If Life Were Easy And Not So Fast — Murfreesboro, TN 11.15.1998

Phish — Murphy Center — Murfreesboro, TN 11.15.1998

I  MFMF, Ghost>Driver, SOAMule, Cavern>LxL, Roggae>La Grange

II Jim>Stash, Mike’s>Simple>Wading>Cup>Weekapaug

E  Rocky Top

Stopping next in one of the more hard to pronounce US towns that the band has ever played, Phish played a Sunday night show on the back end of three straight nights to an enthusiastic crowd at Middle Tennessee State University in Murfreesboro, TN. Okay, maybe I’m the only one who finds ‘Murfreesboro’ to be a tongue-twisting town name. Anyway, while this might not be a Sunday night skip show for the ages it does offer up some items for discussion and provides more to add to our ever-growing “takeaways” list. Speaking of, just a site note here, I wanted to mention that once I wrap up the tour I’ll do a few summary posts including at least one that highlights all of the takeaways so that we can then dance the night away about architecture. Now back to the show!

Things get started off in a dark way as they cue up the not-nearly-as-rare-as-you-think My Friend, My Friend opener. By contrast, the song has only opened 8 2nd sets and encored one show. This tune sets the tone for the set by staying a bit on the slower side while pushing that demonic feel that is furthered by a loop-aided crawl through the ending ‘Myfe’ section. Trey starts up another, more telltale loop at the end and we on our way to Ghost. You can tell from the start they are playing patiently tonight as they let this one seep into the jam, funking along and searching together for something bigger (there’s a San Ho Zay tease in here too if you like that sort of thing). Trey starts up an interesting melodic lead around 8:40 or so and the band catches on as they ride this to something of a peak though in reality they never bring that build to full fruition. This gives way to a static section where Trey and Page are basically comping along until it drops into some transitional ambient space. Mike is offering up the most in this section (and I must say that throughout this show Mike has some very strong playing though that might be as much a factor of his forward presence on the tapes as anything else) before we get that transition to Driver. Tonight’s version is nice enough with Trey on the acoustic once more but the highlight is probably after when Trey jokes that they were going to call it “The Driver In Fish’s Head” but decided that would have been too much, eliciting a subdued rimshot out of Fish in response. Funny guys.

Taking the energy up a bit with Scent of a Mule, Mike offers up some footbell action as Page takes over to solo. Trey comes in to parrot his line and they build to the klezmer finale you know so well. A mid set Cavern is next and at this point I should probably note that thus far (and really, continuing throughout the show) everything has felt to be played at a slower tempo than “normal”. This Cavern is a good example as it is plodding in comparison to what you expect out of the song. Limb by Limb comes in as a shot of energy following this, however, and all of that patient playing pays off as they really go for it in building a smile-inducing peak that shows off Trey pushing it higher while playing what seems to be an impossible number of notes along the way. He even gets in the peak run from Taste at the 8:00 mark  which is pretty cool. They take things down again for a nice run through Roggae which then cranks into the start of the tour debut of the old rocker La Grange, a song that has now dropped into the where-are-they-now file (perhaps due to its ubiquity on tv commercials these days…). Now, even in being that crunchy Texas rock it feels slow somehow but it pays off and sends everyone off to setbreak in a good mood, capping a set that doesn’t have much standing out but that flows well and has that top notch playing on display throughout.

The second set could have gone a lot of ways following that adagio first set. Not that it was bad by any means, just that the pace of some of these tunes moves like molasses as if it were a Dead & Company show or something. This carries over to the second set as well as even in the set opening Runaway Jim they don’t exactly rush things. The jam here is nice and to the point without much wasted on searching or comping along waiting for someone to put forth an idea but it also doesn’t move the song too far forward either. They wrap this one up pretty quickly though and head into Stash for one of those rare second set takes on the tune. Here the slower pace is more noticeable than in the preceding Jim but once they get to the jam that all takes a back seat to Mike first laying down a line that really moves this sideways before they go into the dissonant T&R build section in the back half. Trey takes the forefront here and they tie it up nicely for a relatively short but succinct jam. This one deserves a respin or two if only to hear how Mike takes charge. Next up is Mike’s which starts you wondering how they will fill up this Groove but then they get to the jam and you forget all that for a bit while you ride the backwards loop into the pocket they craft here. Still working patiently, Trey puts together a captivating lead line that hugs that chugging groove while Page swirls away on the organ. Soon they set up to head into the second jam but instead opt for Simple, playing a lovely version that has several “scaled” runs by Trey in bringing the mood up and then back down towards a move into Wading in the Velvet Sea via a brief Page-only section for what appears to be our mid set cool down number.

Now, I am generally not a big Wading fan as the repetitive, weepy lyrics just don’t do much for me and the end solo is usually pretty standard but tonight things are a bit different. After working through the song and sticking the landing on that solo they drop into some of that Fall ’98 ambience though tonight it is almost uplifting, hinting back to Wading at points. There are those who say this music feels a lot like the end of the Bethel Tech Rehearsal Waves and I really can’t deny the similarity even if that is probably purely coincidental. This is a somewhat abbreviated ambient space though as fairly quickly Page lays down the chords indicating the start of Loving Cup. This version cranks up in a hurry with Trey taking charge in leading the band through the song with a screaming solo all while the rest of the band pounds on behind him. It is a pretty solid version of this song that kinda sorta always sounds the same — and I say that having recently covered the tour where it debuted and in which they played it quite a bit. I mean, it’s no Indio Halloween show closing Cup with horns and Sharon Jones BUT it rages all the same. Mike then keeps it on the up by starting up that Paug we have just been waiting for and now we know we are in closer territory (if it wasn’t already obvious by the double closer pairing here…). Once again Mike is driving the bus a bit here, punishing that bass in bringing the pace up (these last two songs are the most energetically paced of the night easily). As they elevate here in building tension they are playing what feels like double time to the rest of the set, eventually paying off the build with a shreddy peak before coming back around to the final chorus and wrapping up the set. As one could expect the encore tonight is Rocky Top, the state song here in Tennessee. Okay, let’s be honest. It is one of TEN official state songs for Tennessee which is so perfectly Tennessean I can’t even stand it. In case you are wondering, the other ones are My Homeland, Tennessee, When It’s Iris Time in Tennessee, My Tennessee (1992), the Tennessee Waltz (here’s a nice version with Bonnie Raitt and Norah Jones), Tennessee, The Pride of Tennessee, A Bicentennial Rap: 1796-1996, Tennessee (2012), and Smoky Mountain Rain (a fantastically Ronnie Milsapian tune). I shit you not, that Bicentennial Rap song is real and it is hilariously bad. I couldn’t find the others on a quick youtube search but you are perhaps better off listening to the Arrested Development song Tennessee or maybe a high quality Tennessee Jed from the good old Grateful Dead than diving too deep here. Either of those would have been interesting covers for Phish to try out, eh? All that to say that this version of Rocky Top is pretty good considering the high energy of the crowd and the band playing to that.

So what to make of this show…  On one hand it feels like there isn’t much here as there really isn’t a “must hear” jam to be had and the slow pace keeps the energy level a bit subdued throughout the show. Perhaps that is due to playing their third venue in as many nights (with about 550 miles of driving between the three stops) and being a bit tired but I really don’t hear it that way. The other hand says there isn’t anything bad here and the playing throughout is solid at worst. They are clearly connected at this point in the tour and the ideas come freely. This show is one you won’t hear people point to, particularly with all of the great stuff in the days around it. I maintain that it is worth a listen. I enjoyed this one and was a bit surprised to have that realization. I’m not putting it ahead of the top shows here and the takeaways are fewer than most shows so far this tour but you could do worse than to spend the two plus hours it takes to get through this relatively short show. So let’s get to those takeaways. Tonight we have the Ghost, Mule, LxL, Stash, and Wading>Cup>Paug with the Mike’s being one to add if you are feeling generous. Now we have a couple of off days to rest up before we get to South Cackalacky for the last appearance to date in the Upcountry.

No Surprise, No Mystery — Cincinnati, OH 11.14.1998

Phish — The Crown — Cincinnati, OH 11.14.1998

I  Funky Bitch>My Soul, Reba, Bouncin, Tweezer>Moma>Sparkle>Zero

II  Bowie, Something, Piper, Golgi, Guyute, HYHU>Sexual Healing>HYHU, YEM, Julius, Hello My Baby

E  So Lonely>Reprise

As we have been finding, some locations just have a knack for producing high quality Phish shows. In general terms the frequency with which the band has played a particular locale plays a big role in that because obviously with more performances comes more opportunity for greatness. One such venue that holds strong history for the band is The Crown in Cincinnati, OH. It was originally called Riverfront Coliseum, then The Crown, then Firstar Center, and now US Bank Arena but we like stuff the way we like it so just as with Great Woods, Pine Knob, Deer Creek, and so many other corporately overtaken venues using the “classic” name is preferred by many including myself. This show in Fall 1998 would be the first time Phish would perform in the venue and since then they have played six more shows to date though they have yet to return since the pair in Fall 2009. But back in the year we are dealing with they set the bar for years to come in this musically storied venue* by putting together a complete show full of strong playing, quality jams, some hilarity, and a few curveball song choices.

The first set starts off in a good mood with a rocking Funky Bitch>My Soul pairing to get everyone up and moving. Neither of these two songs is anything more than you would expect but from the start the band comes in hot, showing off the polish of being almost two weeks deep into tour. Our gal Reba comes in next and here we get one of those classically underrated versions that no one seems to ever mention (at least not in my experience) but that does pretty much exactly what we want. The composed section is well executed and then once they drop into the jam we are treated to a pert and pure edition where Trey puts forth quite a few notes. Page and Mike accent this lead well as Fish rides that crash cymbal while waiting for the right time to signal it all to wrap up. This isn’t a Reba that strays from the format (perhaps part of why it isn’t very highly lauded?) but it reaches a quite satisfying peak that should buckle the knees of even the jadiest of jadersons though in all honesty those guys probably already scoffed at yet another Reba anyway (woo! third one this tour!) so whatever with them. At the worst this is a Reba that opens the door for bigger things to come in the set and that’s really the point, eh? The ever catchy Bouncin provides a bridge from that to the next fun part of this show… a first set Tweezer! That has only happened 74 times out of the 346 total performances for the song, though admittedly it had become a bit more frequent in later 1.0 as 21 of those would occur between 1996 and Hiatus. All that said, it still isn’t something you expect going into a show and it isn’t like they make stickers for this sort of thing.

Okay, right, back to the song. From the get go you can tell they are ready to jump all over this Tweezer and boy oh boy do they ever. Trey first lays down the screech loop and piles on the crunchy lead as the rest of the band follows into romping through this rocking version. This continues for a few minutes before Fish pounds on that crash to almost signal the change that comes next into a more sparse groove landscape. That loop is still going strong as Trey plays over top the rest of the band, eventually hitting on some familiar tones around the twelve minutes mark. At first it feels like he wants to drop into TMWSIY and then he gets into a bit of melody that could easily be mistaken as Manteca-ish if you are looking for that type of thing (and sometimes it feels like many people are…). After toying around here for a bit Trey sets up what I’ll call a “transitional loop” while Page is playing what sure sounds like it could be pulled straight from No Quarter. Next thing you know they have made the move and we are on to the dripping funk of yet another Moma Dance. Someone (okay, it was Tela’sMuff) rightfully noted in an earlier post’s discussion that these Fall ’98 Momas feel pretty loose and jammy and this one fits that bill nicely, with a gooey jam that while not revealing musically funks along oh so well. Sparkle is our filler/amp up tune next and then we get the rote rock of Charac… hang on! This one has some extra stank on it. I mean, yeah, it is still Zero and they follow the pattern here but Trey just DESTROYS his solo in this version. Pure guitar god shred on display for all to hear. At the end he offers up a few band nicknames for intros. I can pick out the ‘Chairman of the Boards’ (Page, natch) and ‘Sammy Hagar the Horrible on drums’ (ha! funny for Fish!) but the Mike one is eluding me (Fat Tyler, maybe?). Anyone know what he says here? Maybe it was all a ploy to give people something to discuss over setbreak. I dunno.

So after debating that and dissecting the Tweezer jam the lights go back down and we are ready to dive deep as we have pretty much every night so far this tour. With a somewhat stretched out intro section they start up one of only 28 2nd set opening Bowies (out of 435 total which tells you just how rare that is). Now, by Fall 1998 Bowie was not quite the jam monster it had been during its heyday in 94-95 but it was still a song that offered up a lot of potential. This is not an exploratory version by any means but instead they opt for the balls out (sorry, ladies) shred attack type I style. There’s ample tension built here before they reach the summit with Trey and Page both toying around each other’s notes and then they carry it all through to that T&R peak that makes Bowie what it is. Similar to the Reba in the first set this might not be a version you go back to again and again but I can think of much much worse ways to start out a set (yes I know that is a first set in 3.0 from a show that has one of the better sets of that tour but the point is valid. VALID I tell you!). They follow this up with a cool down tune in the second ever ‘Something’. Again it stays true to the song in the playing for this one-tour-and-done song that saw four performances before hitting the shelf. Honestly I kind of understand why they only played this a few times even though it is a nice tune. There’s just not much there to build on for the band and they have other Beatles covers that most people enjoy.

Moving on, we now get into a pretty jukebox-y remainder of the set which is fine unless you came only for the jams in which case you might not be too thrilled. First up is a short and to the point Piper that barely has much of a solo outside of the rise toward the small peak and old ending. Then we get Golgi, that setlist standard about which no one ever says “hey that Golgi was my favorite part of the show tonight”. Next we have that ugly pig Guyute which, while also not the most open tune in the catalog (or at all) does get the crowd amped every time you hear it live. Must be something about the big power chords and soaring solo Trey plays. People seem to like rock music.  And now we get to the humorous part of the set as HYHU signals only our second Fish Fun Time of the tour (back in Spring ’93 we would already be up over ten if not batting 1.000). Tonight’s schtick is vacuum-light (for this song his vac solo is kinda melodic in a weird way rather than fart noise/grating) but it is no less funny to simply think about a dad-bod-sporting dude wearing a donut dress (and perhaps the viking horn helmet since he had that this tour but I’d need in person confirmation on that though Trey’s joke post HYHU about the “horn section” sure seems to indicate he had it on) singing the classic Marvin Gaye between the sheets number Sexual Healing. Maybe they didn’t think it was quite as funny as I do (even if Fish does note the vac as being the ‘sounds of love’) though considering that this stands as the final performance for the song by the band. Oh well. Next up in the playlist is YEM and this one gets a bit more of the somewhat extended ambient pre-Nirvana section as Trey stretches out his tone with some effects pedals and adds that ascending loop as well, though perhaps not as elongated as the past two versions. Mike has a bit of a footbell romp at the start of the jam too either indicating his desire to take this big or maybe as a shout out to the Sexual Healing performance or something else entirely. We may never know. This YEM isn’t really that notable otherwise (though Trey does have a fun little solo in the funk section that Mike and Page add color to quite nicely…) but I’m not ever one to really complain about YEM being played because it hits on pretty much all of the stuff that makes Phish Phish. I think you know what I mean here. So back to the jukebox, we get a fun if not special Julius which is another one of those songs that when it starts you kind of say “eh, I’d have preferred something else here” but then they get into it and you are dancing and next thing you know you are singing “don’t take another step!” and wagging your finger as you spin around with that big smile on your face… wait. Am I the only one who does that? Don’t answer that! This is our fakeout closer since tonight gets the a capella ‘Hello My Baby’ closer and we are headed to the encore. For this we have a song I have always loved and one I was stoked to see that Phish (finally!) had covered in The Police’s ‘So Lonely’. It is such a fun tune and one I wish they would have played more than this one time. Maybe it isn’t the easiest song to pull off though so I can understand it, particularly in this the Year of Covers. This heads into the expected raucousness of Reprise and we are on our way to Tennessee.

Look, I’m not going to sugar coat it. This is the weakest overall show so far this tour. It is not about the playing itself as much as the song choices and lack of jamming. Yes, they rocked out a bunch of stuff and not every show needs to be a four song second set fully segued jamfest to the max (sorry for the early 90s reference there) but even in a Saturday night special like this one for 1998 I just expected a bit more. There are takeaways here, for sure, but outside of a handful of things I am just not going back to this show. Those takeaways for me are the Reba, Tweezer>Moma, maybe the Bowie if you like ’em shred ahead, and the So Lonely encore. That’s it. And even that might be generous. But whatever, it is one show on a great tour. Not everyone needs to be the best show ever, unless you were there in which case don’t let your attendance bias cloud your vision here. Let’s just take what we can and move on like we do. After all, the next show IS the best show…

*If you don’t know the history of Riverfront Coliseum/The Crown/Corporate name of the Month Club Winner then here’s a little primer. The first event ever here was an Allman Brothers/Muddy Waters show on 09.09.1975 (incidentally, the Allmans were also a part of the Superdome grand opening weekend in New Orleans only a week or so earlier so that was a fun time for them I’m sure). It was also the site for the second-to-last Elvis Presley concert ever (06.25.1977). Over the years all sorts of sports, music, and other events have taken place in the venue but easily the most infamous are the events that led to the deaths of 11 fans trying to get into the venue to see The Who on 12.03.1979. Others have written more eloquently than I can about that tragedy but the impact of it was lasting, considering that it caused the cancellation of several future concerts here and resulted in the city of Cincinnati enacting a ban on “festival” seating (i.e. GA) that would last until 2004.

A Stairway to the Stars – Cleveland, OH 11.13.1998

Phish – CSU Convocation Center – Cleveland, OH 11.13.1998

I  CDT, Wolfman’s->MLB, Roggae, Ginseng, Ice>CTB, Farmhouse, WITS, Sloth, Antelope

II  Disease>sample, Dirt, BOAF, Meat>Hood

E  GTBT

Following another one night for travel between western Michigan and northeastern Ohio (those big lake thingies kinda get in the way) Phish hit the stage once more for the first of two shows in the Buckeye State over the weekend. This first one took place in Cleveland, a city with a pretty okay history with Phish considering they have played 16 of their 48 Ohio shows in and around the city. The rest of the shows in the state are scattered between Cincinnati (14 shows), Columbus (9 shows), and Dayton (4 shows) with the other five spread between various college towns around the state. Tonight’s show would be the last at CSU Convocation Center as since then they have only come back to play the beautiful Blossom Music Center in Cuyahoga Falls.

Things kick off with an energetic Chalkdust to get everyone warmed up and moving and then they drop into Wolfman’s Brother for what you have to think will be a pretty straight forward second song first set take on the tune. Well, yeah, no. After the lyrics they drop immediately into a gooey funk pocket so good it would be a crime to not dance to such music. This continues for several minutes before Trey starts toying with his lead line and eventually brings in a melody that is oh so familiar… wait. Hang on. Is he really playing it? Naaaaaah it can’t be… but but but it is! As the band continues the undercurrent funk stylings Trey plays the signature melody to only one of the most debated jams/teases/quotes/whatever in both the Phish and Dead canons: Mind Left Body, alternately known as an “MLB Jam”, a “baseball jam” (get it? MLB/baseball? clever…), or “that jam that everyone is always on about but never seems to materialize”. Now, it could be said that this is just a simple progression that mirrors the intention at least of the old Paul Kanter, Grace Slick, and David Freiberg song Your Mind Has Left Your Body which appeared first on the album Baron Von Tollbooth & the Chrome Nun but has since become something of a live staple for the Jefferson Starship. I’m not going to get into the full debate about this one as there are disciples to this tease/jam who seemingly hear it all over the Dead catalog and in several places with Phish as well but I will say that there are a few examples that are difficult to discount as being anything but a reference to MLB. Leaving out the numerous denoted teases (such as the one from the Magnaball Cities that I don’t really hear but maybe if I went looking specifically for it I would) there are two other prime examples besides this Wolfman’s of MLB popping into Phish songs: 08.21.1993 in the middle of Bowie and 06.18.1994 also in Bowie. The latter one is the example people point to most often and for good reason as it is a fantastic Bowie that only gets better when you add in this layer of mythos. The Dead had a much larger history with this jam motif but we aren’t here to discuss them now are we? Anyway, back to our show here, I’ll definitely say that this is a real live actual MLB jam (352 show gap before this, no less). The added funk pushing it along works perfectly and after about four minutes of playing around with this they come to a point of resolution and wrap it all up rather succinctly without ever returning to Wolfman’s. Don’t believe the setlists that you read about this because they all note a return to Wolfman’s which is not there. But we don’t abide that kind of sloppiness here, do we?

How do you follow up a second song jam like that? Well, if you are Fall ’98 Phish you play the ethereal Roggae and nail the end jam with a pretty rendition. Then you play a well loved bluegrass cover in Ginseng Sullivan before dropping into a purely Phishy song. I mean, seriously, can you ever really see another band playing It’s Ice and pulling it off without it sound a bit contrived? This is just one of those tunes that sums up Phish to me for some reason. Tonight’s take on the tune drops into a fairly dark outro jam that includes some of Trey’s ascending lick loop (the same lick he played in setting up several of the dark jams from the start of this tour including the Vegas Wolfman’s). They don’t take this too far out but it is a nice little bit of depth before popping out into the first performance of Cars Trucks Buses on this tour. It is a typically bouncy and fun rendition (nice counterpoint to where Ice was headed) and then we are off to sing the words to popular Bob Marley songs that match up perfectly to Farmhouse. Quick runs through Water in the Sky and a somewhat sloppy but always nice to hear Sloth bring us to the closing Antelope which tonight gets a patient and well constructed pre-Rocco jam. It has that frenetic build energy but feels pretty dialed in at the same time and then Trey drops the rare “suck the deer shit from the side of this hole” alternate lyrics which is always a treat. This is a pretty engaging Lope overall which perhaps Trey thought as well in laying down that deer shit line. It caps the set nicely and we are off to the break to see just how many heads are freaking out about that MLB jam.

After the setbreak Trey has a little banter about a crew member being late to work that day due to overindulging at a local bar the previous night as well as relating that Mike wants the lights to stay the way they are all set before they start up Disease. This Disease, while not in the 20+ minute category of several of the recent 2nd set openers, offers up a quite engaging jam that runs through several sections. First we have the straight ahead rock of Disease with Trey leading the way with trilling lines and tension building rises towards a peak that never matures. Fish then pounds on the crash cymbal during the cacophony of noise rock that the band has built before they head out into a section of sparser playing that hints towards a move to ambience but then Trey begins a line of chords that settle things into a happy, chugging rock groove that picks up speed and energy before returning to the Disease ending. This is fun time Phish spurting joy onto the crowd with their playing. Perhaps not the most notable Disease ever but damn if it isn’t one to get you moving. In the aftermath of the Disease coda they crash into a segue with Sample… ugh. I just can’t with this song. It is the same thing every single time (and don’t give me any of that “yeah but Trey really played the solo with extra gusto that time!” crap because you and I both know that solo by heart at this point). So that happens and then we have a Dirt interlude before they crank up the energy again for BOAF. Just when you are thinking this will be more of the same out of the new showcase tune they put a little extra mustard on the hot dog and we have a fiery version that hugs the structure of the song but offers up some exploration into murkier waters.  They are really starting to push the boundaries on this song as it feels set to explode into something much bigger here though the real period of exploration for this song won’t come until the year following.  For now we will just have to enjoy Trey pulling at the edges of BOAF. As if to catch their breath following this raging version they start up Meat and you have to think we are in for another bit of the weirdness without much to take home musically but after the lyric section Trey adds in a siren loop to accompany the odd time signature and we are off to play. There is an ambient feel to this but all the same Fish and Mike are laying down the gist of the Meat beat while Trey adds lead color and Page provides atmosphere. As Trey develops this lead Mike mimics him at points all while that loop and Fish keep us rooted in the Meat jam (meat jam sounds like a disgusting thing your grandmother used to make every fall in preparation for the long winter ahead that you had to eat when she came over since it was such a thoughtful gift from her to your family. mmmm… jellied pig…). As a group they tinker about for a few more minutes and then they end up with the loop soundscape providing the perfect entry point for Fish to drop the signature hits for Harry Hood to begin. The first bit of this Hood feel like it could just as easily slide right back to that Meaty jam goodness but they get into the anthem/PSA about keeping yourself out of closed refrigerators. Seriously kids, don’t do it. Recondo is right! What did we do without GI Joe to keep us in the know? Though I will say that this version is more amusing… Anywho, the Hood here is about what you would expect assuming you like beautiful, patient, well crafted Hood jams. You could do worse than to have a version like this cap a second set. After that we have a rocking GTBT encore and we are headed south for the next night’s show at The Crown or whatever they were calling it at that point.

This show does not have the major highs of some of the past few nights but the first set catches your attention from that jammed out Wolfman’s through the end and the second set is all well played with a good variety of music on display. Your takeaways here are Wolfman’s->MLB, Ice>CTB, Antelope, Disease, BOAF, and Meat>Hood. You could probably leave out the CTB but it flows right out of that dank Ice jam so you might as well just let it run. There ends up being a lot of highlights here now that I look at it. Good sign of where the trajectory for this tour is considering we are not even halfway home yet.