Category: Tours

You Know I Believe And How — Los Angeles, CA 10.29.1998

Phish — The Greek Theatre — Los Angeles, CA 10.29.1998

I  Julius, Roggae, Llama, LxL, Driver, Sleep, Frankie Says, BOAF, McGrupp>Zero

II  Possum>Moma>Reba->Walk Away>Simple>Albuquerque, Bowie

E  Something

First let’s just get this out of the way…

Phish in 1998 was a much different animal than the band we have been discussing up to this point. Instead of being an heavy-touring, up-and-coming, looking-to-gain-fans-by-barnstorming-the-country act this was a band who had arrived. They were deep into a multi-album deal with Elektra which began with A Picture of Nectar (and the re-releases of both Junta and Lawn Boy) but really blossomed with Rift, Hoist, A Live One, and Billy Breathes. The touring was still significant relative to most major acts (and definitely still the core of what this band is, was, and ever shall be) but the days of 100 plus shows a year (to say nothing of a 70 plus show tour like back in the early 90s…) were over. With the benefit of a large, dedicated, and then still growing fan base and greater cache allowing them to play larger venues they were able to craft tours that reduced their travel commitments while still hitting key areas and which worked for the devoted masses who had hopped on tour by now.

By the time the Fall 1998 Tour began they had already enjoyed a year that many groups would have considered enough to be successful but as we know that wasn’t enough for these now seasoned vets of the music world. Things started with a huge bang with what became known as The Island Tour, which was a quickly announced four show run comprised of two shows at Nassau Coliseum on Long Island and two shows at the Providence Civic Center in Rhode Island. The energy from those now legendary shows carried over into the recording/organizing of what would become The Story of The Ghost beginning only one day later (check out this post over on phishthoughts and the linked music therein for more on these great sessions at Bearsville Studios that would produce not only that album but the fantastic Siket Disc as well, not to mention this one that focuses on the album itself) with the album release coming just two days before the start of the Fall Tour we are here to discuss. Summer Tour came next, starting with nine shows in Europe that allowed the band to first test out some of that new material followed by twenty-one shows in the US of A (a tour that deserves its own reviews eventually…). This was capped by their third official festival, Lemonwheel, which was another high point in a year already full of of them. Between the festival and the start of Fall Tour they played a well received set at FarmAid with Neil Young joining for significant sections, a surprise show at the FillmoreTheatre in San Francisco heavy on the jams, two sets at Neil Young’s Bridge School Benefit at Shoreline Amphitheater in Mountain View, CA (with several debuts and great guest sit-ins throughout), a set recorded for the PBS Sessions at West 54th showcasing the material off of the album to come as well as a great interview with host and major influence on the band David Byrne, and an appearance on Late Night with David Letterman to perform Birds of A Feather on the day of the album release. Not a bad month to get ready for tour! And I think I hit my monthly quota for links up there too.

All of this leads us to the start of this tour at the lovely outdoor venue that is The Greek Theatre in Los Angeles, CA. I must say that the contrast of diving deep into a formative tour like Spring 1993 and then hitting up one like this is striking on many levels. First and foremost you have the size of the crowd and surrounding scene where we have gone from small theaters and clubs of 1,000-3,000 people up to amphitheaters and arenas approaching 20,000 and even higher, not to mention the 60,000 plus who ventured up to Limestone, ME for the festival. Granted, this tour opener was at a relatively intimate venue that held “only” 6,000 people or so but you get the point. This is not barroom Phish any more.  Then you have the more important musical evolution of the band which has gone from focusing on long composed pieces, energy rockers, straight ahead ‘type I’ jamming, antics and other humorous ‘show tune’ type stuff, and the beginnings of the open or ‘type II’ jamming to long for type II jams, cowfunk (‘type III’ jams), ambient soundscapes (just check out the late night set from Lemonwheel for the prime example of this), an even broader array of cover songs, and much much more. This is Phish with the full arsenal at their disposal. It is a band that could — and would — do anything they thought would help to foster the musical connection between the band members and the crowd. And that, my friends, is what makes a tour like this so enticing to dissect…

So on that first night of tour you could expect the band would focus on tracks from the album while also hoping for some interesting jams as well. If those were your only expectations you would be well served here but considering the fanbase we are dealing with there might be elements of this show some find lacking. The band came out with intent, sliding into a somewhat restrained Julius that gets us moving but largely does what one expects in the execution. Next we get a patient Roggae which while a lovely version doesn’t exactly elevate the energy in the room. Perhaps they were just trying to ease these West Coast fans into the newer material (but if you had kept track of Europe and the balance of Summer Tour that wouldn’t be an issue, which I suppose is assuming a lot about our wook friends). Besides, we can’t be harshing the brahs mellows now, can we? Then in the three hole we get that energy lift we were looking for with a Llama that rocks hard and relies on Trey’s nimble fingers for a solo that showcases his toys with some electro-esque lines coming from The Trza. You could almost say that this is the true show opener, at least in terms of the prototypical high energy you look for with this whole live music thing. But hey, they recently opened a show with that classic shredder The Line, so what do I know?

After this jolt of power we have Limb by Limb for a mainly straight forward version that has some punch but stays firmly within the construct of the song. The real notable aspect of this one is that Fish kinda doesn’t really do, well, anything with the ending where he typically goes all super-octopus-drummer-dude on us. Realizing this, Trey gives him another shot to finish it up, leading to a little humorous banter about that ending. Now we get to what could be considered the controversial part of the show and a section that I know would get torn apart on the various boards if it happened these days. The double dip offering of acoustic Driver and acoustic Sleep pretty much brings the momentum of the set to a halt, even though both are pretty takes on the tunes and there is a bit of fun banter in between the two songs from Trey about the subject matter of Driver (eliciting our first Fight Bell *ting* of the tour out of Mike — something he apparently got at a flea market across the street from a show in Florida some time in the mid 90s. If you weren’t familiar with this toy before you will now hear it all over tapes, primarily from ’97 on. You’re welcome?). Keep in mind that these two songs were only debuted 12 days prior at the Bridge School Benefit so I understand the pairing and the sparse instrumentation at this stage. It just kinda sucks the energy out of the place is all… So what do they do next? Ramp it up with a raging Chalkdust or something??? Um, no. We get Frankie Says which, while a nice tune and one many people have on their still-seeking list, is not the one to take things up after two acoustic tunes. The mellow vibe was perhaps fitting in Trey’s head at that moment but we are heading towards masses of folks sitting down at a Phish show if this keeps up here, people, and that shit simply won’t stand! Or sit. Whatever! Crises are averted, however, as they wrap up the singer songwriter portion of the set by playing that hip new single Birds of a Feather. Nothing special here apart from more of that tight electro-playing from Trey in the solo, as the tune is still mainly a straight ahead rocker with the exception of its second ever performance earlier this year in Providence — which is a version I implore you to hear if you are not already intimately familiar with it. Which you should be.

But let’s get back to our show here. After that BOAF we have one of my favorite tunes of the Gamehendge Suite, McGrupp. Tonight’s version has a bit of ambient texture (get used to this. it is the new motif they added on this tour and something we will discuss A LOT going forward) and is highlighted by an extended Page section that has some great Fish in it as well. I should probably note one of the things you will definitely notice from Fish’s sound in this tour that was not ever present in the olden times which is the abundant use of his crash cymbal in providing color and punctuation to jams. This is on full display in this McGrupp and will be noticeable in a major jam later on in the show as well. It isn’t a huge thing but it adds something to the mix that no longer occurs since he has again gone down to a more minimalist setup here in 3.0. McGrupp heads right into the set closing Zero (which also has some of that ‘electro’ playing from Trey that we heard previously in the set) and we are off to relax for a few while soaking in the lovely California Fall weather. DOn’t worry, I checked. It was gorgeous that day.

And as happens, after some head scratching and trying to figure what might happen next in the course of discussing the first set, the band came out with vigor and dropped an almost seamless second frame that holds a top notch jam, a major bustout, and more. Kicking into one of the oldest tunes in the catalog, Phish ripped up Possum to get things moving before dropping into one of the newer funk numbers, Moma Dance. This one punches the funk button hard while staying mainly in the box, getting the crowd bouncing and moving in ways they never considered before the show began. Trey throws a Super Bad tease in for good measure and eventually we wind down to the start of… Reba! A second set Reba can only mean good things considering the song has only been placed in the second second (or later) 49 times out of 371 total performances. That’s a 13.2% hit rate for those doing math at home. And if you take out the four encores and one third setter we are down to 12.1%. That’s nothing! But it shows that when they do decide to put our girl in the second set things inevitably get good. And tonight’s version is one of the best of those in my humble opinion. Once through the composed section of the song we drop into a patient, building jam with Trey offering ideas on top of that groove pocket. Others (i.e. Miner) have described this jam more effectively than I can, so let’s just get one more (last?) link in here, mm’kay? I promise I won’t link anything else. Maybe. SO, the first signs that things are different tonight come when Fish changes cadence slightly and Trey offers up a couple of loops while Mike and Page go into ambient drone territory. The four combine to create an intriguing space that gets downright dark and dirty, eventually arriving into a grimy groove that pulsates and hints at… wait, it can’t be, could it? HO-LY HEY! and BOOM! we have a major bustout with a full segue into Walk Away! That’s 367 shows since they played it last at the famed Bomb Factory show of 05.07.1994. I’ve linked enough already, you know where to find that gem. This take on the James Gang tune is straight ahead and fun, bringing the crowd up from the depths of that sinister Reba before a crunchy bridge jam heading into a late set Simple that continues the fun. This one is not overly extended but succeeds in doing what it can before we get the first/only cool down song of the set in the lovely Neil Young tune Albuquerque which the band debuted only a few months previous in Dallas. After this we get Fish Fun Time and hey… wait! This isn’t 1993. Fish Fun Time is much less a regular thing and almost a bustout now so we won’t be needing to detail all of that so much anymore… Instead we get a punchy and rightfully rocking Bowie that isn’t super special — but it is perhaps a little lightly regarded for what actually occurs. The jam is nothing overly new but does continue the idea of more ambient space being added to the jam texture of these songs. It is definitely worth the listen if nothing else than for the swirling peak they arrive at out of the murk of the jam. And hey, let’s see if we can get a little trivia going here. Can anyone tell me where the sonic tapestry in this Bowie intro section was used by the band in the future?

I probably need a paragraph break by now so let’s just put one in there. After the big Bowie closer we have a nice debut with the encore Something, a Beatles tune that would get four cracks out of the band on this tour before disappearing forever. So it goes. And with that we have our show. It is perhaps a bit uneven, particularly in the first set, but overall you really cannot complain about a show like this for a tour opener. The band already sounds connected and we have at least one major highlight jam with several other items of note in what appears to be a fairly nondescript setlist on paper. Which is why we listen. Because the setlist only tells part of the story. Knowing what is coming up in the next few shows there are some things that seem to hint at the musical costume (and more) to come but I’ll leave that for y’all to bring forth as I have written waaaaaaaaay too much here. At this rate, I’ll match the word count for both of the Spring ’93 tour legs I have done before finishing up this relatively short tour’s reviews. A lot of this was table setting though so you can expect a return to form from here on out. Mostly.

In summing up, let’s get to the highlights. For this show you definitely will want to hear the McGrupp, the Reba->Walk Away>Simple section, and the Bowie. If you want more without spinning the whole thing, add in the Llama, BOAF, and Zero to hear that newer Trey playing I mentioned (which will come up almost nightly on this tour) and if you like the tender stuff throw on Driver, Sleep, Albuquerque, and Something and maybe even Frankie Says for good measure. Have I included all of the tracks yet?

And we are off and running. Next up is the pair of shows from Las Vegas for Halloween. Spooooooooooky!

You’ve Been By Here Before — The Next Tour To Tackle

I, like many of us, have a long and varied history with the band Phish. I have been privileged to see this band all over the United States in every possible type of setting over the course of twenty-five plus years. I have not seen the band in a foreign country and there are definitely big stretches of shows over that time that I was unable to attend for whatever reason but I feel lucky to have gotten the opportunity to share in the experience of their music as much as I have.

In thinking about what tour to tackle next in reflecting back here I wanted to focus on something that was wholly removed from my personal experience with the music. I also wanted it to be a tour that I have listened to but have not done a deep dive into as far as listening goes so that it would be fresh for me to hear so that I could come in with something of a clean slate. So this would require the tour to be one where I did not attend any shows and where I had not spent a lot of time listening back as compares to some of the more classically highly touted tours in the band’s history. And at the same time I wanted it to be a tour that has musical merit and value within the evolution of the band and their sound which is to say that my decision would factor in some thought about where the band was coming from and where they were headed considering my ability to shine a retrospective light onto the proceedings. Lastly, I wanted this tour to be one that was high on jamming and open jamming in particular since that is, at the core, what Phish does best in my estimation.

As fate would have it, there are a few tours that fit this bill quite swimmingly with one being a tour that I long did not listen to very much because I was unable to catch any shows on — but for what I consider a very good reason. After catching several shows along the Summer 1998 Tour as I finished up grad school work, several friends and I took the Fall to backpack our way around Europe, starting in Madrid and doing a lap around the continent over the course of about four months. People came and went along the way but I personally came back in late November having missed any opportunity to catch Phish that Fall. Don’t fret for me though, as I had an amazing time and capped it by seeing what would be my final full NYE Run of 1.0 at the end of the year. We won’t discuss why I didn’t make it to Big Cypress the year following as that’s a conversation for another day.

So call it burying the lede, but what I am announcing with this post is that my next project will be to detail the show by show goings on of the Phish Fall 1998 Tour.

This tour includes a lot of what we all love about Phish in these twenty-two shows and shows a band on top of their game but still pushing the envelope to get further out. We will have plenty of big jams to dissect, antics to laugh at (or deride if that’s not your thing), new songs, an album release, a Halloween cover costume, the don’t-skip-the-skip-show show of all of them, and much much more. Heck, with this small number of shows perhaps I should just start with the few shows that led up to that tour opener in Los Angeles, as there is a lot to detail in those as well (this includes the Farm Aid set, the surprise show in San Francisco, and the pair of sets at The Bridge School Benefit).

For now though, let’s all get our files in order to start going back to that time when Phish had graduated on to bigger venues and bigger expectations, a time when they seemingly could do no wrong, a time when their sound included all of the elements of what had gotten them here but not a time of stagnancy of any sort. The band and scene had grown to all but peak height and many openly wondered whether it could keep going in this way for much longer. While that sort of thinking would eventually become more of a factor, here in Fall ’98 the wheels were still turning and the Phish Express was chugging along with no signs of apparent wear, tear, or ill repair. So let’s hop on board and listen in to what the band threw down in the middle of those years that many refer to as The Peak, shall we?

As I Thrill to the Magic Charms — Seattle, WA 04.05.1993

Phish — HUB Ballroom — Seattle, WA 04.05.1993

I  Llama, Ice, Fee, Maze, Fluffhead, Paul & Silas, Stash, Forbin’s>Mockingbird, Bowie

II  Axilla, Poor Heart, Caravan, PYITE, Tweezer, Glide, YEM, HYHU>Cracklin’ Rosie>HYHU, Reprise

E  Carolina, Fire

Now back in the good ol’ U S of A after their one night tour of Western Canada, Phish put another solid show in the books for the good people of Seattle, WA on what would be the last night of the West Coast leg of this Spring ’93 Tour. This is a show that provides a nice exclamation point to all that preceded it, offering musical ideas that have been developed over the past two plus months and popping off with the energy of a band that knows they can do effectively whatever they choose in delighting their fans. Tonight’s show would include so many of the elements that make Phish who they are that it seems difficult to think that the band did not actively take the show in the direction it would eventually go.

Starting with the first set opener the band showed they came to do business, offering up a fiery little monster of a Llama that contains a tease that would play heavily into the tenor of the show, particularly the second set. This tease is Caravan and if you know your Phish history you will note that this jazz standard was once a relatively common cover with 26 of the total 42 performances to date occurring in 1990 (and another five times in 1991 — four times on the Giant Country Horns tour that summer). We will come back to this though…  After that we have a clean take on Ice and a megaphone-less Fee to bring us to the next rager in Maze. A typically high energy version, this one is quite shreddy and fast-paced with a big organ (heh) solo out of Page and some crowd participation as the fans clapped along during the initial build and in a couple of other spots. This clapping is something that wasn’t necessarily rare in later ’93 and ’94 but this is the first time this tour I recall hearing it so clearly on the tapes.

Next up is a mid set Fluffhead and this take is on point and energetic, which seems to be something of a theme by now in this set. Nothing too special here but nice to hear them nail this tune. The bluegrass ditty tonight is Paul & Silas which then gets us to the main highlight of this here first set in a dynamic Stash that I definitely recommend one listening to if you can.  The jam starts off patiently, allowing the band to get a bit outside the song itself before they head into a DEG-ish section and eventually come back around to the song while seemingly hinting at CYHMK along the path. It is a good example of what Stash used to be. By now you’d think they would be starting to head towards the closer but first we have Story Time with Trey by way of Forbin’s>Mockingbird. Tonight’s story is another engaging one as Trey notes the crowd being pretty ‘toasty’ and being quite literal here he means that the crowd is turning into toast.  I don’t want to ruin the detail of where the story heads from there but I will note that there is a ‘Those Were the Days’ (theme to All In The Family) in there from Page. After that we get the lovely resolution that is Mockingbird and finally the set closing Bowie you could have bet was coming if you had been watching setlists this tour (much easier said than done back then, frankly). The intro section gets the Secret Language in spades tonight with Simpsons, AFD, and Oom Pa Pa signals, not to mention a tease of Mockingbird before they head forward for a mainly ‘in bounds’ version that provides an energetic stamp on the set and allows us to all catch our breath for a bit with the break to follow.

After that breath-catching session the band came out and started up the 2nd set by continuing the high energy motif with Axilla and a decently fine Poor Heart before we get the payoff on that tease in the show opener. After 224 shows and almost two full years they dusted off Caravan, throwing in a Manteca tease for good measure. Incidentally, the song would then stay in the rotation for the next leg of tour, being played three more times between this show and the tour closer in Durham, NH a month from here. Each of those also included a Manteca tease for whatever that is worth. Sadly, after seven more appearances for the song it has been shelved (last occurring as a bustout after 160 shows for the New Year’s Run in 1996 at the Spectrum in Philly). Pardon the parenthetical dangling participles there.

After this we get PYITE which is just fine and dandy before they head into a Tweezer that doesn’t stretch too much but offers up several more Caravan teases out of Trey. Worth the listen but this Tweezer isn’t making any best of lists. Glide provides a respite of sorts before the next big one which tonight is YEM. We get a few ‘Owner of a Lonely Heart’ teases along the way here and Trey exerts his domination in taking over the jam which brings us to a nice peak and resolution.  Next up is Fish Fun Time which tonight is Cracklin’ Rosie and then we have a bombastic Reprise closer to cap the night. For the encores we get a couple of ‘dedications’ as they first do the un-mic’d a cappella for Carolina (played in honor of the University of North Carolina basketball team which the band watched beat Michigan during setbreak — this is the infamous Chris Webber time out game if you can recall) and then Fire (for Trey’s friend Dudley who was the other guitarist in Space Antelope back in the day). After this the band would be off for a few days before starting up things in the Midwest on April 9th. They were not resting on their collective laurels, however, as they traveled back east to receive an award and perform at the Boston Music Awards, gathering more laurels in the process.

I am a fan of this show and while it has a few warts in a couple of songs that aren’t exactly top notch versions there is a lot to like here. Seeing as it was the capstone show on a wonderful West Coast leg of the tour, the band is clearly feeling it and they provide a bit of everything in their bag of tricks to celebrate this fact. The straight forward rockers all have great energy, the more open jams go places with concerted effort, there are quality teases and some secret language, Trey tells a captivating story, and the band engages the crowd on several levels that pay off for everyone. Yes, there are better shows on this tour which we have discussed (and which are yet to come when I eventually come back to detail the last leg of this tour) but if you want to give someone an idea of what they could have expected from Phish in this era, you can’t do much better than to offer up this as an example. Your highlights tonight are the Stash, Caravan, Tweezer, and YEM, as well as the Forbin’s story if you like that aspect of Phish.

Next up for me is kicking off our new tour project which we will leave to surprise for now. I will also be putting together a post to pull together the biggest of the highlights through these first two legs of the Spring Tour so keep your eyes peeled in that regard.

Before we move on, however, I do want to give the stats update for these 47 shows. By now they have played in 19 states over 61 days (yup, that’s only 14 days off non-show dates over that time). They have played 121 unique songs with 23 being one-timers. The most frequently played tunes are BBJ (32), Rift (29), Amazing Grace (28), and Poor Heart (28) with HYHU being left out because of course I am not counting that. The most common 1st set openers are Buried Alive (7), Golgi (6), and Llama (6) with the most common first set closers being Antelope (17) and Bowie (14) by far. Second set openers are a bit more scattered though Axilla (9) and Jim (7) are ahead of the pack. Second set closers are also somewhat widespread but Reprise is king with 10 such performances. Encores are also expectedly all over the place but Amazing Grace (18) and Sweet Adeline (11) are the only above single digits. Another interesting trend is how often certain songs were played in consecutive shows (something that virtually never occurs anymore with such a huge song canon) as Amazing Grace, Rift, BBJ, and HYHU all had runs of five or more shows, including three such runs by BBJ and two by HYHU including one run of 22 straight shows. Seven songs had gaps of at least 21 shows within this tour (Lifeboy, Tela, Weigh, TMWSIY, Aveenu Malkenu, Walk Away, and Harpua) and 18 songs were debuted (Loving Cup, Wedge, Lifeboy, Amazing Grace, Sample, Moby Dick, RnR All Night, Pig in a Pen, Nellie Kane, It’s My Life, Choo Choo Cha Boogie, Loup Garou, Spooky, GGITS, You Gotta See Mama Every Night, Sweet Emotion, My Life as a Pez, and Psycho Killer) though several of those were one-off songs played during sit-ins and at least four others were effectively “jams” rather than full performances of the songs. Lots more detail to be found in the stats but I think you get the point.

Thanks for reading and we will see you on the other side…

The Moral Seems A Little Bit Obscure — Vancouver, BC 04.03.1993

Phish — 86th Street Music Hall — Vancouver, BC 04.03.1993

I  Landlady>Rift, Guelah, Sparkle, Melt, Coil, MFMF, Reba, Horn>Antelope

II  Suzy>Stash, Mound, ATR, Sloth, YEM, JJLC, MSO, HYHU>Love You>HYHU, Cavern

E  GTBT

Taking advantage of their proximity to Canada, Phish next took the stage in Vancouver, BC for the first time ever before dipping back into the US for the rest of this run out west. This would be a fun show on several fronts with the band throwing in secret language, teases, and some humor amidst two sets full of high quality playing. This is a great example of the type of Phish you could expect in Spring ’93 with all of the youthful swagger and bravado of the band barnstorming their way through this 71 date tour.

The first set kicks off with a straight forward combo of Landlady>Rift, setting the table with some energetic playing that kind of gets a bit ahead of itself in that Rift which is a nice way of saying they didn’t really nail that one so much. They collect things with an expected Guelah and a punchy Sparkle before dropping into the first meaty dish of the evening with a compactly jammed Melt. We are oh-so-close to this song really taking off but they are still reined in a tad here which is not to say that there is anything lacking in the execution with this version. Coil provides a bit of a breather with a lovely Page outro (as always) and Trey then picks up the acoustic to bring in MFMF. This one stays mainly to form without some of the second set dementedness the song has enjoyed this tour. It ends up being a bit of a table setter as well since we then get our girl Reba in her favorite third-to-last-song-first-set slot. There’s nothing overly special about this one but being Reba it deserves a listen at the very least. A somewhat shaky Horn bridges us to the rocking Antelope closer (with Simpsons signal, of course) and we are off to setbreak.

A quick note here, as if you go looking for this show to stream online you will note that the most common resources will only have the Antelope from that first set. Really not sure why this is, except that they are all pulling from the same source which lacks the majority of the set. Go to The Spreadsheet, however, and you can grab the set easily (or you can find better copies on etree and other torrent sites. Now back to the music…

The second set kicks off with a fun time Suzy that includes a little Spin Doctors tease (Jimmy Olson’s Blues, I believe, though my knowledge of their catalog has slipped in the last 20 years or so…) and provides ample opportunity to stretch those dance muscles a bit after the break. We then get the somewhat rare second set Stash (less than 25% of the 400 times played ever) and this one delivers on the promise with a divergent jam that keeps coming back to the main theme to help build that T&R. The payoff here is great from this example of jam density in action. After a run through Mound, ATR, and Sloth we get the next biggie with a midset YEM that begs to be heard. The build in this version is huge and almost feels like something off of Pink Floyd’s Umma Gumma. Once the jam takes off Trey elevates the music to a wonderful peak after playing around with riffs reminiscent of ‘Walk This Way’ as he shows off his ridiculous dexterity on the fretboard. I don’t know that is a full tease, necessarily, but the idea is there and it won’t be the last time we get a taste of it this evening. This leads to a somewhat minimalist D&B section and then, finally, they bring in the humor with a My Girl-tinged VJ and a nod to their April Fool’s shenanigans as Trey whispers an introduction for “Mr. Neil Young”, which works on multiple levels considering the country of origin for that fine performer.

After that all resolves we get the third Jesus Just Left Chicago of this tour. Page shines brightest here with a fiery solo on the organ that pushes the song to great heights even in staying within the structure. Then we are left with the backside of the set which means MSO… but no BBJ tonight! before Fish Fun Time. Tonight the selection is Love You and we get band intros with Fish noting that they are called Fishbone (!). Trey pays him back with the nom de plume Henrietta Tubman that seems to be his go to this week and we are on to the Cavern closer. Tonight’s version is mainly notable for the Walk This Way tease in an otherwise typically fun take on the song. And then before the encore Trey placates some in the crowd by playing a bit of Weigh before they throw down a rocking GTBT to send everyone out to prepare for their second border crossing in the same 24 hour period.

Once again we have a classic example of this band in the speed jazz era pushing the boundaries where appropriate and otherwise flooring fans with their prowess and high energy playing. Tonight’s highlights are plenty with the Melt, Reba, Stash, YEM, and JJLC being the songs I would recommend you spin if nothing else here. This one will never be on anyone who wasn’t there’s Top Whatever list but it is a fun show to spin and shows how far they have come since the start of tour two months and 46 shows ago. One more to go before this leg ends (and we divert into a completely different flavor of Phish…)!

The Source Was Quite Invisible – Bellingham, WA 04.02.1993

Phish — Mt. Baker Theatre — Bellingham, WA 04.02.1993

I  Buried Alive>Poor Heart, Foam, Bouncin’, Divided, IDK, Ice>Sparkle>Maze, Golgi

II  Jim, Sample, Uncle Pen, Llama, Horse>Silent, Mike’s>H2>Weekapaug, Lizards, BBJ, HYHU>Bike>HYHU, CDT

E  Grace, Rocky Top

After spending a couple days and nights in Portland, OR Phish headed well north to the lovely town of Bellingham for a single night’s stay on the way to Vancouver, BC. This would be the third to last show on the West Coast leg of the Spring ’93 Tour before starting up the Midwest portion… but that’s all for another time. Right now we have an interesting one to cover, one that is a bit of a “tale of two sets” in the offing.

The first set kicks off with that quite common pairing of Buried Alive>Poor Heart to get everyone moving and this marks the ninth time (of 13 Buried Alive performances this tour) where the two songs have been paired thusly. They keep things up for a fast pace run through Foam and a buoyant Bouncin’ before heading into a somewhat extended and quite energetic take on Divided Sky. Fish comes out for the washboard solo on the ensuing I Didn’t Know which also includes a vocal jam breakdown at the end after the “Pardon me, Doug” lines. Next up is a bit of an uneven It’s Ice that leads to a kinda shaky (and definitely non-FMS) Sparkle before they crank up the Maze you could have seen coming a mile away (which really isn’t that far off to notice something if we are being totally honest here). This one isn’t the biggest jam or cleanest execution of the tune but it rocks pretty hard which is always nice. A rote Golgi closer brings us to the break where we can all start wondering whether there is any real meat to be found in that set that just occurred.

I mean, sure, it is a set of Phish and that is great but I’m not recommending anyone rush to go spin this one. There aren’t even any unique highlights to call out which might suit your fancy. It is pretty much a bunch of warm up tunes and rockers to get everyone loose on a Friday night. Which is fine and all, but not really what will keep us all engaged and coming back for more if that was the way things are normally. So it is nice to know that this type of set is actually somewhat atypical even in this pre-massive-jams period of the band’s history. Okay, enough on that.

Perhaps the band sensed that they weren’t really connecting in that first frame since they came out with some extra sauce for the second set, starting with a punchy Jim that included a Simpsons signal in the start of the jam section. After a couple of standard fare tunes (Sample, Uncle Pen) we have a shreddy Llama to really kick things up a notch. They cool it down a bit with Horse>Silent (Trey on acoustic in the Horse, of course) and then crank it right back up for the start of Mike’s. Once they get to the jam here we have some almost-but-not-quite DEG playing out of Trey though in this case it is a bit more frenzied and off the rails. After the expected Hydrogen we get the show’s highlight and main takeaway in a Weekapaug that really needs to be heard to be understood. They depart the main theme of the song fairly quickly, heading to some avant garde waters, throwing in a Random Note SL call, and eventually even giving a shoutout to Tela in the breakdown section before the final return to the Paug theme. This is a great example of the band taking this song OUT and really stretching their legs, something they didn’t do as frequently back then. It shows where the band is headed more than anything which is pretty freaking neat.

After that wonderful music happened they provide a great breather in Lizards before dropping their balls all over the crowd… hang on, that sounds a bit blue. They played Big Ball Jam. That’s it. Nothing dirty here, folks. Next up is Fish Fun Time and tonight we get the fourth Bike of this tour, complete with a lovely vac solo from Henrietta Tubman. Chalkdust rocks the closer spot tonight before the Grace, Rocky Top encore (fourth time these two have been paired in the encore this tour) sends everyone off into the night to plan for the border crossing ahead of tomorrow night’s show in America’s Hat.

I mentioned above that this show is a tale of two sets and I think it is clear to see what I mean by that. They never fully connect in the first frame, throwing rocker after rocker out there and just generally working their way through tunes with nothing special going down. There is nothing wrong with this — some of the best received sets in the band’s career are full of straight ahead energy-inducing rock songs — but it isn’t what most people point to when they talk about their favorite shows. “Yeah, man, they played like seven straight tunes that were almost exactly like the last time they played it and then did three more the same way. It was the best!” is something no Phish fan has ever uttered. The fact that the second set here is so different points this out even more considering Jim has some extra stank on it, Llama spits hot fire, Mike’s gets a bit of the treatment, and then Paug just punches through to another level entirely. I’ve said it before that a set like this won’t hit the ‘best of’ lists for any fan who didn’t find god in a microdot that night but they elevated this thing to a point where listening to the two sets together you have to wonder how the post-first-set conversation between band members went down (this was well before they swore off over-analyzing their performance in the moment). It is a fun question to think about and one that doesn’t have any repercussions in the asking. Your takeaways from this night are pretty much what I just detailed: Jim, Llama (if you like concise shreddy versions), the entire Mike’s Groove (but definitely the Weekapaug if nothing else from this show), and perhaps the CDT closer (again with the shreddy thing).

Next is that one Canadian show of this leg of tour (there is a pair of shows in Toronto and Montreal towards the end of the final leg…) and then Seattle for the last one out west.

Tell Him What It Is – Portland, OR 04.01.1993

Phish — Roseland Theater — Portland, OR 04.01.1993

I  Llama, Guelah, Rift, Stash, Coil, MFMF, Paul & Silas>Fluffhead, Lawn Boy, Antelope

II  Axilla>Curtain>Possum, Fee>Ya Mar, Tweezer, Poor Heart, BBJ, HYHU>Terrapin>HYHU, Cavern

E  Carolina, Reprise

April Fool’s just feels like a perfect holiday for Phish. This is a band that thrives on doing the unexpected or at least playing to those in on the joke and watching in amusement as the befuddled others try to sort it all out. Over the years there have been so many different ways that they have used this to their advantage be it secret language, knowing lyrical references, obvious song placements, random covers, various stage antics, and even more when you include the off-stage stuff as well. And when they do actually play on this date (which hasn’t happened since the ’93 show we are here to discuss) you can be sure they make note of it. It could be a one time performance of Help>Slip>Bag (!) such as in ’86 (which also has the only NFA ever in the shared encore with The Joneses and the debut of Icculus – a joke of a song if ever there was one) or Fish wearing a black dress and feathered boa (as in ’92) or the antics we have from this show here in Portland in ’93. Just to set it up, prior to this show the band participated in a rally to benefit Ancient Forests that also included Neil Young amongst others (and where they played Amazing Grace and IDK. again, not taking things too seriously there…). Somewhere along the way (i.e when the band started it themselves) rumors started that he would show up to perform with the band that night at the Roseland. Well, that’s all they needed to toy with the crowd throughout the evening which we will cover as we go along here.

It didn’t take long for the first nod to appear as Trey throws down a ‘Heart of Gold’ tease before they even start up the first set opener. Some in the crowd pick up on it and then we are off to the races with a shreddy Llama. Next up is our favorite two-hole fodder Guelah (after a shockingly long four show gap!) and then its common partner Rift. Both of these are of the expected variety without much to speak of outside of their set placement so we’ll just move right along to the Stash then. This one is not quite as off script as the previous version but there are a solid couple of minutes in the middle part of the jam here that are definitely type II jamming before they bring it around for the T&R resolution. Some interesting stuff to chew on with that one. Also interesting to chew on is the ‘Sugar Mountain’ tease Trey throws in before the next song, just adding to the anticipation of what could be coming… Next we get a somewhat oddly placed Coil that actually works here with a well played composed section and a nice, albeit shorter-than-typical solo from Page. Trey straps on the acoustic for the MFMF intro in a rote version that precedes a quick P&S. Then we have a nice enough Fluffhead and a Lawn Boy (Trey on the solo tonight) before the inevitable Antelope closer starts up. Things are swirling around as they do in the jam here as they build momentum and when they hit the break for the ‘Rye Rye Rocco’ section Trey throws in some ‘I Feel the Earth Move’ lines (another nod to the benefit show as Carole King also performed) and some ‘Barracuda’ for good measure (again with the callbacks as the sisters Wilson performed at the benefit too) before they wrap it up and thank everyone for coming out before heading off to warm up the hot pockets.

After the sandwich break we get an Axilla>Curtain>Possum trio to start the set and let me just again note here that one thing that is very common throughout many of these shows is that they will generally string 3 or sometimes 4 songs together to start the second (or sometimes first) set, not letting anyone have much of a breather for the first 20-30 minutes of the set depending on the song choices. The Axilla here is rocking as usual and Curtain does what it does in setting up the Possum which is another solid version that has hints of McGrupp (again, as they had in Arcata a few nights before) at about the 1:25-1:30 mark. From there it goes into straight forward Possum jam territory. Fee>Ya Mar keeps the party vibe going and then we get the meat of the second set in a chunky Tweezer that has similar elements to the one that preceded it in Eugene, particularly with Trey’s lead lines as they enter the jam. This one is more straight ahead Trey rockstar stuff as they climb the mountain, eventually arriving at the old slow down ending. Definitely not a face melter but Trey is working some stuff out here that may pop up in other jams later on… Poor Heart, BBJ gets us to our real April Fool’s Fish Fun Time as Trey introduces Neil Young… only to have Fish come out instead. Laughs are had, Fish gets a pie to the face (seriously) and they start up ‘After the Goldrush’ which Fish tries to sing but he clearly does not know the words beyond maybe one verse or so and they drop into Terrapin for our normal fun here. Note that .com has this listed as ‘Love You’ which is the wrong Syd Barrett tune for this evening. After they get Fish back to his kit Trey jokes about fooling the crowd and introduces Bill Clinton on saxophone while Page plays some ‘Hail to the Chief’. What jokesters. A rousing Cavern with the evil jedi maniacal laughing caps the set and then we have Carolina, Reprise for the encores before we head north to Bellingham, WA for the next night’s show. Oh, and apparently they played some NY & Crazy Horse (Welfare Mothers) as the house music post show just to rub it in even more.

So what do we do with a show like this? It is a joke-filled affair with the type of playing we expect out of the band nightly at this stage but not a lot of real highlights overall. I mean, I am totally recommending you spin the Stash, Lope, Possum, Tweezer, and the entire Fish segment because it is just plain funny but that’s not the type of phish that will appeal to a large segment of the fanbase. Or maybe it does. I guess the point here is that shows like this are exactly why so many of us go back time and again because as much as we seek the epic jams, unique setlist construction, bustouts, and other music related stuff the antics and showmanship of it is a major draw as well. This is all very Zappa-esque in the delivery in a lot of ways and nods to many of their other influences as well. And let’s face it, if you were them and you were on your 44th show in 57 days you would be doing some pretty weird stuff just to keep yourself interested and involved. But in all honesty I think these guys would be doing it no matter what because that is just one of the many masks they put on and why we go back again and again – to see what flavor of phish we will get to enjoy that time around.

We’ll Help You Party Down – Portland, OR 03.31.1993

Phish — Roseland Theater — Portland, OR 03.31.1993

I  Jim, Foam, Sparkle, Melt>Mound, PYITE, Sample, Reba, IDK, Bowie

II  Lengthwise->Maze, Bouncin’, Uncle Pen, Hood, BBJ, Ice, YEM, Harpua, CDT

E  Bag, Adeline

Further up I-5 and on the following evening from their stop in Eugene the band was in Portland for the start of a two show stand at the Roseland Theater (nee Starry Night before an ownership change in 1991) and their fourth of five total times playing the venue (the last would be the following evening). This one comes off like the hot, sweaty affair it assuredly was as the playing is loose and free throughout both sets. Sure, there’s some feedback to be dealt with on this tape but there’s also some fun jams, a bunch of teases, and a couple of other little oddities to cover with this one so let’s get down to the nitty gritty.

Things get off to a good start with another solid Jim jammer, as they are continuing to be patient with this one, letting Mike and Fish play a bit after the drop before the full band comes in for the rousing finish. We are still in the sandbox on this one but the inklings are forming. Next we get an energetic Foam and then Sparkle before they drop into Melt. While this version stays mainly true to form it is a very energetic, up tempo version that’ll make you yearn for the precision of years gone by. A manageable Mound, a punchy PYITE, and a suitable Sample get us through the midsection of the set before our girl Reba pops in for a quite lovely version that is oddly undervalued in everything I have seen about this show. The composed section is pretty well nailed and then the jam is just one of those beautiful uplifting hose peakery sections with Trey throwing out all sorts of ideas along the way. Maybe I’m overselling it, but maybe not. You decide. Then in IDK we have Madonna on the washboard for a slightly different take than the trombone stuff before they kick off a set-closing Bowie that is also fairly under the radar when looking at this show. You have the standard SL in the intro (AFD, Simpson’s) and then they just take us on a patient journey through the Bowie world, departing around 7:00 with some clever leading from Trey that carries through to the end which resolves in fine fashion. This is definitely a Trey Clinic Bowie if you are into that sort of thing which you should be if you are listening to ’93 Phish cuz that’s kinda a big part of the deal back then.

After the break they come out with a tune that isn’t new exactly but that had never yet been played as a set opener. Fish starts up Lengthwise and by the time he gets to the last couple of rounds the crowd is right there with him, allowing for a perfect segue right into that song’s album brother Maze. It is interesting that this pairing had yet to occur before this show considering their placement on the then recently released album but here we are. And from here it would become a more common thing, as of the fourteen times the song has been played since 03.31.1993 Maze has followed in eight of those. Additionally, eight of those fourteen have been to kick off a set or encore and six of those headed right into Maze. So the Maze. Right. This one is just another fiery shred heaven version with Trey really out front for most of the jam and then we are off to happy time with Bouncin. A quick stop for Uncle Pen and then the first jam highlight of the second set is upon us as Hood starts up (if you are counting at home that is quite the high number of Fish-started tunes on this evening). This Hood starts out with some SL (Simpson’s) and then once they hit the jam they throw in a couple of teases (Odd Couple, Pink Panther) before bringing it all back for a nice finish. Not the biggest version ever but nice and clean and sticks the landing. Next there’s a quick BBJ before we have what seems to be a standard Ice but wait! I read in a couple of places that this one had an ending that one would know from another (future) song but until I listened to both I thought it was probably a stretch. So go cue up Axilla II and listen to the coda/outro and then come back to this Ice, focusing on the part at the end right before they go into YEM. Yup. It’s there. You might have to DL the show because some of the streaming sites elide some of the end bits on some of these tracks – which is relevant to some funny banter later on in this show too, but we’ll get to that. So yeah, that’s a neat little thing. Then we have YEM and for this one Trey rides rhythm for the majority of the jam, allowing Page to shine on the organ for the bulk if it before he comes in strong at the end right before a quick D&B that precedes the VJ. And looking back, that is clearly one of those sentences that taken out of context would make absolutely no sense to the uninformed reader. But I digress. Next we have our second Harpua of the tour and this one is a nice “I remember…” story that harkens back to his times in Gamehedge, some mention of submarines (the roots of TTE, perhaps?!?!) and eventually gets to Jimmy watching Beverly Hills Cop (cue the Axel F tease – definitely a nod back to the 03.28.1993 show where it popped up in the soundcheck and again in the Antelope) before Trey tells him to turn it off so he can get his Stones on with a little ‘She’s So Cold’ quote before they come back to the fight and bring it all home. Throw on a rocking CDT closer for good measure and your set is complete. Your encores are Bag and Adeline tonight and along with the Bag being a rare treat at this stage Trey tells a funny thing between songs about how one of his heroes Bonnie Raitt is playing in town that night and how he has a crush on her. Ginger love knows no bounds, for sure… Adeline gets a dedication to Nina as she lost and had found her ID which Trey returns to her from the stage. Nice Guy Trey helping out!

So what’s the tale of the tape here? This is another one that I can’t rightly recommend you go spin top to bottom because there’s a lot of stuff that just doesn’t really do much. But when they hit here they hit well. And with that in mind I’ll say check out the Melt, Reba, Bowie, Hood, YEM, and Harpua (if you are into the whole story time Trey thing). If you haven’t noticed by now, I’m finding more nuggets to share in these shows as we progress through the tour. Sure, many are of the same song time and again but overall the fact that the level of playing and cohesion has improved is easily evident and I’m just reflecting that as well. It’s a win-win for all of us!

Next up is the second night from this venue from an April Fool’s Day gone by where rumor and speculation led to some typically phishy humor.

As a site news note, once I hit the end of the West Coast run on this Spring ’93 tour I’m going to shift to something a bit more recent. That’s four more shows if you are keeping track at home. Not gonna spoil which tour just yet though…

Qu’est-ce que c’est – Eugene, OR 03.30.1993

Phish — Hilton Ballroom — Eugene, OR 03.30.1993

I  Buried Alive>Poor Heart>ATR, Golgi, MFMF, Llama, Esther, Stash, Glide>Divided, Cavern

II  Cup, Rift, Tweezer>Lifeboy, BBJ, Weigh, Mike’s>H2>Paug->Psycho Killer->Paug, Horse>Silent>HYHU>IIOHAB>HYHU, Reprise

E  MSO, Grace

After a night off to successfully negotiate the border crossing into Oregon and make their way up to Eugene, the band again graced the stage for an evening of frivolity and fervor in a somewhat uneven show that vacillates between raging, open jams and slightly botched compositions.

Things get started fine enough with a Buried Alive>Poor Heart>ATR segment that while not anything special is sure to get heads bobbing and feet tapping. Then we have a somewhat oddly placed Golgi which, okay sure, before they start to take things in a darker direction with MFMF (even though this one has a Sesame Street theme tease and the acoustic intro). This one stays in the box before we get to a quite shreddy Llama where Trey even throws in a little Can’t You Hear Me Knockin’ (CYHMK) tease just to keep everyone honest. After that we have Esther and this one starts off with a little SL (Random Note) and HYHU tease from Page before they dive into the song in earnest. It is a tad shaky at times but always nice to hear. From here we arrive at the first big highlight of this show which is a Stash that almost immediately departs from form once they finish up the verses. CYHMK is back again but played with a bit more before they dive deeper, eventually bringing it all down in building tension before ratcheting it all up towards a solid end peak. This Stash is notably one of the early examples of the band going completely type II with this song as it isn’t until the end peak that they really return to the main theme at all once the jam starts. This one would lead to much deeper explorations in the future but this is a jumping off point of sorts for the tune and well worth your time at that. The rest of this set just sort of glides along considering it plays out as Glide>Divided, Cavern and with that trio you pretty much know what to expect. Nothing bad, of course, but not much to speak of either.

Upon retaking the stage the band fired up Loving Cup and this is a punchy and on point one though not necessarily much different than others that precede it. Rift takes the two slot tonight and this one is fine enough before we get to Tweezer and for this one we have a big rocker version that stays mainly in bounds though is probably most notable for the fact that Page directs the path for sections of this jam unlike in many/most Tweezers of this era that are essentially Machine Gun Trey showcases. This resolves with the slow ending and into Lifeboy which is always nice and being only the fourth ever this one comes off cleanly (with Trey using the “she” indicating god’s lack of attention to listening to him, something that comes and goes with the song). BBJ is next and then we have Weigh which is mostly what you’d expect but for Trey throwing in some heavier licks that almost get to some Zep-ish ground (maybe it is just me but I almost hear ‘How Many More Times’). Trey gives a quick happy birthday to BBJ (which confirms yet again how closely he once watched the setlists) as well as to a guy named Bob turning 40 and that might be the biggest surprise considering at that time it seemed like there was no one “old” in the crowds at shows. Maybe that was just me too though… Anyway, from here the band introduces Mike’s song and he dedicates it to himself during the intro section before they head into a kinda dirty version of the jam that was sure to have the crowd moving. H2 is notable tonight for Trey throwing in a little ‘Call to Post’ tease and then we get to Paug.

Oh, Paug. Why were you once such a carrier of the jam flame only to now be relegated to being a rote rocker? Here we have a version that gets deep in a hurry, with several different layers emerging before, wait, are they? Could it be? Yup. Boom! They arrive in the debut of Psycho Killer and while it is a tad rough it is still worth the price of admission (and it would be another four and a half years before we’d get to hear it again). Honestly, probably the best aspect of this Psycho Killer is the segue back into Paug which is pretty much a flawless victory by the band (FINISH HIM!!). They wrap up the Paug in fine fashion and then Trey breaks out the acoustic again for Horse>Silent. Next up is Fish Fun Time for Brain and then we get the Reprise closer we all expected. MSO and Grace are your encores and it is off to Portland from here for a couple of shows and… more.

In all honesty, this is probably not a show you will spin top to bottom unless you are doing what I am or if you like Eugene shows or something. The band is playing quite well and trying out some new things as is evident in that Stash but there are just so many other shows that outpace this one overall. That said, the highs are high here and I’d recommend checking out the Llama, Stash, Tweezer, Weigh, and the entirety of the Mike’s Groove. You could probably skip the Weigh but why not spin it?

Next up is a pair of shows from Portland at the Roseland and these two each have some great things to discuss which we will catch up on soon enough…

Doing Things Smart People Don’t Do – Arcata, CA 03.28.1993

Phish — East Gym, Humboldt State University — Arcata, CA 03.28.1993

I  Landlady, Funky Bitch, Sparkle, Melt, Lizards, Sloth, Maze, Fee>Ice, Lawn Boy, Antelope

II  Walk Away>Jim, Mound, Gin, BBJ, YEM>My Life As A Pez>YEM, Paul & Silas, HYHU>Love You>HYHU, Possum

E  Contact>BBFCFM

And then there was one last show in California. This one is a Sunday night affair from up in Humboldt and we have a lovely soundboard of it to enjoy as well. It is also the back end of a run of five straight shows but there really aren’t many signs of fatigue out of the band here. Sure, perhaps it isn’t as full of highlights as the previous few nights but it is a rollicking affair that is tease-heavy and includes a unique one-timer song not to mention a punny pairing in the second set.

The first set starts off innocently enough with a fun Landlady and then the third Funky Bitch of the tour pops up in the second slot. Nothing major here but it is one that’ll get the sleepy head moving. Another workmanlike speedy run through Sparkle then precedes the first jam of the night when Melt stops in for a version that has some unique tone from Trey, sounding a bit gravely and getting fairly close to some Mission Impossible phrasing for a bit. This one stays mainly in form and builds well to a satisfying peak. Then we get a double dip of the Hendge with Lizards and Sloth and at this point on the tape you start to notice just how forward Mike sounds tonight in comparison to those auds and you nod in appreciation for finally being able to hear everything he is doing. After the dirty business of Sloth they head into Maze and while the end is obviously led by rockstar Trey it is Page who shines brightest here when his turn is up. The sbd really helps with the separation here in again noticing what another player is doing and now you are wondering when that box set of all of the best Spring ’93 shows might be coming out and you laugh and realize that is still another ten to twenty years away at this rate since Fish’s kids still aren’t close to college-age. Fee, sans megaphone, gets us to Ice and here we again have a more pronounced presence from Page as his solo is a bit extended in a dark version that hints at some of the things this song will eventually become. Continuing the theme, Page gets the piano solo in the subsequent Lawn Boy which is fairly rare (and not something I think we’ve heard at all on this tour yet) before we head to the Antelope closer. And, oh boy, what a closer it would be. Things going sideways in a hurry as the ‘Fishin Hole’ whistling and teases start early in the intro and then, hey, are they? Yeah, they are definitely playing ‘Axel F’ around the 3:45 mark! Now, if you had gotten your hands on the soundcheck of this one you would know that along with a very captivating Wedge Jam groove clinic Page throws in a tease of that Harold Faltermeyer classic that Fish mistakenly thinks is from Ghostbusters so it was clearly something in the heads of the band that evening. There’s supposedly a Speed Racer tease in here too but either I missed it or that is a bit of a stretch and speaking of stretches, this Lope definitely does just that as they take a big departure from the song for a bit before bringing it all back in fine fashion and wrapping up this set so that the heads can recollect their marbles once more.

After the break we are treated to an odd pairing to start the second set with the second Walk Away of tour opening (which in and of itself is highly rare since along with having just come back after a long respite the song had only opened two 2nd sets ever and both way back in ’89) and that being followed by Runaway Jim. If you can’t see the obvious pun of these two songs being paired together then, well, let’s just leave it there. The Walk Away rocks as it should and then the Jim has a quite engaging jam that the band clearly enjoys considering Trey throws in a few “yeahs!” at the end as they bring it all home. It is clear they are gaining more and more comfort with adding new ideas to this song and come August they would really begin to play around with this one even more. Mound fills the three hole here before we get a then-somewhat-rare Gin (only the third of tour and oddly enough all are in second sets). This Gin goes places for a bit and is worth your time as a proto-gin-jam example. We still aren’t quite there yet with this song but the groundwork is being laid… Another BBJ>YEM pairing comes up next and early on in the YEM (like immediately post-Nirvana) it is clear this version isn’t racing towards the end as Trey steps to the mike and gives a little background before singing a clever little ditty called ‘My Life as a Pez’ which he attributes to old friend Dave Abrahams. It is definitely the sort of thing you’d expect Phish to sing and apparently came up because someone gave the band a bunch of Pez backstage. Ah, the fabled life of rockstars. They then slide right back into YEM for a pretty mellow version that has a nice enough jam and then a ‘Higher Ground’ tinged VJ which also includes some band nickname fun. P&S and Fish Fun Time for Love You get us to the night’s closer which is a quite captivating Possum (yeah, I know!) that has a slurry of McGrupp teases and a whole host of creative thoughts from Trey as he works a few things out here. I definitely recommend checking out this one. And then rather than your standard encore fare we have a double Mike dip with Contact>BBFCFM. Trey essentially dedicates Contact to someone as she travels out to Boston which is nice. Then in BBFCFM they have their usual fun while Mike throws in a bunch of ‘Leave it to Beaver’ teases for good measure. You know, just your standard crazy affair behind the Emerald Curtain.

So perhaps in the end this show is better than the sum of its parts. It isn’t going to be put on an all-timer list but top to bottom it is a solid show in the middle of the tour. At this, the end of the Cali Run, the band has now played 41 shows (the full tour is 71 shows or 73 if you count the two Laguna Seca Daze shows at the end of May) so they are more than half way along the path before they would have about six weeks off in advance of what would become a quite transformative summer tour. But let’s not get ahead of ourselves. This show might seem as good as it is because of the high sound quality of the tapes available or maybe it is simply because they were hitting on all cylinders and clearly having a great time up there on stage. It comes through plainly here that this is the band in their element, playing to their people, with no concerns at all. It is the joyful exuberance and youthful energy of a band on the upswing and it is intoxicating in its own way. For this one I’ll say your takeaways are Melt, Maze, Antelope, and Possum and then the ones to secondarily check out are the Jim, Gin, and Yem>Pez>YEM if nothing else for the uniqueness of that one.

Off to Oregon next for a three pack of shows before points further north. First up is another tease-heavy show from Eugene that includes the debut of a cover Phish fans love to hear even though it is mainly tease fodder and has only really been played about four times ever.

Survey Says…

So I realize that I have been deep into the Spring 1993 Tour and that is all fine and dandy if you are into that aspect of Phishtory but there may be more to be had in discussing other shows and tours, for more than one reason. I am completely open to this and wanted to simply finish what I had started with Spring ’93 but there is a natural stopping point upcoming here with the end of the West Coast leg of tour as they took a week or so off in heading to the Midwest (and supposedly appearing at a music award show). In truth, this would offer me the opportunity to get a little distance from ’93 to keep that from getting too stale while also allowing for exploration into some of the evolution and big jamming of later tours. I still plan on finishing out the April and May sections of that Spring ’93 Tour but the diversion into other eras is enticing…

So what say you?

What should be the next tour to take on?

Any specific shows we want to get down and dirty with?