the brightest moment from the only three show run from the second leg of summer tour. It’s another standout moment from the leg as a whole, one that needs to be heard again to properly appreciate the intricacies of a song that’s brought more than one memorable jam in Phish’s most recent era.
The final show from San Francisco was shaping up to be “the one”. The thing is in the first four shows unique type I jams, leaving standard song structure, and what song would get jammed were all over the place. In San Francisco the jams and the regularity of jamming seemed to trail off. The first set boasted several well-played, tight tunes, but nothing extraordinary was offered even though song choice continued in the vein of leg two with well thought-out, lesser played choices. However, set two was something else. “Rock and Roll” from the previous night got some competition from the opening frame from set two, night three in “Energy”> “Runaway Jim.” One of the top jams of the summer showcased a return to a deep improvisation in “Runaway Jim,” which was once a given. Also, the hope that the new cover, “Energy” might be yet another chance for intergalactic Phish brilliance looking ahead, was funded in full with a standout jam that bled into “Jim.” Overall, the set was solid, and the encore of “Sanity” and “Bold as Love” left the crowd satiated and stoked on a well-played three-show run.
At this point, after seven quality shows, Phish had just one more night to bookend their most far-reaching tour in recent memory.
Hollywood
The Gorge, Lake Tahoe and San Francisco have what in common with Hollywood? Not much is right, but the Hollywood Bowl is a pretty rad place to take in a Phish show. It’s very So. Cal, very L.A. and completely different from any of the other leg two tour stops. But with Kuroda manning the out-of-this-world lights, the show took on a new dimension. Kuroda knows the music as well as anyone and brings his A-game to each and every show. The backdrop in Hollywood was so incredibly different. Blending a visual odyssey with classic Phish was a perfect way to end a truly memorable tour.
Musically, the show was very much a standard offering, catering to a large, metropolitan crowd, many of whom were catching their one show of the tour/summer/year. That said, the energy was high, positive and seemingly filled with gratitude all night long, simply because Phish was in town. The first “Scent of a Mule” and “While My Guitar Gently Weeps” of tour were highlights for the first set. Especially during “ Mule” when the “Mule Duel” showcased the whole band moving over to Fishman’s drum kit and sculpting a jam from outer space. With Mike Gordon holding his bass up for Fishman to smash with mallets, Trey and Page started picking on different drums, captivating the audience and reminding us all that even in the midst of a largely standard set, the extraordinary is never out of the question at a Phish show.
Set two was rocking, but didn’t leave much in terms of memorable moments except for an absolutely stunning take on “Harry Hood.” “Hood” has always been a fan favorite. It was during “Hood” when the first glowstick war took place in Limestone-something that’s now largely a given at most Phish shows. The song’s blend of sound is something new and old fans tend to feel very good about. The Hollywood Bowl version is unlike anything Phish has ever offered. You expect exploratory jams in “Bathtub Gin” or in “Rock and Roll”, but the “Hood” jam is usually somewhat contained, anticipated and hoped that’s its intricate, tightly woven jamming sequence is nailed. Add this to your list of must listen to beasts from second leg of summer tour. It’s really not like anything you’ve heard or would think would come from “Hood”.
On the heels of a truly spectacular West Coast tour the anticipation for Dick’s and Fall Tour are at a boiling point. Some longtime Phish fans are stuck on the “peak” decade of the band, believing nothing will touch those nights ever again. While the arguments of high caliber music during that era are certainly true, to live in the past and take anything away from what Phish is doing in the now is criminal. Those will always be favorite years for anyone that listens to Phish with a passion. However, in understanding that it’s 2013 and the band has remained close to the same core four for so long (thanks for “Possum” and “Camel Walk” Jeff Holdsworth), Phish is bringing a uniqueness to the stage on a nightly basis that is unmatched by any live touring act in the world. Not many bands have such a critical, diehard fan base and I’ll be one of many to share that listening to 90’s Phish is still something special. It was a remarkable period of time and the hallowed sub periods (winter 95, fall 97, etc.) were bright. I can still see myself in the 90’s, fixated on Trey, sincerely believing he could do no wrong. But in the now, it’s not a one-man band-it’s more of a collective. What just went down on the West Coast is truly a collection of eight elite shows that can all be listened to as one seamless chunk of Phishtory. The current state of Phish is incredibly exciting and bright right now, and the light is only growing brighter.
