Some Good Parts… – Phish and Great Woods

The Great Woods Center for the Performing Arts opened for the 1986 concert season with great regional access to many of the major population center in this part of New England being approximately 40 miles from Boston, Providence, Worcester, and Cape Cod. Situated between I-495, I-95 and the town of Mansfield the venue has reasonably strong regional access and even with newer venues having been built in the intervening years draws a consistently high level of performing group each summer. At opening the venue held approximately 12,000 people which was expanded to 19,000 in 1994 with further enhancements improving the access and comfort level for patrons. One challenge that still remains (and will forever be a problem at this venue) is the bottleneck parking situation where the majority of fans are parked around the back side of the venue and thus forced to wait out extremely long lines do get to the one main exit from the center. This is not always a bad thing for the Phish crowd who love to hang out and recreate before and after the show but when the band leaves the stage at just after 11pm and you are still waiting to get out at 1:30am it is safe to say there is a bit of a problem. Since debuting here with a single set opening performance for Santana in 1992 the band has played a total of seventeen shows with performances in all three of the main eras of the band’s history.

 

After that Santana single setter every show at Great Woods has been a two set performance as part of that year’s summer tour. 1992 and 1993 were single night stops and then the next five times the band came here was for a two night stand. Oddly, Tuesday holds the high mark for most days played at this venue with seven as the next two highest combined (Friday at 3 and Saturday at 4) total to that amount together. There has never been a Sunday night show (or a Thursday one for that matter) which should not be skipped per the axiom.

Here is your www.phishjustjams.com playlist for the Great Woods Jams.

 

Oh, hi there! Miss me? Well, life moves pretty fast and all that. And then Summer Tour comes and that whole new Phish thing gets in the way of worrying about shows from twenty or more years prior. But we are back! And I have another site update to add! I’m going to add a link to the stream of each show on phish.in for your use if you so choose. Note that this provides a good, quick way to spin each show but in most cases those are auds unless a soundboard copy leaked at some point or it was recorded by patch which would only be relevant in the old shows. Many of the shows reviewed here, particularly the ones since LivePhish was created and the band starting releasing full tours of shows, are available in remastered soundboard glory elsewhere. Join me below the fold…

Continue reading “Some Good Parts… – Phish and Great Woods”

Meet At The Tree! – Phish and Alpine Valley

Alpine Valley Music Theatre is located in East Troy, WI with relative proximity to the Chicago, Milwaukee, Madison, and Rockford markets. At one time the venue was part of the same complex as the adjacent Alpine Valley Resort which has golf, skiing, and other amenities but the two properties have since been split in terms of ownership with Live Nation now having control of the music venue. Considering the surrounding topography, it makes sense that this venue is known for the large hill that provides the slope of the venue with the lawn area even having a few notable trees that have become de facto meeting spots. The relatively steep grade of the hill here can prove challenging for those not sure of foot, be that of natural or induced variety. Since its opening in 1977 Alpine Valley has been a standard stop for large touring acts due to its large capacity and regionality with music acts of all genres gracing the stage of this 37,000+ seat venue over the past 40 years. Along with being one of the venues where The Grateful Dead played regularly (20 shows between 1980 and their ban following the 1989 shows) Alpine Valley is perhaps best known for the tragic helicopter crash on August 27th, 1990 that took the life of Stevie Ray Vaughn and four others including members of Eric Clapton’s management group when it crashed into the ski slope adjacent to the venue due to low visibility from fog in the area. With the rise of more local venues and the increase in festival touring in recent years Alpine Valley has struggled to attract the acts it once did resulting in the recent announcement that there will be no concert season at Alpine Valley in 2017. Since first appearing here in 1996 (at the time the largest crowd that Phish had ever performed for — until The Clifford Ball a week later, of course) Phish has played seventeen concerts on the hill including shows in eight consecutive summer tours from 1996 through 2009. In each visit from 2003 onward Phish has performed a pair of shows at each visit to this venue.

 

Every show that Phish has performed at Alpine Valley has been a standard two set show. All five shows prior to Hiatus were single night stops while all the twelve since have been pairs of shows spread over six different visits with the last shows to date having been in 2015. Every show here has occurred on a Friday, Saturday, or Sunday with Saturday being the clear leader at eleven shows. Coincidentally, the last show here occurred one day short of nineteen years to the day following the first performance.

 

Here is your www.phishjustjams.com playlist for the Alpine Valley Jams.

 

Because we here at Lost In My Reflection love you all so much we are adding a couple of features to this post that should stick around unless the torches, pitchforks and stone throwing starts up again. For one, I’ll be listing each show’s setlist along with providing the link so that you can reference it as you read. Just know that I am not putting in all of the notes with teases and banter notes and stupid shit like “Disease was unfinished” or “Reba did not have whistling” or “Trey sang through the megaphone”. Second is a smaller change but one that should help with the overall readability of the site as I’ll be adding a ‘fold’ (just below!) since I write a lot of words and it can be off putting to see the massively long post in one fell swoop. Let me know if these help your enjoyment of my site and please keep the feedback coming!

Continue reading “Meet At The Tree! – Phish and Alpine Valley”

Jonesing For Jams – Phish and Jones Beach

Jones Beach Theater is located on the shores of Long Island Sound in Jones Beach State Park in Wantagh, NY. This outdoor amphitheater is one of two “large” outdoor venues in the Greater New York City area with the Garden State Arts Center being the other one, located on the opposite side of the city. With a capacity of approximately 15,000 people this venue attracts a wide variety of performers and has been a mainstay of the summer season since opening in 1952. There have been several updates and additions to the venue over the years including a smaller “theater” setting that seats approximately 5,000 people but that venue is not one where Phish has performed. In 2012 the venue was inundated with water from the storm surge related to Hurricane Sandy resulting in a $20M project to repair the theater in advance of the 2013 season. Phish has played here in two of the three main eras of their career with the majority of the performances occurring since The Return in 2009.

The fourteen shows Phish has played at Jones Beach have all been in the summer months with the first two in 1992 being single set performances on other tours (i.e. not as part of a Phish Summer Tour). The initial performance took place as headliner for the H.O.R.D.E. tour while the second was a set opening for Santana later that same month. All subsequent performances have been Phish-only two set shows with single night visits in 1993, 1994, and 2013 and multi-night stands in 1995, 2009 (3 nights), 2010, and 2012. While Friday is the most common day for Phish to play here with five such shows all other days of the week except for Monday and Saturday have witnessed Phish on this stage. Coincidentally, the first and last performances here both occurred on July 12th.

Here is your www.phishjustjams.com playlist for the Jones Beach Jams. Not the biggest list but there are some doozies in there.

Continue reading “Jonesing For Jams – Phish and Jones Beach”

Children of the Cornfields – Phish and Deer Creek

Deer Creek Amphitheatre (I will not call it by one of the two subsequent corporate monikers) is located in Noblesville, IN, once a small town just northeast of Indianapolis but now fully part of that market due to the never-ending creep of urban sprawl. Once known for being surrounded by vast cornfields and not much else the area is replete with newish subdivisions, shopping malls, and more of the cookie cutter development that exploded upon our major metropolitan areas in the late 1990s and early 2000s. Deer Creek is a venue almost synonymous with Phish and summer tour. Starting in 1995 and continuing through Hiatus, The Break Up, and now here in 3.0 Phish has played this venue on most of the summer tours they have performed including every one from that first single nighter in 1995 through a pair in 2004 and then hitting four of eight here in the time since The Return. Over that time Phish has played twenty-three shows in the venue with Trey also bringing TAB here for three other performances (all during those pesky times when Phish kinda wasn’t a thing). This venue is not just notable for Phish as the Grateful Dead played fourteen shows here between the opening summer for the venue in 1989 and their fateful visit in 1995 when gatecrashers the first night overwhelmed the venue staff, resulting in one of the few show cancellations ever as the Dead were forced to cancel the second night. Keller Williams even wrote a song about that whole thing. Obviously, there are many other bands who have played here but this isn’t a blog about them now is it?

The twenty-three shows Phish has played at Deer Creek have all been part of a Summer Tour. Most visits to the venue have been multi-night stands though in 1995, 2009, and 2016 the band played only the one show. There are two three show stands here (2000, 2003) and all other visits have been two nights apiece. Oddly, even with this venue having the second most shows in ‘modern era’ Phish they have never played a Saturday night show at this venue. Every other day of the week has been played at least three times. That’s kinda weird for such a revered venue in the band’s history.

Here is your www.phishjustjams.com playlist for the Deer Creek Jams. Let’s get to getting…

Continue reading “Children of the Cornfields – Phish and Deer Creek”

Feeeeel The Heat – Phish and American Airlines Arena

And now back to our regularly scheduled programming!

After so many years playing Holiday Runs in the Northeast with that one quite memorable stop in South Florida for Big Cypress, Phish decided that for their 2003 NYE Run they would play at the then relatively new American Airlines Arena in Miami, FL. A welcome change from the high cost hustle and bustle of New York City in late December, Miami offered up a new venue, new sights, and perhaps most enticingly warmth in a time of year we had grown accustomed to bundling up before and after sweating our asses off in the arenas of Boston and New York. The venue is home to the NBA’s Miami Heat but also has a rich history with music acts beginning on its opening night December 31, 1999 with local legend Gloria Estefan ringing in the new year while Phish played not that far away in the Everglades. Many many more have played the venue since with Phish stopping by for four night runs each of the three times they have visited the venue. And just recently an anecdote by the Dude of Life (aka Steve Pollak) on Tom Marshall’s enlightening podcast Under the Scales provides the connection we lacked for just why Phish started playing here. Apparently when Trey and Steve were both in high school at Taft Trey would stay up late playing music loudly and Eric, the guy who lived in the room below him, is (was?) now the President of AA Arena (not entirely sure on the actual position and such but the anecdote is around the 11:30 mark of the podcast linked above) and asked Trey to bring the band down to his arena which they did and now continue to do in rotation with MSG. And here twelve NYE Run shows later from the venue I think we would all agree that that connection opened the door for this venue to be considered as one of the most storied in the band’s history.

The twelve shows that Phish has played at this venue have all been as part of New Year’s Eve Runs with four played in 2003, four in 2009, and four for the 2014 Run which extended into 2015. The 2003 and 2009 runs fit the traditional format with the first show on the 28th and running through the big highlight three setter on the 31st while that 2014 run started on the 3st with the three subsequent shows falling on January 1st, 2nd, and 3rd of 2015. This wasn’t the first time the calendar influenced the sequencing of shows for a Holiday Run as for the 2002-2003 Run coming back from Hiatus which we just covered for the Hampton post had the same date layout. While it is unclear if and when the band might return to this venue if they stick to the not-quite-a-pattern it’ll probably be in 2019 or 2020 assuming they are still playing shows at that stage.

Here is your www.phishjustjams.com playlist for the Miami Jams. Now on to the shows!

Continue reading “Feeeeel The Heat – Phish and American Airlines Arena”

Interpretations on 12.31.2016, Set III

I’d like to step aside from the Venue Project for a minute to get some of the innumerable thoughts down that have been swimming through my head since walking out of Madison Square Garden after the NYE show a couple of days ago. I have debated with myself about whether I should post this because, well, it could be taken in a few different ways depending on your approach and it definitely opens me up to the type of criticism that tends to divide our scene rather than bring it together. But you know what? I don’t care. If nothing else I want to flush this stuff out so that I can process it, take what I need from it, and move forward. Not sharing that seems to me to be the wrong way to go about starting that course of action.

 

Before I start this I feel like I should make a few disclaimers. First and foremost, I am not musically trained, can barely play an instrument, and do not have the vocabulary to speak to the specifics of the music that Phish plays. I am but a simple fan who has spent countless hours listening to this band and following them around the country to the extent that it is as much a part of my life as anything else I hold dear. This passion is why I write about the band and even without the formal knowledge that would undoubtedly make my posts more worthwhile I am comfortable with where I am in the stratosphere of our scene. What I do have is a background in liberal arts having read, dissected, discussed, and argued many of the great works of Western literature and art with people much more intelligent than I could ever pretend to be. This background and my obsessively analytical way of approaching my takes on Phish are my utility belt and crutch at the same time but at the very least I think that provides a bit of context about how I am looking at the Gag that Phish performed this past New Year’s Eve.

 

Unlike most of my posts, this will not be a full show/run deep dive through the minutiae of the show(s) but instead some thoughts on how I personally interpreted the art that Phish created for us with the spectacle of Petrichor and the set that unfolded in its wake. I am also not looking to turn this into a lit crit piece so outside of quoting some Phish lyrical content I won’t be trying to relate this to any Big Themes in the world of art and literature. Heck, I’m not even going to touch on the visual reference points that to me seem almost obvious (looking at you, Rene Magritte and Giuseppe Maiorana, amongst others…). I’m already making some fairly large leaps and assumptions so no need to dig a deeper hole for those who might deride this.

 

One of the things I often say about Phish shows is that ‘we all attend the same concert but experience a different show’. I state this again here to drive home the point that I have no insider information and no expectation that my words and thoughts on the matter hold any more weight or truth than the perspective of someone else. As much as we try to let go of it all, each time we see the band we bring everything in our lives leading up to that moment with us. It is unavoidable. And at a show our individual experience is shaped by the moments we have with the music, the people around us, and everything else that carves out the memories that we take away from being in that place at that time. All of that contributes to how we engage with the experience and influences our personal reactions to what occurred (or didn’t depending on what set of expectations one has). What may be a life-changing, mind-expanding journey for me might be the worst show ever for someone else and vice versa with many thousand varied experiences falling somewhere in between or around those poles. For me, the truth to be found in seeing shows is a personal one and not something universal that will apply to those around me. Heck, it might not even apply to the folks you shared the experience with directly in the moment. In my mind, that makes it all the more interesting to discuss since by doing so we can learn more about the experience from another perspective.

 

I know that this may simply be a personal reflection that doesn’t resonate with anyone else and reflects only the journey I traveled that night. It is not meant to be seen as anything but that. If you want to read such a thing, please be my guest. I am not looking for validation or hetty points or whatever. We all have times at shows where everything makes sense whether it be in the beauty of a Hood Jam or connecting through dance with a stranger or something else entirely. This is how the set unfolded for me. If it isn’t your bag, so be it.

 

I was lucky enough to be able to attend all four shows on this latest MSG run and experienced each night from the Floor taboot. That alone puts this run into memorable territory for me personally but even further I was sharing it with a bevy of long time and newer friends including my wife, her sister and boyfriend (who I also consider a dear friend), two of my oldest best friends (who are married), and one of my newer friends in Phish not to mention the numerous wonderful individuals I have been lucky enough to meet over the years at shows, on the internet, and in person who all contribute to this wonderful thing we all share. Each night seemed to build on the prior one with themes emerging as we went along including the a cappella openers, second set mashup jam fun, bustouts, and more. By the time we got to New Year’s Eve there was a palpable buzz of anticipation as everyone waited to find out what the band had in store for this year’s big finish to the year. If I wanted to I could probably scratch together a pretty loose argument for a theory on the theme for the entirety of the run but my main goal here is in approaching the Petrichor production (and to an extent the balance of the third set) as that is to me the most overt example of Trey and the rest of the band building an artistic theme from this run.

 

At the start of the third set the stage set up had been augmented not just by length as Trey discussed in setting up the wonderful walkabout by Page and Mike for Lawnboy in the first frame but also by adding a full percussionist’s rig as well as three mike stands for what was assuredly going to be a horn section. There may have been more added but that was about the extent of what was visible to us at the back of the floor. When the musicians all walked out on stage Phish was joined by the TAB horns (James Casey, Jennifer Hartswick, and Natalie Cressman) along with Andres Forero (percussionist, of Hamilton fame) and (unseen until later when Trey pointed him out) Jeff Tanski on keys and other “symphonic” sounds. As the band started into the quiet beginning of the orchestral piece the crowd listened intently, producing a pregnant silence not too dissimilar from the awe we all felt during the Magnaball WTU?. This was different though as the anticipation for how the gag would unfold was building as the band moved through the structured piece into the more upbeat phrasing that first introduces the horns.

 

If you watch the video (and I HIGHLY recommend that you do, many times over) you can see the incredible smile on Trey’s face as this thing that he has worked on for so long is finally unfolding. That smile is evident throughout and really shows how happy Trey was to share this with all of us. They bounce into the first set of lyrics, introducing the main theme conceptually with the repeated phrase of “and the rain came down and washed it all away” as the crowd begins get into the groove being built. The song passes into the ‘pre-storm’ guitar-led segment and sixteen persons dressed in black suits with black bowler hats atop their heads and black masks shrouding their faces walk to the front of stage as Page plays the melodic interlude on the baby grand. In the moment my immediate thought was that these were the ‘no men’ referenced in the song No Man In No Man’s Land. As these ‘no men’ (that really works on many levels) form a line across the stage rain begins to fall, reflecting the lights and cascading as sheets onto the dancers, band, and rail riders alike. The dancers move with the music and take out black umbrellas, coming together to form one protected whole before separating with one dancer having taken off his mask at center stage. He then performs a series of tricks with umbrellas, juggling them and balancing one on his nose as the storm proceeds. He is playing in the rain without a care for the nuisance of being wet, something we all did as children (and that hopefully some of us still continue to do today).

 

The music shifts as Trey plays descending notes that seem to signal alarm and our lone known man is grabbed by the No Men who re-mask him, robbing him of his individuality and returning him to anonymity as one of the No Men grabs his umbrella and breaks it before throwing it aside. Another individual shows herself, flashing her brilliant red hair as she is tossed and accosted by the No Men, eventually being re-masked as well. A third No Man briefly shows his individuality but is quickly subsumed by the group and returned to the normalcy that they endeavor to maintain. The music here is building to the transition point where our next set of lyrics will come in and as this happens the dancers create a pyramid of uniformity around another one who has gone “individual”, flipping him upside down and shaking him before he escapes just as Trey sings the line “and the clouds will open and the seas will rise.” This individual then leads the No Men through a coordinated routine that includes each person “picking him/herself up by the collar” amongst other evocative moves (all while Trey sings and beams that wonderful smile behind them). After Trey sings the “when there’s no more future and no more past we’ll be on our way back home at last” lines the dancers slowly come back together at center stage but this time something is different. While the rain still falls, none of them is engaged in keeping the status quo but rather they are all distracted by a group of white/lit umbrellas that are slowly descending from the ceiling. As these new umbrellas come to rest just above the outstretched hands of the No Men they all shed their masks to reveal their individuality.

 

The band is playing the hopeful main theme now as the white umbrellas rise and fall into various patterns above the dancers. The band begins to sing the refrain “and the rain, and the rain came down” as the dancers leave the stage in a way not too dissimilar from how people passing on a busy city street would pass by each other, almost bothered by the nuisance of interaction. The umbrellas are moving through coordinated orientations, appearing almost as if they were jellyfish swimming and forming shapes such as an infinity symbol or a double helix with an array of colors and other lighting fills highlighting each one in turn as Trey takes the soaring lead and the rest of the band swells. At this point the rain is all but stopped, having accomplished its role of cleansing the No Men of their anonymity. As the song comes to its end the dancers return to the front of stage and we are nearing midnight Trey says “well, it is never too soon to get out of 2016 so…” and begins the countdown (a full 2-3 minutes early) to the expected Auld Lang Syne. The umbrellas are lit as a rainbow now and Trey says “aw, what the fuck!” laughingly acknowledging his early timing as they hit New Year’s and the ceiling (sky?) opens up and drops a massive deluge of balloons and other stuff upon us. It takes a second of recognition but most of the balloons are inflated cats and dogs such that it was literally raining cats and dogs on us. There are even cat/dog noises accompanying the deluge which also includes small foam raindrop-shaped stress ball thingies, confetti, big bouncy balloons, and so much more. By the time they finished up ALS the entire stage and floor area was overflowing such that we were up to our necks in cats, dogs, and whatnot. The No Men – though unmasked – oddly stand motionless with sullen faces but then Trey counts off the start to Suzy and they turn away from the crowd before throwing down their black suits and emerging in bright yellow outfits and with faces beaming, befitting the raucous abandon of the celebratory jam.

 

It is pure mayhem at this stage as they find spaces to dance and the band plays amidst the masses of balloons (with the various techs trying in vain to clear scene). Everyone is acting individually now with the dancers playing around and getting into the spirit of the old anthem about that free spirited gal no man can tame. The band jams along for a bit with the horns and added percussion adding that punch to the song that horns always do with Suzy. As it ends Trey never fully stops playing but starts in with the rhythm line for NMINML and we are off again into another dance party. The dancers and such have departed but the party ain’t over by a long shot. This song choice is very purposeful to me once you start to read into the lyrics:

how far have we fallen, how far can we go?
how far will we fall, if there’s nothing below
you stand on a rock, suspended in air
emblazoned with sunlight keenly aware
that we’ve broken free, something has changed
a tear in the fabric, some tiles rearranged

we are the no men in no man’s land
we are the no men in no man’s land
darkness the one thing we all understand
we are the no men in no man’s land
we are the no men in no man’s land

and the truth will rise above, and fiction fall beneath
although the lies may bite, the truth has all the teeth
you see us as a window, you’re happy that we’re here
exposed to all the elements, while inside all is clear

but if you hold a mirror, and you turn it to one side
the depth you see within at first, will find a place to hide
we are the no men in no man’s land

the loss of all motion, the absence of sound
when there’s no sun to circle around
we are the no men in no man’s land

Something has changed here. No longer are we under the weight of the storm that was 2016. In coming into the new year we are able to shed the “friction” and “lies” that dragged us all down which if you want to take as an overt political statement I’d be hard pressed to argue against. But even on a simpler level this song represents the move from conforming to being ourselves, understanding the darkness but not letting it define us.

 

Petrichor was the metaphor for that personal revelation and Suzy is the example of what freedom can look like (albeit under the guise of a person so different as to be seen as needing professional help). NMINML then punctuates the message of looking inward to become our best outward selves. But it doesn’t stop there. The next tune, Breath & Burning, is one that many probably audibly groaned to hear the band play in that spot but just listen to the lyrics and it fits the theme:

Breath and Burning
We are made of sand
Slowly turning
At the waves command
And what does it matter
If the nightmares all came true?
The black clouds that scattered across
The sky so there’s nothing left we can do
Let’s celebrate while the hurricane
Throws salt and water into the room
The canary died
The healer lied
The yellow fields disappeared too soon
Mid-air voltage blooms and grows
Unstoppable, it’s instant heat
And as sinners plea on bended knee
We’ll be dancing here for days
Breath and Burning
We are made of sand
Slowly turning At the waves command
And what does it matter
That the end’s in sight?
We’re not going gently
We’re gonna rage with Page at the dying of the light!
The sudden unexpected fate
Of sunken ships
Was our future path
Your string of beads did nothing to
Prepare for you what was sure to pass
Shadow wheels in shipping lanes
The angry winds blew straight from hell
And the tortoise pulls his head inside his shell
Breath and Burning
We are made of sand
Slowly turning
At the waves command
And what does it matter?
It’ll be over soon
Our heads on a platter
So lets spin in the light of the moon
We’ve still got the light of the moon
We’ll dance in the light of the moon
Breath and Burning
Breath and Burning
Breath and Burning
Breath and Burning

This song speaks to hope and not allowing the many negative outside factors alter who we are and how we act. At a certain point, you cannot change or influence those around you. But you can change how you approach your interactions with others and more importantly how you approach YOU. As cheesy as the line is, there is hope in the idea: “and what does it matter that the end’s in sight? we’re gonna rage with Page at the dying of the light.” When the shit hits the fan would you rather be complaining about the stench or making the best of a bad situation?

 

At this point I have probably lost most people. I get that and have to reinforce that this is the interpretation that I took from the show in the moment and upon reflection after the fact. Song choice and thematic intent are messy subjects when it comes to Phish because as I mentioned above we are all coming at this from vastly different sets of experience. It is more than likely that this is not the true intention of what Trey was looking to do when crafting this project. But I like to think that he’d be open to this type of investigation. Let’s get back to it. Don’t worry, I’m almost done…

 

After Breath & Burning the band counts off another song with a high groan potential for the fanbase. Tide Turns has always felt like more of a TAB type of tune to most and based on the performances of it and the music it offers I can easily see that argument being made. But here in the context of this set the lyrics take on a slightly different meaning than how I had originally read them when first hearing the song. I have been talking about not losing yourself in the anonymity of conformity in our culture which is mentioned in the first stanza and continued throughout the song:

When you’re lost in the darkness
And the lonliness cuts so deep
When every breath is suffereing
And you’re longing for sleep
You don’t have to be alone
I’ve still got a kind word to spare
I’ve still have an ear to listen
I’ve got time

I’ll wait with you till the tide turns
Yes I will
I’ll wait with you till the tide turns
I’ll wait with you till the tide turns
Till the tide turns…

When the wolf is at your door
And the mirror holds your nightmare
There’s no need to hide your tears
If it’s too much for you to bear
You don’t have to be alone
I’ll still always be here for you
Together we can make it through
We’ve got time, yes we do

I’ll wait with you till the tide turns
Yes I will
I’ll wait with you till the tide turns
I’ll wait with you till the tide turns
Till the tide turns…

You don’t have to be alone
I’ll still always be here for you
Together we can make it through
We’ve got time, yes we do

I’ll wait with you till the tide turns
Yes I will
I’ll wait with you till the tide turns
I’ll wait with you till the tide turns
Till the tide turns…

This is a song about not only finding yourself but of offering connection for those who need it. The message is clear. You do not have to be alone in all of this. Even as we are “slowly turning at the waves’ command” (from B&B) the narrator is offering to be there, offering hope to the individual in this personal struggle. This could apply to so many circumstances in our lives. How many of us have wanted to take that risky step into the unknown but were afraid to do so? How much easier was it to do such a thing when there was someone there to help you, support you, and guide you through that transition? In a sea of No Men we seek connection with individuals, something that our little community fosters but that is less prevalent in the wider world of our culture(s). Perhaps the message is not just to find the support you need but to be the one there to give it when you see the need in others as well because “together we can make it through.”

 

When they started up the next song, 555, along with really being excited that we’d get to hear this song with horns I found myself paying closer attention to the lyrics than I had before:

They’re tyin’ a blindfold cross my eyes
I rest my face down
Skidding on switchbacks near the sides
Gonna try to bust out

Get up, jump out, don’t wait, gotta get away
Hop off, roll down, spring up, live another day

Sprint on cobblestones past the tracks
They kept my money, and my water
Don’t wanna run ‘cuz I want it back
But I know I really ought to

If I don’t break away clean
I might stray from the scene
Make an escape when it arrives:
The 555

They bought my soul for a pile of cash
Everybody else got paid out
They’re closing in I gotta dash
I gotta find a way out

Hop off, roll down, spring up, live another day
Get up, jump out, don’t wait

If I don’t break away clean
I might stray from the scene
Make an escape when it arrives:
The 555

In our context this song speaks to the struggle of breaking free from “them” and weighing the frustration of being able to “break away clean” else one escapes/leaves this “scene” entirely. That is, we often find ourselves struggling to be individuals who still desire to be able fit into a group or community which can cause some to “get up, jump out, don’t wait, gotta get away, hop off, roll down, spring up, live another day” by removing themselves from participation in such community. We constantly push and pull between wanting to be individuals and wanting to be accepted within the greater whole.

 

Interestingly, the next song is not one I would have thought would fit this theme but once I took a closer look at the lyrics it fits perfectly after 555. Up through now we have seen the struggle to brush off the negativity of outside influences with the goal of allowing one to remain an individual followed by songs of hope and connection and then one about struggling with all of that. So when Ocelot started up I thought that perhaps the theme was complete only to find relevance in the words sung:

Ocelot! Ocelot!
Where have you gone?
Morning is over
and noon slouches on

Your stripes could all fade
in the poisonous day
When you see the sunlight
move out of the way

You prance with the beasts
who parade every night
And silently slouch
through the forest by light
Don’t be the only one left on the block
Come hide in the herd
and float with the flock

Ocelot! Ocelot!
Where are you now?
You never listen to me anyhow
You wandered and ambled
you walked, now you run
Knowing you’ll bake
like a snake in the sun
You prance with the beasts
you parade every night
And silently slouch
through the forest twilight

Don’t be the only one left on the block
Come hide in the heard
and float with the flock

You prance with the beasts
you parade every night
And silently slouch
through the forest twilight

Don’t be the only one left on the block
Come hide in the heard
and float with the flock

Ocelot! Ocelot!
Where have you gone?
(Won’t you come out to play?)
Ocelot! Ocelot!
Where have you gone?
(Won’t you come out to play?)
Ocelot! Ocelot!
Where have you gone?
(Won’t you come out to play?)

Hey what do you know? Another song about finding connection but maintaining individuality! Granted, the connection is loosening now and I wouldn’t fault anyone for telling me this one is a stretch. But how many times have you wanted to feel included when you were somehow left out? Sure, it feels great to be your own person but sometimes you want to be able to blend in and “float with the flock”. This song brings that home by pointing out that no matter how bright your individual “spots” are sometimes it is fun to simply “come out and play.”

 

The set then closes with the instrumental shot of energy that is First Tube, a song that may not have any of the overtones that I am connecting here. Then again, perhaps it does. Early versions of the song as performed by that short-lived early incarnation of Trey’s solo projects ‘8 Foot Fluorescent Tubes’ included Heloise Williams repeating the phrase “free thought” over and over. No man is an individual without free thought. Something to ponder. It’s a very loose connection but I think it offers up a closure point for the theme I am looking at here. Plus getting a Phish First Tube with TAB horns was a nice treat even if they didn’t take this (or really any) of the songs too far afield.

 

The idea of catharsis is often bandied about when discussing Phish’s music, particularly singular jams but often when looking at the arc of a particular set or show, for example with a well placed Slave or Hood that caps a deep dive set by bringing us all back into the light. I find it to be an overused term for the most part but I can attest that with this set that I experienced it in the moment. The tale that Trey wove brought forth a lot of emotional weight for me, weight that I was able to purge in the joy of that First Tube closer. Heck, even the Loving Cup encore helped in that regard what with the wonderful feeling that comes from belting out “what a beautiful buzz!!” at the top of your lungs with 19,000 other people. Phish generally ends their sets and shows in a manner that allows for such release. That is perhaps one of the things that many of us chase more than anything: that feeling of being able to lose yourself in the music, letting all the worry and weight of life slide away if even for only a few moments, and connecting with those who surround you. On this night, to me, the message was clear.

 

If you have read this far, I appreciate it. It seems that each year our dissections of Phish’s NYE Gags get more and more divisive as we have more points of comparison to relate them to. Was this set as compelling as the Hourglass NMINML jam from 2015? Musically, no way. I have been fortunate enough to see Phish on NYE several times and each time I know that there is more to what they are doing than a simple collection of songs being played. It is natural for one to want to find connection to the music just as we yearn for connection with other people. We want to be able to relate these experiences to what we know and understand or perhaps to foster questions about that which we do not comprehend. I know that my experience this year and in years past is different from what others got from the show. And I am probably reading more into this than ever intended by Trey and the band. But the very fact that this music can foster such thoughts in us is encouraging because it gives evidence to something that Mike Gordon once wrote to me on a postcard many many years ago after I sent in a letter to the band (the exact substance of which I have long since forgotten).

What you have written is far beyond the realm of a compliment. It’s an indication that the deeper thing – that deeper thing – is happening. Thanx so much.

Mike Gordon (Phish)

Art is defined by interpretation. Without context, real or projected, there is no meaning to it. To me that causes it to lose intrinsic value. We tend to shy away from this sort of perspective on the art that Phish creates or perhaps many of us do not view it in that construct. I am not here to say why that is. All I can do is reflect on what this music did for me and caused me to feel. At the root that is the goal, right? My interpretation is a product of what I observed visually, aurally, and physically along with the concepts I had swirling around my in head looking for external meaning or import. Phish provided the story and for that I thank them. I have found value in the experience that they gave me by way of their art.

 

 

The Mothership Connection – Phish and Hampton Coliseum

Like many of these venues, the lore surrounding Hampton Coliseum and Phish is almost as big as the music the band has played here. While also used for pedestrian uses such as minor league sports, rodeos, trade shows, and the like this venue has become known as a can’t miss stop for many bands outside of Phish, most notably The Good Old Grateful Dead who played the same number of shows (18) as our band Phish in this room. After playing single night stops here in Fall 1995 and Fall 1996 Phish played a pair of shows that instantly became canon and the stuff of legend in the community. From there the aura grew as the year following they came back for another pair of shows released just before their visit in 1999 as the six disc Hampton Comes Alive which was the first full show concert album release by the band. Phish has also used this venue as part of their initial shows returning from both Hiatus and The Break Up which only served to further solidify this locale as one revered by both band and fans alike. As venues go, there aren’t many that can match up to this one in terms of both history and the quality of music performed which makes for a strong argument supporting this as one of the very best venues in all of phishtory.

 

Phish has played the Hampton Coliseum eighteen times starting in Fall 1995. They visited on each Fall Tour thereafter up through 1999 with 1997 and 1998 being two night stands. The 1999 pair of shows were the last show of Fall Tour prior to the celebration of the millennium at Big Cypress. In 2003 the band played a three night stand to cap the New Year’s Run Return from Hiatus shows that started with the New Year’s Eve show at Madison Square Garden. Then after a last single show here before The Break Up in 2004 they came back in 2009 with three in March 2009, signaling their triumphant reconnection with each other and we the fans. There has been one further three night stand in Hampton to start out the Fall 2013 tour after which they have yet to return.

 

Here is your www.phishjustjams.com playlist for the Hampton Jams. Let’s get down to the nitty gritty…

 

11.25.1995  Phish’s first time playing here was along the path of Fall 1995, only a few shows prior to the start of one of the most revered months in the band’s history. The show starts with Poor Heart which normally I wouldn’t really even bother to mention except that this show is known as the “Poor Heart” show since they end up playing the song three different times in three different ways. The first set is pretty average as even Bowie is a neutered version of what we came to expect in that time period when it was one of the major vehicles for open exploration by the band. There is one of the few Taste That Surrounds ever and some crisp if not inventive playing on display but overall there isn’t much here to spend your time with. The second set starts out with a menacing Timber Ho! that slides into a vocal jam that becomes Kung (their only pairing ever) and then Mike’s Song starts up where you just know the jam is about to go down. That is true in a certain sense as the jam starts out with a lot of potential but after several minutes of first jam darkness the band members start moving between instruments, giving us the first verifiable Rotation Jam in the band’s history. Now, these days we have become perhaps a bit too accustomed to instrument switching and such what with the Marimba Lumina jams and stuff but back then this was A VERY BIG DEAL since we had no frame of reference for it. It was a very unique thing for Phish to do and while perhaps not the best music they have ever created it is interesting to hear. They eventually return to their proper seats to wrap up the Mike’s and then we get a couple of acoustic grassy numbers and Strange Design before the Paug to close this Groove. The musical highlight of the show might be the soaring Hood that follows which while pretty typical for the time is a good example of that sort of Hood. After a quick a cappella HMB we get the bookend Poor Heart closer, this time the “Slow Heart” version. And just to keep the joke going, for the first encore we have a Slow Heart Reprise which is a joke in several ways considering when fans hear “reprise” they instantly think of the sped up amazingness that is Tweezer Reprise whereas this is an even slower take on Poor Heart than even the one that closed that second set. And on top of that, this makes three versions of the same song in one concert which goes against everything the setlist junkies hold dear. It doesn’t last too long though as they only sing a couple of lines from the song and then crank out Fire to wrap it up. This isn’t the best show from Fall ’95 by any means and clearly not the best from this venue but you have to start somewhere and I’d argue that it is easily a definite upwards trajectory from here.

10.25.1996  The next Fall the band returned to Hampton for another single show, this time on the front end of the tour in what I consider the first “leg” of this tour. I wrote about this one for the Fall ’96 reviews in case you haven’t read enough of my words yet. For reasons that remain unclear to me Phish decided to open with Ha Ha Ha for the first time ever (only other one ever occurred 06.30.2000) and then rips through a botchy Taste that recovers in the jam and one of those fun Maki->Maze pairings where the dubby outro jam from Maki sets a solid platform from which the Maze takes off. Later on in the set Trey banters a bit about how great the room is and how they love playing there and such before launching into a solid T&R filled Stash. Then to cap it we get a longer-than-typical Coil where Page really shines in his solo outro piano recital. The second frame begins with the first ever Tube>Caspian (yay?) and then moves into a bunch of songs with a mini bustout for TMWSIY>AM>TMWSIY along the way. Free gets some minikit love in a brief jam but the real highlight of this set/show is the big energy of Hood in the back half of the set. This is a very song-heavy show with not much in the way of individual highlights but that’s to be expected when nine songs get their tour debut and none of those are vehicles. The most striking thing about this show is how different things will be when the band returns in a little over a year.

11.21.1997  You know these fall ’97 shows, I know these Fall ’97 shows. You probably had one of those crisp early gen XLIIs of this one as soon as they hit the fanbase just like I did and just like me you probably wore it out in record time. Listening to this stuff after that Fall ’96 show here you begin to question your sanity because how the heck is this the same band one year later? Much has been written about that tour so I won’t belabor it too much so we’ll just all agree that the reputation of the band and this venue is founded on this pair of shows. Just to point out the striking difference, though, the band opens up with the first ever cover of the Rolling Stones’ Emotional Rescue, using it as a platform to craft a wide ranging thrill ride of a jam that stretched past sixteen minutes and includes cowfunk, looped bliss, and full band connection of the highest order. This is a deep second set jam opening the show, people. And just to prove the point that they mean business they drop from there into a menacing Melt that packs a mean psychedelic punch seemingly fitting for closing the set rather than sitting in the two hole keep-the-energy-going slot. The balance of this first set is song-focused with everything played well (including the humorous anti-drum solo in Lawn Boy) up through the set-ending (?) Caspian that never really ends as Trey sets a series of loops that go on  even after the band has left the stage until the house lights finally pop on… but of course that was after Trey again told The Lie. In this case I’ll gladly forgive the lie because when the band again hit the stage they dropped one of those magical four song sets that were now the norm on this tour after only four shows (each of the preceding shows but one had a four song set with 11.16.97 being the lone outlier with the ungodly FIVE whole songs in the second set). The opening Ghost may not peak hard or be notable to those creating the jam charts but it is very creative and somewhat surprisingly not a full on cowfunk jam as one would expect from the song particularly in that time. But then the band transitions to ACDC Bag for what is quite frankly one of the more unexpected jam explosions out of a song in the band’s history as up until this point the song was primarily a high energy sing along with a decent if brief outro jam that 100% of the time was type I even if extended. Here we get a version more than double the length of any one prior with sections that melt into each other seamlessly to the effect that it is hard to describe what “type” of jam this is above simply saying type II awesomeness. Then they execute a flawless segue into a patient, gradual build Slave before popping the energy off with a fun Cup closer and Guyute encore. This is all-timer canon Phish and we are still only in the first night of the run.

11.22.1997  After the gem they threw down the night before it was anyone’s guess what Phish might do on night two of this ’97 Run at Hampton. Sure, you could easily say they would destroy the venue once again as each of the prior shows on the tour matched that description but in what way would they accomplish it tonight? Well, first thing you do if you are Phish is open with a song that about 99% of the fanbase is psyched to hear any and every time they play it: Mike’s Song. They have only ever opened 21 shows shows with the song with this one being only the second in the ‘jam era’ after the one at the Paradiso earlier that year (and prior to that it was all the way back on 11.06.1990) which is pretty rare considering the song has now been performed 509 times. The band quickly settles into a comfortable groove here with Trey teasing BEK and playing around the Mike’s theme, hinting at the drop into a second jam that never materializes as the jam gradually resolves down towards the transition to I Am Hydrogen. Following a funky breakdown in Paug they give us another rare placement with one of only 26 ever first set Hoods. Admittedly, in that era it was a tad more frequent than now but still not exactly what you expected when you entered the venue. This one is good enough to cap a second set much less sit in the four slot of a first set but then again this tour did a lot to upset our preconceived notions about placement and song choice. After a masterful run to the peak in Hood they finish off the set with a couple of the ballads and the double closer punch of Frankenstein>Isabella, two closers that I’ll never tire of hearing the band perform. So then they come out for the second set and some fans up front try their best to get the band to finally bustout Destiny Unbound by singing the first lines of the song only to have Trey not hear it correctly and give us some pretty hilarious banter. And then they start up Halley’s Comet, another song like Bag that up until this night was never known as a jam vehicle. Well, that changed in a BIG way here, my friends. Watch this great video of it and in particular pay heed to the moment when Trey tells Mike to “stay on F” which basically keeps this thing rolling as they head into uncharted territory for an amazing cowfunk excursion. Our expectations for Halley’s have never been the same after this night. They back this up with a funk-laden Tweezer that has several BEK teases, which they then play because why not as they head to the end set proceedings. I mean, c’mon, they’d already played three songs now so clearly it was over. Tonight actually gets five songs as they run through a nascent Piper and close with a bombastic Lope followed by a Bouncin>Reprise encore. As with the night before we have another canon-worthy show on our hands. Combining the two you get one of the most revered tour stops ever and even more so when grouped with the third show from the weekend down the road a bit in Winston-Salem which is part of the boxset commemorating this weekend (and might include some of the most unique jamming of the weekend which is saying a lot). This two show stand is the foundation upon which the reputation of Phish and this venue began and the point of comparison for every show that followed. Fair or unfair, that’s how good this music is.

11.20.1998  It is understandable after what occurred here the year before that fans would have extremely high hopes for what the band might do upon returning the following Fall. Hampton was no longer a “sure, why not” venue to hit it was MUST SEE PHISH ATTEND AT ALL COSTS. That set a pretty pretty pretty high bar for this run but you know how expectations and Phish fans go…  As you would expect, I wrote about this one during the Fall ’98 project. The show begins with a bit of a tongue in cheek nod back to last year as they debut another “classic” rock song, running through a couple of rounds of Gary Glitter’s Rock and Roll Part II, the song you knew best from mid 90s sporting events and commercials. A brief Tube leads to one of the bigger bustouts in the band’s history as they bring back The Mighty Quinn for the first time in 1,155 shows (!). Later in the set there is a nice Meat>Stash combo with a Fikus tease in the Stash and a bit of ambient transition in the Meat outro jam and further on a lovely Roggae and eventually a biggish if not overly long Melt closer. The second set starts with a largely type I Gin that builds towards a great release peak. There’s an Axilla here with the Axilla II ending and later on Fish Fun Time gives us another debut and one time performance with the Will Smith banger Gettin’ Jiggy Wit It which after the HYHU return leads to another quite uplifting Hood from here in Hampton. Carl ‘Gears’ Gerhard comes out for the Cavern encore to blow trumpet and then we are off to wait for the next show. Considering that this show and its younger by a day brother got released as the Hampton Comes Alive boxset it is clear that the band and a goodly portion of the fanbase are big fans of these shows but when compared to the ones from the prior year you end up with a conversation that never ends about what constitutes good Phish. This show is an example of a song-based party vibe show where the jams are resultant rather than the impetus of the fun and debuts/bustouts are part of the equation. I always end up undervaluing this show for some reason but then realize I enjoy it again on respin.

11.21.1998  Back for more fun (read what I wrote previously here), Phish stuck with the party vibe for night two by filling the first set with a bunch of crowd favorite songs before stretching things out a bit in the second frame as is their habit. The first set starts out with a crowd-appreciated Wilson>BBFCFM pairing as Fish inserts a bit of his Gettin’ Jiggy vocal into the BBFCFM and Mike teases the Leave It to Beaver theme. Later they bustout Cry Baby Cry for the first time in 278 shows with Nellie Kane popping in for the first time after 293 shows a bit later. Between those there is a very well played Foam amongst the standard fare that populates the balance of the set. Look, I’m not gonna sugar coat it. This is a SNS show for at least the first set. Everything is fun and played well but outside of the few moments in the Foam jam and those bustouts there isn’t much to say about it. That changes pretty quickly in the second set though as they first open with Sabotage (third ever of five total and last of 1.0) followed by cranking into Mike’s Song. This one is not as big as the ’97 version but gets to some interesting jam space before heading to Simple sans second jam. Simple may have had its best year ever in 1996 but don’t tell this version that because it is just plain pretty music. From there the Groove extends through to the end of the set after the band strings together a few tun time numbers and throw Ha Ha Ha in the place where the Free jam should be before closing the set and the Groove with an energetic Paug. As their last joke of this run the band debuts a one time cover of the Chumbawamba song Tubthumping, a tune you had a hard time avoiding around that time if you were the type of person to listen to the radio or frequent a certain type of dance club. Tom Marshall takes the verses for the singing and Gears is back to assist with the trumpet. Fish throws in some Gettin’ Jiggy words and the band has fun with this one in capping the run. And so ends the 1998 stop at Hampton, one that had lofty expectations perhaps not met but appealing enough to warrant that official release. The pair is a reasonable snapshot of where the band was at this point in the bigger picture while perhaps lacking the deeper thing that was more evident on releases like A Live One.

12.17.1999  For the 1999 pair of shows at Hampton Phish visited at the end of the Fall Tour (or perhaps more accurately the December Tour considering there was an earyl Fall run from September into October) and only eleven days before the start of Big Cypress, something that was kind of a big deal for the band and fans alike. These two shows would be the last chance anyone would have to hear the band before that to perhaps try to figure out what to expect as if they would foreshadow it at all. With this renewed anticipation – and on the heels of the Hampton Comes Alive release from just before the late fall Tour started – the band opens up here with a patiently building Piper that works well with the palpable energy even if it never really takes off to any new or interesting places. The seat continues with some of the interesting setlist calls we expect from 1999 as they mix old and new, fast and slow together for a fairly uneven result. The Jibboo here is extended with the looped out jam you would anticipate from the song and PYITE has good, well, punch to it but outside of the knowing nod to the upcoming NYE festival with the “filter out the everglades” line in WITS there isn’t too much of note here. The second set starts out with a BOAF that briefly strays from normalcy and then Moma Dance which drops into a sparse, Page-led, effects-filled jam that is wholly independent of the song but serves as the transition to and intro of Bug. That cathartic number is followed by the final of the ignominious performances of Jennifer Dances which is really not nearly as bad as everyone always makes it out to be. Perhaps sensing they need to bring everyone back from the restrooms for the end of the set, the band starts into a somewhat slowed down Melt. The band heads into a mesmerizing take on the Melt theme, showcasing that millennial sound as they mix in the glitchy effects and loops for a jam that feels ready to either explode or fall apart at any moment. The band keeps it together and comes around to close with Zero followed by a three song encore and hopes for more from the Saturday night show.

12.18.1999  When Phish opens the show with a song that is typically seen as a set two vehicle or closer it is typically a good sign. And when that opener is an eighteen minute plus Hood, well, that’s even better.  The jam here starts out bright and airy and proceeds in a linear fashion as they slowly work towards the peak. There is a solid payoff here and then they play one of the eight ever covers of Jimmy Smith’s Back at the Chicken Shack, a perfectly fine song if a bit of an odd one for Phish to have had in their repertoire. It fills the JJLC/Funky Bitch bluesy rock cover slot, I suppose.  A 68 show bustout of Dog Log dedicated to Tom Marshall  (1st since the one we mentioned back in Worcester) precedes Tube where Trey sets the loops and hits the mini-keyboard for a bit as Mike thumps out a big bassline. There is a lot of similarity here to what they were doing in the previous night’s Melt or perhaps in the famed 2001 from 09.29.1999 amongst other jams from this tour. After a few more tour staples they cap it with a big YEM closer, bookending the set with two songs that total more than 40 minutes of the time spent on stage. Trey takes his biggest lead of the show yet here, showcasing one of the iconic lciks that often permeates the song and to me sounds a heck of a lot like his song Quantegy which will get its lone live performance in just a couple of weeks following this night. The second set starts with one of those big 1999 2001s, all stretched out and funky. Tonight’s features some teasing of Peter Frampton’s Do You Feel Like We Do, complete with Trey giving a nod to “Bob Mayonnaise” on the keyboards. This is typically humorous Phish, of course, but also a nod to the Hampton Comes Alive album release. They move into Sand, another song that had a great year in 1999 for one of the four “big” versions of the song to come from that initial season with Phish for the song. This is the sort of jam that you could bottle up and sell as “99 Phish” and the wooks would buy it in bulk simply for the privilege of it being offered. The balance of the set is pretty stock as they run through a quick Mike’s Groove in the end after playing Horse>Silent, Possum though there is another 68 show bustout for the Buffalo Bill that was last seen in that same show as Dog Log above. This is the better show of the pair from 1999 with some interesting highlights if perhaps still a bit less than might have been desired though admittedly that’s about what shows were at this stage: big jams interspersed between sometimes head scratch worthy song choices with little of the composed mastery numbers on display.

01.02.2003  Due to the whole Hiatus thing Phish wouldn’t keep their streak of consecutive years played here alive as they next returned for a three night run following the first shows back from Hiatus at MSG. This was a different band than the last time they visited with new material on display and a different tonality, particularly from Trey, from their prior visits – not to mention that whole thing of coming off the longest break they had ever taken. This shift is on display from the start as they open with an extended Chalkdust, jamming the song in a festive manner befitting of the holiday run within which it sits (considering that the NYE was the first show followed by these three starting two days later it isn’t much of a stretch to call this the de facto NYE Run for that year). The jams continue with a multi-phased Gin that includes some of the signature 2.0 growl tone from Trey and then after a quick joke about “Tom Hanks” once again joining them on stage (this is a reference to that 12.31.2002 show) they run through Ice on their way to a playful BOTT. This is followed by the debut of Round Room which is fitting for this room which is indeed round. After that the set goes into mostly song mode with a shortish Stash being a little upward blip before the Zero you saw coming back at MSG two days ago. Oh, and here’s full set video from that first frame. The second set opens with another debut, this time 46 Days, which goes far beyond the song we had just been introduced to a couple of weeks prior when the album came out. The signature 2.0 Trey tone is on display in a big way here as he growls through the main type I jam and out into dark, ambient waters. The band moves through several phases over the course of the song, eventually finishing with a strong CYHMK-type jam that peters out into the transition to Simple, leaving the main song unfinished. Later on a strong LxL falls into the debut of another Round Room tune, Thunderhead, which has some inventive soloing by Trey in the back end jam prior to that song’s crash into Lope. Following a predictable Cavern closer the band debuts the fourth song of the night for the encore in Mexican Cousin, a tune that is either a love it or hate it type of proposition for many a fan. Where the first show back at MSG had the energy and excitement of the Return and NYE balled up into one giant release of energy this show offers the freshness of new material and the emerging evolution of the band’s sound in 2003. The highlights here are telling in the direction they go and bode well for the balance of the run.

01.03.2003  Since the band didn’t break it out for that MSG Return show by this third show into the year the fanbase was starting to wonder when that first Tweezer would drop. Sure enough, Phish opened up night two here with the anthem and while perhaps not the life-changing version some may have wanted there is a lot to like in this compact, type I version. It gets the room moving and settles everyone in so that when they drop into the Theme that follows there is a nice roar of approval for the first one of 2.0. Two songs later is the debut of Pebbles and Marbles, here showing off a very nice bit of jamming, something the song has lacked in 3.0 versions (and most of the 2.0 versions to be fair). The five song first set concludes with YEM but not before they restart it after a train wreck start to the composed section. Listen for some interesting VJ antics. A rocking BOAF starts the second set and then the band drops into Wolfman’s that really needs to be heard – and preferably quite loud if you can manage that. You’ll dance hard to the infectious funk groove but just hang on because this one goes nookular in the back half before they move onto a particularly fun Makisupa which nods to Hampton with keywords including “Waffle House” and “Hooters” which if you have ever been to this venue you know to be two of the more visible/notable places to grab a pre or post show bite near the venue (and surrounding hotels). After a fun if uneventful Axilla>Free pairing they debut another Round Room tune with All of These Dreams and then close the set with a bit of instrument switching in Possum that sees Page on Trey’s guitar, Trey on Mike’s bass, and Mike on Fish’s Cracklin’ Rosie cymbals. Not exactly the rotation jam from the 1995 show here but fun for the band to be playing around up there. The encore’s Contact does actually have a bit of an extended jam but that doesn’t mean my wife wouldn’t have booed at it anyway.

01.04.2003  For the third night here and last of this Return/NYE Run the band comes out gunning with a fiery Llama and a fun Boogie followed a particularly emotive Roggae before they bring back the energy for hot Maze. Another Round Room debut fills the midset cool down slot as Anything But Me hits the stage for the first time. Following a few more fun numbers they end with a solid Melt, one that feels like it could have gone on for a bit longer. This show already feels more like a celebratory Saturday night affair than the prior two and that carries over into the second set as oh yeah wait I almost forgot! Here is the video for both the first and second sets of this one. So the second set starts out with Rock and Roll which gets a shortish jam before they move into a stock Mike’s Song. The bridge tune tonight is Mountains in the Mist (a song I didn’t really grow to appreciate enough until probably the Festival 8 acoustic set) and then they punch into a Paug, taking it out for a ride in what will eventually be the most open jam of the night. There’s a dark aspect to this one which makes more sense when they transition into WTU? for a haunting version. Disease gives promise of more improv but instead gets dropped for a full segue to FEFY which is nice but not exactly the big, open, set-defining jam many came for here. Following this ballad they close with the second ever (and final to date) 2001 2nd set closer which while fairly standard goes get some ‘thanks’ banter by Trey in the end before he, Page, and Mike each take a turn at the “big rock ending” thing. Then they wrap up the run with the eleventh debut (all from Round Room, leaving just Mock Song unsung for now from that album) in Friday. Not exactly the biggest punctuation mark to cap the run. Oh well. Still a fun show if perhaps not as jam-worthy as the nights preceding it.

08.09.2004  About a year and a half later Phish came back to Hampton, this time in the final run-up towards what was then purported to be the FINAL SHOWS EVER at The Festival Which Shall Not Be Named. Here is video of both sets. As with the 2003 run, this show opens up with the jammed out pairing of Chalkdust>Gin, tonight stretching past the forty-minute mark in total. Chalkdust starts out with big time energy and then settles into the loose, melodic ambient jamming that typified 2.0 and 2004 in particular. Instead of petering out they build the jam back up and slam back into the Chalkdust theme to wrap up the song and head off to Gin. At the time there weren’t many big, open explorations of Chalkdust as points of reference so for quite some time (like, that whole long wait thing we had not too long after this show) this was rightfully considered one of the best Chalkdusts the band had ever played along with the likes of the one here a year ago, the one from IT 08.03.2003 and the one from Camden on 07.10.1999 (though most would agree that the best era for the song in terms of open jamming has been here in 3.0 considering the number of big versions we have enjoyed in recent years. The Gin that follows this is quite impressive on its own (and even more so when you pair it with the Chalkdust) as the band slowly meanders towards the first peak which they hit around the ten minute mark. They are not nearly done yet though as they drop into a chunky groove where Trey and Page throw around ideas to see what might have promise. The pace quickens and the intensity strengthens as they head to another peak, now fully outside of Gin and kind of reminiscent of Llama at points, but before they hit it they turn to dissonant, searching playing. Trey starts strumming something almost recognizable and then everyone tries their best to be the first to shout out JIM! as they head into the classic tale of thieving dog gone astray. After an interesting bit of jamming they wrap this for a full-on, in your face raging WOTC, giving the jam room to breath even in staying within the structure of the song. Then after a quick Loving Cup another five song first set is in the books here in Hampton. Now, if you were around in 2004 or even have just gone back to spin those shows you have probably noticed that they can be a bit… uneven. Like, there will be big jams followed by odd sections of multiple ballads or entire sets where the band seemed to wander about without much sense of direction or cohesion. There are a few reasons you can probably come up with for this sort of thing happening which we won’t get into here but I bring it up to say that this second set is perhaps one of the biggest head scratching sets there is after all that jamming they did in the first. All of These Dreams isn’t the energetic set opener you came for, the LxL is okay at best, Lifeboy feels misplaced here, Crowd Control works best as a knowing nod opener for gate crash type shows (or ones with too much security influence), this Seven below goes nowhere in almost hitting 15 minutes, Stash feels thrown in and uninspired before they bail for NICU, and then Bug>Contact>Zero is just a set closing bunch of energy tunes. It takes until the encore Bowie for them to take any chances which pay off for me in the move towards deep dissonant waters but others may disagree. I know there are many for whom this was the last Phish they might ever hear if they weren’t heading north afterwards for Great Woods, Camden, and TFWSNBN and that’s a disappointing thought. But unfortunately it was a sign of times.

03.06.2009  I could – and have – write many many words on the emotions and significance that surrounded the 2009 Return shows by Phish here in Hampton. And many much better writers than I have done so as well so I’ll just assume that by being here reading this you already have a certain level of understanding for just how major this was in our little world. Suffice it to say that this was perhaps THE hardest ticket ever for Phish and the excitement and anticipation for the shows was understandably off the charts as everyone made their way back here almost five years since the band’s last visit in the wind down of 2.0. Knowing that the band was coming off of the longest stretch of not playing together since forming way back when I don’t think anyone expected them to come out super polished and ready to jam which may have been related to the fact that we were all just so excited to have our band back together and seemingly healthy once again. The band that we had last heard was quite frankly a mess no matter how hard you try to justify the sloppy playing and questionable decisions with comments of “yeah but they played some amazing jams brah!” Heck, by the time of that show above this one they weren’t even attempting to play many of their more complicated composed numbers, opting for the ones that were more straight forward in structure and required little practice if any since they weren’t doing that anymore. So when the band came out on stage and started up Fluffhead of all songs we knew that this time things were going to be different. Everyone (bands and fans alike) had aged a bit and hopefully matured as well though that might still be something of a work in progress… Anyway, this night was THE RETURN and it was all about reconnecting with the band and our fellow fans, so the music is something of an afterthought in terms of overt analysis. The collective release packed into that “OH YEAH!” line from Fluffhead was catharsis of the highest order and just what so many of us needed, the band included it would seem. After pretty well nailing that Fluff (a song that was notably benched for the entirety of 2.0) they proceeded to run through fairly standard versions of a TON of songs, packing a whopping 28 tunes into the two sets and encore. Songs from all eras were on the table with the first set including mostly songs from the early to mid 90s (except for that Farmhouse I suppose). Nothing here is musically “special” except in the sense that we never thought we would hear the band play these tunes again. For the second set they opened by debuting the now loved/hated BDT#L and following it up with concise versions of several notable second set standards. The Tweezer->Taste is nice, the Possum rocks, First Tube>Hood is a fun shot of energy, and the Waste>YEM works well as a cap to the set. Then after the bouncy triple encore of Grind, Bouncin’, Cup it was over and Phish was back! There might not be a show that can eclipse the feelings associated with the optimism that comes from knowing that.

03.07.2009  The second night of the Return (and I think it is notable that the band chose to play here again after using this venue as part of their return from Hiatus back in 2003) was a bit more relaxed now that the band had a show under their belts and the feelings had returned for all that THIS was where we were supposed to be. Again, they packed a large number of songs into this show (27 in total) as the first set included another 15 songs just like the night before. A punchy BOTT>Jim opened things up and save for a pretty cringe-worthy run through Melt the rest of the set kept the vibe fun and free though didn’t dive into much in the way of open jamming. They debuted the Page tune Beauty of a Broken Heart along the way and that one would stay in the rotation for the balance of the year before becoming a once-a-tour-if-you-are-lucky song. Other fun stuff here includes a nice bit of Page in Ice and the huge eruption for the Lope peak closer. The second set starts out with a solid RnR that gets to some nice blissy melodic space (something to get used to with the many RnR 2nd set openers from this year) before seguing into a solid LxL. The Ghost that follows has a little proto-plinko jam before heading off to Piper which in turn gives way to BOAF. The rest of the set is all fun stuff with a straight forward Mike’s Groove leading to the expected Zero closer before they encore with ADITL. As I mentioned above this show is a bit more relaxed with all involved probably a tad more comfortable after the nervous energy of the first night had dissipated. It probably isn’t one you are going to go back and spin a lot but you might want to revisit the RnR and Ghost.

03.08.2009  So then the third and final night of The Return came and with it the bittersweet thoughts of “what next?” since at that time we really didn’t know where this was all headed. But Phish being Phish they had other ideas, opening with Sanity for only the second time ever (10.31.1996 being the other) and setting the tone somewhat for the evening. Perhpas doubly so considering one of the big “globe” light thingies up on the ceiling burst right when Trey sang the “I don’t care if the world explodes” line which was a bit of a ‘whoa’ moment in house. A fun if short Gin precedes the debut of Undermind and then a bunch of songs later they debut the one time cover of the George Jones tune She Thinks I Still Care, a fairly odd choice for a one-off tune but maybe not so much considering it is a Mike sung tune. Five more songs later they close with Frankenstein which for the first time features Page on the keytar once owned by James Brown. The second set starts off with what will end up being the biggest takeaway jam of this run in Disease as they (again) head into melodic blissy proto-plinko realms for a soul satisfying jam that winds down into the start of Seven below. Later on there is a quite fun Twist that while type I should get you moving pretty well before they segue into 2001 and Moma for a triple header of dance fun. The expected Slave closer caps this second set and then a four song encore including the Reprise they left hanging from night one wraps it up. The band played an almost unheard of 30 songs in this one (making that 85 total for the three shows) but again, this is celebration Phish. Any thoughts of critique are not really relevant. While this and the two shows preceding don’t have the jam highlights of other shows (or venues…) the impact of this run is so important that it factors into the overall picture for this venue.

10.18.2013  Four years into 3.0 Phish again returned to Hampton and again for a three night run (here’s your video for set 1 and set 2). Anticipation was high once more with a big rush on tickets initially just feeding the perceived demand for the shows to come. In the end that anticipation was a bit overwrought as there were ticket trees to be found here for the brave souls who traveled sans tickets. And looking back these shows had a big hill to climb considering the history with this venue and the fact that these were the first shows of the Fall Tour coming off a pretty well received Summer Tour which made for one of the dreaded “over expectation’d” runs a definite possibility. This first show of the tour ended up being oversold but underattended (that’s one of the verses of Undermind, right?) which is generally the perfect scenario for the band to come out and say “got ya” by throwing down a master class performance. Except when it isn’t. So even though the started strong with a nice run of Wolfman’s, Jim, Mound, Chalkdust and played a fine enough first set in total, there just isn’t much there there. Sure, Stash goes sideways for a bit and WOTC peaks nicely but even the song selection feels safe. Maybe it was just the band warming up after the layoff since Dick’s. Who knows. After the break they did add some gusto, first opening with a groovy Twist that drops to ambient transition space for the move to Free and backing that cruncher up with yet another lovely Roggae (maybe it is me, but that song sure has come into its own in 3.0) . After running through Sparkle and Cavern they start into Carini which by this time had become a pretty reliable place for jamming in 3.0. Tonight would be no different as they take the jam through several phases seamlessly as if planned, combining edgy darkness, bliss rock peaking, a funky breakdown and more into what stands as one of the big highlights from the entire tour. By the time they bail out for BDT#L you don’t even care it is that good. The balance of the show is just filler by comparison but not in a detrimental way. This ends up being a fine enough tour/run opener with that one massive highlight upon which it hangs its hat.

10.19.2013  The Saturday night show (set 1, set 2 videos) from this run turns up the heat a bit considering they open with the highly danceable triple play of Gin, Moma, Tube before taking a breath for FEFY. The Gin is a straight forward peak hunter and Moma gets bouncy a bit before they throw in a nice little funk jamlet for the Tube. Maybe the bigger Saturday night crowd had something to do with it or maybe the muse just hit them a little harder that night. Either way, this first set is a nice one if you like to hear the band hitting on all cylinders even if the songs stay mainly in the box. Case in point, the Mike’s Groove to end the set looks like another stock run on paper but has some quite nice playing particularly by Page in the Paug. The second set gets the jamming going from the outset as they stretch Ghost out with a long, somewhat whale-y but dance-y groove jam that rises high and stays there to the delight of the crowd. I was a bit surprised to see that this was only the second 2nd set opening Ghost of 3.0 (at the time; there have been two since). It is a much better jam than I recalled and kind of surprising that it doesn’t get more love. They drop into Disease and you just know this is gonna blow up except that it doesn’t and they forego anything of a real jam here to head into Steam which is fine I suppose. It’s too bad because they really had something going with the serene space they drop into there. Oh well, Steam it is. And this one is a little more interesting than the typical one considering after a dirty bent note jam that’ll cause you to make weird, contorted faces Trey hops over to join Fish on the kit and Mike bangs away at the fight bell while also playing bass with drumsticks and his drill. This is all around the 33:00 minute mark of that set 2 video I linked above. Little did we know how frequent it would become for Trey to want to go all Rhythm Devils on us… From here the set goes into cruise control as they string together Caspian>Boogie>Theme>Wedge and then Silent>Hood to cap the set, giving us yet another satisfying Hood here at The Mothership (listen for a bit of callback to the Plinko Hood stylings from Worcester 2010). And then for good measure another Quinn as encore nodding back to its return from the Where Are They Now? files here several years later. There might not be a massive center-piece takeaway jam here but this is a very fun show to respin.

10.20.2013  Our final (for now!) show at Hampton was one of those mythical Sunday Nighters and here the “rule” held true as it is one that people still speak of in that way we do about the shows that pack the biggest punch. (Here’s the videos for set 1 and set 2). Looking at the first set’s list you might be saying “what the heck is he doing saying this was a big night?” and sure, that’s valid, but the playing is on point here three shows into the tour and capping this run. They throw four big energy songs together to start with BOTT being the peak moment of that group. Even the Roses feels like it might stretch a bit but instead gets Sample’d (wtf, man?) before a mini-bustout for Ginseng Sullivan (39 show gap). Rousing takes on 46 Days, Divided, and Bold As Love send everyone to the concourse smiling and jonesing for more which is all we want, right? The glory of this show is found in the second frame though as after a 47 show bustout for Paul & Silas in honor of some dudes dressed in Where’s Waldo garb causing Trey to think they were wearing prison outfits so ha ha oh well thanks for the bustout, Trey (he banters about it at the start of the set 2 video). But that’s just window dressing because the Tweezer that follows is where type II dreams are made. It starts out dark and demonic and eventually winds around to an ambient exploration that perfectly resolves into the start of Golden Age. The jam that emerges from this GA is a funky throwdown that counterpoints the darkness of the Tweezer jam with bright dance party playing by the band and then heads into ambient space though this time with a different feel entirely from what came out of Tweezer (I love when they do that). From here it really feels that they are working towards a move into 2001 but instead they ramp up to Piper for an energy boost. They head into the jam here and you start to hear something… a bit… familiar which isn’t uncommon but then WAIT! Are they? (they are) They can’t be! (they can) Holy crap they have moved into the debut of the BTO classic Takin’ Care of Business! What the phunk?! The place explodes with recognition and everything is peachy in joyland as they romp through the cover before dropping back into more of that ambient goo to set up the transition into that 2001 you thought you heard earlier. Trey has added his emerging mastery of the echoplex to the mix here which is something I’ve really loved about the addition of that little tool to his arsenal and this 2001 pushes the energy in the room even higher if that is at all possible. Then just when you think they will head for set ending energy rocker territory they drop into Sand for a compact but powerful run through the vampy millennial number before punctuating the set with the Slave peak we expected. A fitting ADITL>Reprise encore later and we are on the road with another Hampton run in the books. This was the first peak of a tour that ended up being very strong and has since left us all waiting for that next announcement of their return to this wonderful room.

 

Tale of the Tapes

Venue:  Hampton Coliseum (nee, Hampton Roads Coliseum)

No. of Shows:  eighteen

Intangibles:  Mid-Atlantic locale allows for extremely large regional draw capturing both the Northeast and Southeast with Midwest access not bad either; all GA format makes it a special place since you can end up anywhere once you get inside; great sound for this type of room (some might say it has perfect “slapback”); mythos surrounding the venue carried over from Dead tour where it became a must-hit venue; wild and wooly lot scene adds to the overall experience and similarly local hotels and other places have become part of the story of seeing shows here; timing of shows played here has been key considering they used this venue as part of return shows from both Hiatus and The Break Up; it’s called The Mothership for a reason, dude

Recurring Themes:  multi-night stands (only three single shows with six multi-nighters including three three-nighters in 2003, 2009, and 2013); Hood and Mike’s Groove – seven of the nine times the band has played here have included a Hood and a Mike’s Groove (though not necessarily the same seven); Phish has only played the same first set opener here twice (Chalkdust); only three songs have repeated as second set opener (BOAF, Ghost, RnR); jamming is the norm here as it has become a place known as one the band feels comfortable stretching out and creating new, wonderful music in the moment; reunion shows – as mentioned above the band has used this venue for returns from both Hiatus and The Break Up; instrument switching – the first rotation jam occurred here in 1995 and they also played with their friend’s toys in 2003 and 203; as hard as a ticket as it can be to procure for shows here they have never played Golgi at Hampton; other ‘common’ songs never played here include Fee, Lizards, Buried Alive, and DaaM; popular one time covers aren’t uncommon here as they have debuted five songs that were only ever played on that night (Gettin’ Jiggy Wit It, RnR Part II, She Thinks I Still Care, TCOB, Tubthumping; overall eighteen songs have been debuted at Hampton including the ones mentioned in the prior note, most of the Round Room album, BDT#L, Undermind, and BOABH

Key Jams/Songs:  1995 – Timber Ho!>Kung, Mike’s Song->Rotation Jam->Mike’s Song and the various Poor Hearts if you are into that sort of thing; 1996 – Makisupa->Maze, Stash, Hood; 1997 – Emotional Rescue->Melt, Ghost>Bag->Slave, Mike’s Groove, Hood, Halley’s>Tweezer>BEK; 1998 – Gin, Gettin’ Jiggy Wit It, Hood, Mike’s>Simple, Tubthumping; 1999 – Jibboo, BOAF>Moma>Jam, Melt, Hood, YEM, 2001>Sand; 2003 – Chalkdust>Gin, BOTT, 46 Days, P&M, Wolfman’s>Makisupa, Possum instrument switching, Contact, Roggae, Paug>WTU?, 2001; 2004 – CDT, Gin, WOTC, Seven Below (kinda); 2009 – Fluffhead, Tweezer->Taste, BOTT, Ice, RnR>LxL, Sanity, Disease, Twist->2001; 2013 – Twist, Roggae, Carini, Ghost, Steam, Hood, BOTT, Tweezer->GA->Piper->TCOB>2001

PJJ Ratio:  Hampton surprisingly has a lower than average 2.17 JPS rating (the average for all venues under consideration in this project is 2.47). This is likely a result of somewhat tame shows in 1996 and 1997 not to mention the song focus of 2009 and the extended night runs of 2003 and 2013 ‘requiring’ more songs to fill the time

 

There is no denying the magic that exists in this room. Hampton is a storied venue for good reason but some of that is based on the intangible factors as much as the music itself. The role this venue has played in the band’s history cannot be discounted as it is a place the band is clearly comfortable playing and one where fans feel free to be themselves. From a purely analytical perspective this venue is surprisingly not as reliable for producing top level Phish shows but when the non-concrete factors are layered on top something special is revealed. As with every show there are thousands of different experiences that tell the story of what is going down. So when so many of these varied opinions all agree that something special is occurring it cannot be questioned. This is a bucket list venue for all fans of Phish, one that needs to be experienced in person to be fully appreciated and understood. Long live The Mothership!