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The Disco Biscuits Change The Anthem

March 18th, 2010 | No Comments

The Disco Biscuits

It’s only hours before the lineup announcement for Camp Bisco 9 as I speak with bassist Marc Brownstein. A world-renowned festival hosted by The Disco Biscuits which originated in 1999, the annual event has seen its share of evolution over the years. Built slowly upon the roots of a regional party, big name artists like Snoop Dog, Nas and Damien Marley have made recent appearances. Maybe that’s the reason Brownstein is bubbling with energy and excitement during the duration of our hour-plus phone chat. As he gushes in his notoriously raspy, smoky drawl over this year’s Camp headliners – Ween and LCD Soundsystem, along with the Biscuits – he explains, “[We] had been trying to get [these bands] for years.” For a festival steeped heavily in the jam/live-electro scene, the inclusion of artists like these speaks to the Biscuits’ commitment to change and evolution.

“If you don’t change, you get left behind,” says Brownstein.

Nothing represents this notion more than The Disco Biscuits’ latest studio effort, Planet Anthem (released March 16 through Diamond Riggs Records) (JamBase review). In many ways, Planet Anthem is an extension of the mentality of Camp Bisco and its lineage over the past decade. Brownstein, with bandmates Aron Magner (keys), Allen Aucoin (drums) and Jon “Barber” Gutwillig (guitar), started Camp Bisco over a decade ago. Once a small affair held on the farmlands of Pennsylvania’s countryside, Camp Bisco has developed into arguably the preeminent electronic-related music festival in the country. The first fest to allow – and encourage – both “jam bands” and DJs on the same stage, Camp Bisco has seemingly found a home in Upstate New York at the Indian Lookout Country Club, where it’s been held since 2007. In fact, Camp was where Simon Posford, a producer on the new album, made his first appearance into the jam scene, winning over a legion of fans with his Hallucinogen in Dub set and returning the next year with his Younger Brother live band.

This year’s festival will be held from July 15-17 and will again feature multiple stages. Brownstein feels it is by far the best lineup yet. When talking about LCD Soundsystem and Ween, he says, “We didn’t expect to get both of them, but then we got both of them. So, when that happens you take them both!” He’s also quick to point out similarities between the Biscuits approach to Planet Anthem and LCD Soundsystem. Both acts have been searching for ways to incorporate a wide mix of styles without loosing their electro edge.

The Disco Biscuits at Camp Bisco 2008 by Vann

Brownstein explains how Planet Anthem, a labor of love that also began in 2007, shaped up the way it did.

“We made four albums while we were making this album! We very carefully chose the songs while we were making this album. Out of 50 songs [these 13] were all chosen for a reason. They were chosen because as time went on it was a two-and-a-half-year-process, and when we got to the end of the two-and-a-half-years these were the songs that stood the test of time,” he says, “songs that are still relevant in 2010. Shit is changing fast in the music world, and being relevant in 2010, the only way to do that is be aware of what kind of music is out there and be influenced by it. That’s the key!”

Planet Anthem draws on a multitude of genres, from rock to hip-hop to electronica to everything in between, and that’s one of the reasons it’s so daring – or may seem confusing to casual or even experienced Bisco listeners. It’s all things Bisco delivered in a very un-Bisco-like package, featuring guest singers, new arrangements and heavy production. Another difference on this album was the decision to not road test the material and instead record new songs largely unheard by fans. Brownie promises “Big Wrecking Ball,” a true rock song at heart, will make heads roll when the fans hear it live.

Continue reading for more on The Disco Biscuits…

I don’t know if in ten years I’m going to look back and say this was a good thing or a bad thing, or even a thing, but if we had made that other album [referring to typical Bisco releases] then we wouldn’t be talking about MTV.

-Marc Brownstein

Brownstein even contends that Planet Anthem seems to fit in with the band and their overall timeline.

“If you know The Disco Biscuits, you know that we started out as a jam band with no electronic music. And if you really followed us, you watched us start to incorporate trance, then dub, hip-hop and all different styles of music over the years, you know, classical, the whole nine [yards],” explains Brownstein. “You’ve seen us go from a band that would play jazz standards to a band that never plays jazz standards. You’ve seen us go from a band that has electronic music in our jams to playing songs electronic the whole way through. And all [the way] back again to writing songs like ‘Big Wrecking Ball’ that are just rock songs.”

What makes this studio effort unique is how it mixes and matches so many elements together, while holding true to the band’s trademark top-flight musicianship. “It would have been very easy for us to go in and attempt to make an all electronic album,” he says. “That’s what everyone is doing now. They’ve dropped the music.”

The Disco Biscuits at Camp Bisco 2009 by Vann

In line with their mantra of anything goes, the band also employed the help of many local and, in a few cases, world renown names to help contribute, tweak or produce. These names include Simon Posford, Harry Zelnick, Tor Hyams and longtime friend and side project cohort Tom Hamilton (Brothers Past, American Babies).

“The thing that I love about The Disco Biscuits is that you get in the studio and there are no barriers, no walls, there is nothing stopping us from doing anything in any direction,” says Brownstein. “[We're] four guys who all write music regularly, plus a team of our producers – Harry, Tommy, Alex, Simon, Tor – a team of the top musical people in our city AND some of the top in the world coming together to kind of guide the sound, and the sound goes in fucking twenty directions at once yet it works together!”

One of the major and immediate results of this approach was the band’s initial music video for “You and I”, which has been in steady rotation on MTV2. “I don’t know if in ten years I’m going to look back and say this was a good thing or a bad thing, or even a thing, but if we had made that other album [referring to typical Bisco releases] then we wouldn’t be talking about MTV!”

As we rub up on the topic of fans, evolution and that video on MTV, Brownstein is eager to discuss more upcoming videos. The next clip is for “On Time” (catch a preview of the video here), perhaps the catchiest tune on the album, a club-banger that could bring a whole new type of fan to the party.

“There’s four more videos on the way. We’re even making a trilogy of videos,” says Brownstein. “It’s ‘Fish Out of Water,’ ‘On Time’ and ‘Widgets.’ The three songs are all tied together in video, and it’s the story of a robot who picks up this really, really bangin’ girl in a club. It’s a really, really crazy looking video and it’s done in animation, and it’s really, really hot. In addition to the ‘You and I’ remix video that we’re going to do, we’re going to have four more videos coming out. So, we’re looking at five or six videos for this album.”

Regardless of your opinion of The Disco Biscuits or Planet Anthem, which many fans will likely hate due to the unexpected, almost unrecognizable nature of the material, it’s hard not to be impressed by the band’s willingness to try new things. The Biscuits have been doing this for well over a decade and the last thing they needed was another album that tried to capture what they already do onstage every night.

“We’re not even swinging for the fences,” says Brownstein. “We’re just making different music. Our goal was not to make a massive album. Our goal was to make a good album. Our goal was to make good songs.”

The Disco Biscuits Tour Dates :: The Disco Biscuits News :: The Disco Biscuits Concert Reviews

JamBase | USA

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Phish | 12.04.09 | MSG Night 3

December 5th, 2009 | No Comments

Words by: Brian Bavosa

Phish :: 12.04.09 :: Madison Square Garden :: New York, NY

Phish :: 12.03 :: MSG by Perrucci

The final night of Phish‘s return to MSG fell on Friday night, and saw the crowd a little more rambunctious than the previous two evenings. For the first time, there seemed to be a market for tickets, as many outside begged and pleaded to get themselves through the doors. For those that did make it in, MSG3 offered some bust outs, firsts and some classic, rocking Phish.

“Heavy Things” offered a light-hearted start, as many fans still scrambled to get situated, as the lines to get in were far worse than the previous two shows. “Possum,” “Wilson” – the first song Phish ever played at the Garden in ’94 – and “Kill Devil Falls” was a sequence of straightforward, soaring guitar rock, which set the tone for a powerhouse Friday night in NYC.

The first, real treat was the return of “Glide,” a song not performed since the infamous debacle of Coventry. This version saw Trey nail the guitar parts, as Fishman tackled the knick-knack of the drums. From the plastered smiles on the crowd, it appeared that few cared how they played this one; they were just happy to be seeing it again.

A smoking “46 Days” was patient, yet fierce in its rocking and frolicking, while “Bouncing Around the Room” and “Reba” offered a blissful mid-set portion. “Reba” showcased lighting director Kuroda at his best, using the patented “bubbles” to illuminate the floor before ascending to the rafters along with the song’s jam. “Dinner and a Movie,” another real treat, saw the juxtaposition of tempos with a breakneck barreling down a highway vibe pushed against the song’s lazy, lullaby chorus.

Trey :: 12.02 :: MSG by Perrucci

The stage was set for the sixth and final set of the MSG run with “Maze” and “First Tube.” Trey has often remarked that a Phish show for him is all about the energy. If so, he must have exploded during “First Tube.” The place was simply going bonkers in the way only an MSG crowd can. It’s hard to explain, but in this building everyone just becomes affected a little bit differently. Trey was jumping around, slashing his guitar with a huge Cheshire cat grin on his face. Overall, a well played, wide ranging 12 song first set with a steady incline of energy, like the ascent of a roller coaster that started its freefall during “First Tube” before the wild loop-de-loops to come in set two.

“Scents and Subtle Sounds,” another song not performed since ’04, was a completely unexpected surprise. A song that defined ’03 and ’04, many couldn’t help but think back to this tune’s debut over six years ago in Phoenix, as well as Phish performing this track about 20 blocks away on top of the Letterman marquee on what appeared to be their farewell tour. This song featured some great textures, and as I looked around I saw the masses grow enraptured by the weaving strands of the composition. In the past, it could have been five or 35 minutes. This one came in on the shorter end, but it was all that was needed. A blissful second set opener that brought back memories of Phish 2.0.

Not ones to mess around, Phish got back to the rocking shortly thereafter with The Velvet Underground’s “Rock and Roll.” Another tune that the crowd was primed for, when Page belted out the lines, “Then one fine mornin’ she puts on a New York station/ You know, she couldn’t believe what she heard at all/ She started dancin’ to that fine fine music/ You know her life was saved by rock ‘n’ roll,” the place exploded. “Rock and Roll” eventually wound down and found its way to “Seven Below,” with the infectious hook by Trey leading the way and some synth action by McConnell. Again, this tune, and the following “Twist,” featured some great textures like the opening “Scents.” “Twist” saw the place do just that, complete with accompanying calls of “Whoo!” during the chorus.

Everything came to a head with the song of the night: “Mike’s Song.” An absolutely blistering, razor sharp rendition, the energy in the building was at the highest of the run, with Phish fucking nailing it. The transitions were perfect and the band was hell-bent on offering an earth-shattering version. It landed in old counterpart, the beautiful “I Am Hydrogen,” before the slap bass breakdown and dance party of “Weekapaug Groove.” Clocking in at just over 15 minutes, the “Mike’s Groove” was short, sweet and certainly to the point, with “Mike’s Song” doing the heavy lifting.

Phish :: 12.03 :: MSG by Perrucci

“The Horse” > “Silent in the Morning” is hardly a bathroom break, but offered a slight respite before the cherry on the sundae, set closer “You Enjoy Myself.” Another outstanding version, “YEM” capped off the main portion of a truly special three-night return to MSG. It was so funky and hot that it was like a broken steam pipe, offering a scorching blast of Phish right down your insides. All in all, a perfect way to end the run.

Not one to forget how they got here or what they’ve been doing lately, the encore was the second ever reading of “Shine a Light” from the Halloween album, Exile on Main Street. No, Sharon Jones didn’t show up, but all we needed was the phab phour. Isn’t that all we ever needed? As this extremely poignant tune suggests, “Make every song you sing your favorite tune.”

Whether you’re a cynic, a critic, a fluffer, or somewhere in between, there is simply no denying the message that Phish 3.0 is sending: We have gas left in the tank, so let’s continue to enjoy this ride together – in the moment. MSG has seen some serious Phishtory over the years, and ’09 did nothing but add to that tale.

Phish :: 12.04.09 :: Madison Square Garden :: New York, NY

Set I: Heavy Things, Possum, Wilson, Kill Devil Falls, Glide, 46 Days, Bouncing Around The Room, Reba, Dinner and a Movie, Guyute, Maze, First Tube

Set II: Scents And Subtle Sounds, Rock & Roll > Seven Below > Twist, Mike’s Song > I Am Hydrogen > Weekapaug Groove, The Horse > Silent in the Morning, You Enjoy Myself

E: Shine A Light

Order the show for Download on LivePhish.com.

Phish conclude their current tour tonight (12/05) at John Paul Jones Arena in Charlottesville, VA; complete tour dates available here.

You can keep up with all things Phish, including live Tweets and setlists, at jambase.com/phish.

JamBase | Gardening
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Phish | 12.03.09 | MSG Night 2

December 4th, 2009 | No Comments

Words by: Brian Bavosa | Images by: Dino Perrucci

Phish :: 12.03.09 :: Madison Square Garden :: New York, NY

Phish :: 12.03 :: MSG

Night two of Phish‘s Madison Square Garden party was a tale of two “Cities.” The first set, while featuring some hot numbers, seemed the most disjointed of the four thus far and may end up being the most forgettable.

Starting strong with a raucous “Punch You in the Eye,” which brought back memories of the epic New Year’s 1995 show that opened with the same tune, and Joy jam-vehicle “Backwards Down the Number Line,” by the time “Axilla I” hit the adrenalin was pumping through our collective veins.

A mid-set “Boogie On Reggae Woman” foreshadowed the funk that would dominate set two and featured Gordon on his new “meatball” pedal and found Trey teasing some “Macarena” riffs. “Stash” was exploratory, slowly walking up to the edge of the precipice and peeking over but never quite leaping. Unfortunately, the next portion of the set killed any momentum that had been built up.

An always welcome, lounge lizard “Lawnboy” saw many in the upper seats enjoying empty space, while Trey’s new opus, “Time Turns Elastic,” seemed to divide the crowd. This new number has established a love it or hate it relationship with the fans. I fall in the latter category, as this tune is better left for Trey’s solo gigs in an orchestral setting. While the ending section of the song does get the juices going, the journey to get there just doesn’t translate well. A hot “Julius” closed the set and saw some fiery fretwork from Trey, but the second half of the set seemed to drain the energy from MSG.

Phish :: 12.03 :: MSG

What we know now is that night two was all about set two. Not a down moment, this setlist was simply gigantic. Kicking off with “Down With Disease,” it was the first moment all night that the band seemed to stretch their collective legs and take things out a bit with two or three distinct jams, ranging from the funky to the spacey to the downright rocking. Clocking in at nearly 20 minutes, “DWD” bled into “Piper,” which showcased a quick peak before a jam that devolved into sonic wildness, weirdness, and clickity-clacking.

If “Time Turns Elastic” is Trey’s new orchestral-inspired, slightly geeky masterpiece, then “Fluffhead” is its cooler, older brother that gets high in the parking lot and lands all the chicks. A song that shines in Phish 3.0, “Fluffhead” has been back in heavy rotation, much to the delight of fans new and old.

The Talking Heads‘ “Cities” was another extremely welcome treat and again saw the band deliver on some very relaxed funk before an absolutely slamming “Free.” I’ve said it before and I’ll say it again, “Free” is the quintessential Phish song – lyrically, stylistically and spiritually. Gordon owned this tune, like always. “Halley’s Comet” followed and the slight flub didn’t even matter as the Garden was bouncing to the line, “I’m going down to the central part of town.” MSG is not only the central part of town, but might be the central vortex of the world’s greatest city.

Phish :: 12.03 :: MSG

As the short jam tried to find its legs, Trey signaled the band to blastoff with the drum kicks of “Also Sprach Zarathustra,” commonly referred to as “2001.” While the band was cooking this set, lighting guru Chris Kuroda was tossing a broad palette of colors across the Garden, truly playing along with the band for the duration. The rainbow textures he used during “2001″ were simply mind-blowing. Packed into six or seven minutes, “2001″ still manages to “go there” with the super space funk, albeit in a smaller package than in years past. Phish 3.0 seems to be the grown up version of the same band. There is no doubt, they can still blow it up, but in a different way.

As Fishman began riding his cymbals, signaling the set closing “David Bowie,” the place just about erupted. Another old school gem, set two of MSG’s second night will stand out as one of the best in a long time. The playing was very good, but might have looked slightly better on paper than it actually was. Don’t get me wrong, it was super enjoyable, and much like the previous night’s heavy hitters, if you didn’t dig this set you simply don’t like Phish.

An encore of “Character Zero” saw the place raging, with white lights illuminating the entire, fist-pumping arena. It served as the perfect exclamation point to a huge second set that completely blew the first out of the water. With rumors swirling of special guests (a repeat of Halloween’s “Loving Cup” with New York’s own Sharon Jones perhaps?) for night three, the stage is set for Phish to do what they have always done best: top themselves when few thought they could.

Phish :: 12.03.09 :: Madison Square Garden :: New York, NY
Set I: Punch You In The Eye, Backwards Down the Number Line, Axilla I > Taste, Boogie On Reggae Woman,
Stash, Lawn Boy, Time Turns Elastic, Back On The Train, Julius

Set II: Down With Disease > Piper > Fluffhead, Cities > Free, Halley’s Comet > 2001, David Bowie

E: Character Zero

Continue reading for more pics of Phish at MSG…

Phish perform again tonight (12/04) at MSG; complete tour dates available here. Check back for complete review following the show.

You can keep up with all things Phish, including live Tweets and setlists, at jambase.com/phish.

JamBase | Garden State
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Phish | 12.02.09 | MSG Night 1

December 3rd, 2009 | No Comments

Words by: Brian Bavosa | Images by: Dino Perrucci

Phish :: 12.02.09 :: Madison Square Garden :: New York, NY

Phish :: 12.02 :: MSG

Ladies and Gentlemen, welcome back to Mecca. Magical Square Garden. Simply put, it’s the greatest arena in the world – for anything. Compound that with the fact that December 2, 2009 represented Phish‘s 26th anniversary together as a band, the palpable energy for their first show at Madison Square Garden in seven years (and second since ’98) was unmatched even before the band hit the stage.

Kicking off the only three-night stand of the fall tour with an old-school, fire blazing combo of “AC/DC Bag” and “Chalkdust Torture,” it was apparent that the band was glad to be back at the indoor arena that has arguably witnessed the most magic of their legendary career. Two tunes that can sometimes go through the motions, they simply rocked. Early on, Trey spoke about the ’97 holiday shows, and how during certain grooves, the floor at the Garden actually bounces. I’ve experienced it during several second sets here since ’94, and during “Chalkdust” I felt the first “bounce” of the night.

A super funky “Wolfman’s Brother” showcased Page McConnell‘s skills (a recurring theme on night one), while Anastasio crushed the ascending riffs. The only new tune in set one was the bubbly “Ocelot,” another sign that pointed to big things on the horizon. But, clearly, clearly, clearly, the bust out of the night, the tour, and maybe ’09 was the late set cover of Frank Zappa’s “Peaches en Regalia.” Only the 39th time it’s ever been played in over 20 years, and the first one since 9.24.99, the excitement of older fans who knew the significance of this tune as it started up was apparent around the venue (just check the video below). It was one of those moments that validated the time and money for those who travel and devote their lives to this band, making it all seem worthwhile. It was also executed to perfection, as was the majority of the first set. “The Divided Sky” saw the crowd going bonkers during the middle pause section, and a perfect “Cavern” closer topped off a powerful first set back at MSG.

Trey :: 12.02 :: MSG

But as solid as set one was, set two was simply packed with some of the biggest tunes in the catalogue, including some serious jamming – which Phish 3.0 has lacked for the most part – and a relentless onslaught that felt like an all-out pile-on. “Golgi Apparatus” was a nice springboard to “Light,” which has clearly emerged at the biggest jam vehicle off 2009′s Joy. “Light” is vintage Phish. It allows the band to slowly and comfortably stretch out, while Chris Kuroda shines his own lights over the masses, before ultimately peaking in a soaring crescendo where one envision the crowd exploding in a cannon shot of colorful confetti. For those that say this song is overplayed, I disagree, simply because it opens so many doors and allows limitless possibilities for exploration.

“Light” landed in a welcome mid-set “Slave to the Traffic Light,” which saw the gentle thunder of Phish at its finest envelope the Garden before Thor’s almighty hammer slammed down in the form of “Tweezer.” Both dark and funky, this version was raucous and had the crowd going bananas – a true night one highlight, especially coming off “Slave.”

After a brief breather in “Joy” and the infectious, breakneck “Sparkle,” the band kept pouring it on with the opening notes to “Harry Hood.” One of the band’s oldest songs, you could see the masses simply kick back as we basked in the glory that is Phish – for 26 years and counting! This one was patient and sublime, exactly how it is meant to be.

By the time the band smashed into “Suzy Greenburg,” one of 3.0′s strongest tunes, McConnell was all over both his Clav and baby grand and the four-headed monster was firing on all cylinders. In a word, scorching. The icing on the cake was the set closing “Run Like an Antelope,” solidifying an outstanding setlist. But it was more than just the songs. It was the stellar way they were played, not to mention Trey was so lively and animated all night, it was clearly a great sign of things to come for the remaining nights of Phish’s triumphant return to MSG.

An encore of The Beatles’ “A Day in the Life” was another treat, followed by one of the most raging five-minute songs ever written, by any band, ever: “Tweezer Reprise.” Trey destroyed it, Fishman hit the kit with a thunderous force, and Gordon – who was also very, very prominent this night, especially in set two – was locked in.

All in all, a frickin’ super first night at the legendary venue, which ranks as one of the Top 3, if not THE number one show I’ve seen since the return. Stay tuned for Night 2…

Phish :: 12.02.09 :: Madison Square Garden :: New York, NY

Set I: AC/DC Bag, Chalk Dust Torture, Wolfman’s Brother, NICU, Ocelot, Brian And Robert, Poor Heart, Sample In A Jar, Peaches en Regalia^, The Divided Sky, Cavern

Set II: Golgi Apparatus > Light > Slave To The Traffic Light > Tweezer > Joy, Sparkle, Harry Hood > Wading In The Velvet Sea, Suzy Greenberg, Run Like An Antelope

E: A Day in the Life, Tweezer Reprise

^ = not played since 9.24.99

Continue reading for more pics of Phish at MSG…

Phish perform again tonight (12/03) at MSG; complete tour dates available here. Check back for complete review following the show.

You can keep up with all things Phish, including live Tweets and setlists, at jambase.com/phish.

JamBase | Gone Phishin’
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Phish Festival 8 | 11.01.09 | Indio, CA

November 2nd, 2009 | No Comments

Words by: Brian Bavosa | Images by: Steven Walter

Phish Festival 8 :: 11.01.09 :: Indio, CA

SEIS

Phish Festival 8 :: 11.01 :: Indio, CA

The final day of Festival 8 brought out some firsts for the band. Beginning a bit after noon on Sunday, Phish settled into a stripped down arrangement for their first ever, full-length acoustic set.

The set opened with a few numbers fans were expecting to hear, like “Water in the Sky” and “Get Back on the Train,” a fluttering “Strange Design,” as well as a few more daring tunes for an acoustic setting, such as “The Curtain With.”

With the blistering sun again beating down upon patrons, Trey told the audience to sit down at the beginning of the set, something he later explained he’d never be able to do because he can’t take orders, which led to the frontman jumping out of his seat for “Wilson.”

The acoustic early afternoon set proved to be the perfect scenario after the musical chaos and relentless ass-kicking of Halloween. It provided the opportunity to sprawl out in the lush, green grass of the concert field and float away to the simple melodies of “Bouncin’ Around the Room” and “McGrupp and the Watchful Hosemasters.” The acoustic version of “McGrupp” was clearly a highlight that allowed fans to appreciate what a wonderful composition the song is, shinning in this unique setting.

The tripe encore of “Driver,” “Talk,” a song that really flourished with Trey on acoustic, and “Secret Smile” closed things out. The acoustic portion of Sunday truly captured the laidback, SoCal vibe of Festival 8 in a nutshell.

SIETE

Phish Festival 8 :: 11.01 :: Indio, CA

After the Packers/Vikings and World Series games that saw the masses huddle around giant screens, sprawl out on couches and picnic tables, and imbibe heavily at the Bloody Mary bar, Phish hit the stage for their seventh set of the weekend just before 6 p.m., shortly after the sun had set and the temperature dropped.

Opening with the upbeat, fan favorite, “AC/DC Bag,” Phish was back in familiar territory – electric, where let’s face it: this band belongs. “Bag” was cut a bit short, Trey pulling out of the jam and instead segueing into “Rift.” A welcome choice, but a bit puzzling since they had played “The Curtain With” earlier, and both songs contain a very similar composed section.

“Gotta Jibboo” got the crowd gyrating; before the set seemed to sort of fall apart. The set wasn’t bad, but seemed disjointed at times, and the band simply looked tired. This point was further driven home with some major flubs in “Reba” and “Guelah Papyrus.” But, it didn’t matter. There were no haters around and everyone continued to move along, including the band who did manage to end the set on a high note with a Fishman-led, super tight and funky “Undermind,” and a mostly razor sharp set closer of “Split Open and Melt.” A set that will get lost in the mix of the weekend, it did have a few choice moments buy lacked cohesiveness overall.

OCHO

Phish Festival 8 :: 11.01 :: Indio, CA

We made it: the eighth and final set of the weekend! Clocking in at around two hours, the set started off good, but eventually turned great. An infectious, danceable “Tweezer” kicked things off and found Gordon dropping bombs of thunder that felt like they might pull rain from the desert sky above.

A panic-attack inducing “Maze” swirled with McConnell‘s organ and Anastasio’s piercing licks, before things morphed into “Free.” A bombastic version of one of the band’s most beloved jams, “Free” turned the sea of people into one glowing mass of smiles, many with eyes closed and arms raised over head.

Clearly feeding off the crowd’s energy, the band moved into the new Gordon track “Sugar Shack,” featuring funky, calypso rhythms and Gordon’s quirky vocals. Things were gaining speed and truly hit a stride during a triumphant “Limb by Limb” and a very well played “Theme From the Bottom” that soared high with the song’s classic, ethereal jam.

Many fans felt the best set of the weekend was the eighth and final offering. Well executed and perfectly balanced, we were treated to soaring highs, funky dance numbers, and dark, chaotic, dissonant weirdness like that found in the massive “Mike’s Song.” Drifting out of “Mike’s,” “2001″ lit a party keg under an already amped-up crowd that busted their best dance moves during the legendary space-funk. With the band pumping the beats, lighting director Chris Kuroda brought “2001″ to new heights with rainbow patterns and backlit palm trees behind the stage. Known by phans as CK5, Kuroda just might be the best light guru in the game.

Phish Festival 8 :: 11.01 :: Indio, CA

From the darkness emerged “Light,” which featured a very weird, atypical, almost Type-II jam, with a “Burble” twin off to the side of the crowd. At times the “Burble” looked like a guitar, then a piano, and finally a hand playing or waving.

After exploring “Light,” Phish laid a delicate, raw lining over the masses with the majestic “Slave to the Traffic Light.” One of be best show closers in the band’s repertoire, it summed up the weekend: amazing, beautiful, dangerous at times, but clearly worth the journey.

An extended encore of “Grind,” a very unexpected “Esther,” which was performed flawlessly with McConnell’s circus style organ capturing the festy vibe in a snapshot. In a subtle way, “Esther” also signaled that Festival 8 had come full circle. Back at the band’s first festival, 1996′s Clifford Ball, “Esther” was played early on, but had not made an appearance at any of the following festivals.

A bunch of thank yous to Red Light, Goldenvoice and Phish peeps in general, Trey said they hoped to do it again, emitting a universal cheer. The icing on the donut was a raging “Tweezer Reprise” in which the stations at the back of the crowd erupted a few final times with huge bursts of flames.

Festival 8 was a triumphant success and a welcome return to the festival atmosphere for Phish. Exile was nailed, some of the best jamming in years, and a relaxed vibe made Coventry seem like a distant memory. A true epiphany for all in attendance, and from what showed onstage, the band as well.

More photos of this show available here.

Phish Festival 8 :: 11.01.09 :: Indio, CA
I (Acoustic): Water In The Sky, Back On The Train, Brian And Robert, Invisible, Strange Design, Mountains in the Mist, The Curtain With, Army Of One, Sleep Again, My Sweet One, Let Me Lie, Bouncing Around The Room, Train Song, Wilson, McGrupp And The Watchful Hosemasters

Encore: Driver, Talk, Secret Smile

Set II: AC/DC Bag, Rift, Gotta Jibboo, Heavy Things, Reba, The Wedge, Guelah Papyrus, Undermind, Sparkle, Split Open & Melt

Set III: Tweezer > Maze, Free, Sugar Shack, Limb By Limb, Theme From The Bottom, Mike’s Song > 2001 > Light > Slave to the Traffic Light
Encore: Grind, Esther, Tweezer Reprise

Get the complete Phish Festival 8 story at jambase.com/phish. Complete Phish tour dates available here.

JamBase | Gone Phisin’

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Phish Festival 8 | 10.31.09 | Indio, CA

November 1st, 2009 | No Comments

Words by: Brian Bavosa | Images by: Steven Walter

Phish Festival 8 :: 10.31.09 :: Indio, CA

Phish Festival 8 :: 10.31 :: Indio, CA

For the passionate Phish fan, few events are met with the anticipation of a Halloween three set extravaganza. Add to this the fact that it had been 11 years since Phish performed one of their legendary Halloween shows, and the scene was set for a historic rock concert.

With temperatures pushing into the low 90s, Saturday afternoon was hot, contrasting nicely with the rather chilly weather from the previous night. As soon as day broke it wasn’t hard to find excited Phans decked out in colorful costumes ranging from Hulk Hogan and Rainbow Bright to a “Golden Shower” and Fluffhead to name a few.

TRES

Walking into the concert grounds, the band finally gave in and let the masses know via their traditional “Phishbill” (modeled after the Playbill you’d get at a Broadway play) that the musical costume for the night would be The Rolling Stones‘ Exile on Main St. But before the hungry crowd could feed on Exile, there was the day set. Featuring hot weather that definitely translated into the band’s performance, the afternoon set was relaxed, loose and difficult to dance to with hardly any shade in sight. Even McConnell and Anastasio looked to be conserving energy as the sun burned across their faces.

Opening up with the standard guitar punch of “Sample in a Jar,” the band again seemed to be playing it safe. “The Divided Sky” soared without a cloud in the sky, while “Lawnboy” saw Trey give a shout out to the beautiful venue and Page pay homage to the very grass the patrons were standing upon. Afternoon sets have always been a time for McConnell to take center stage and this one was no different, featuring his sprawling digits on the opening chaos of “Bathtub Gin” and the lullaby outro of “The Squirming Coil.”

Three more old school favorites, “Runaway Jim,” “Possum,” and “Run Like An Antelope” brought the day set to a close. Not much in the way of “bust-outs” or extraordinary versions, everything up to this point had been well executed, but seemed in many ways to be an introduction for what was to come. With a few hours before the night sets, fans gathered around jumbo TV screens to watch the World Series, touched up their costumes or chilled under palm trees awaiting the madness of Phish Halloween.

QUATRO – EXILE ON MAIN ST.

One of the greatest rock albums of all time, Exile on Main St. represents the very essence of what it means to be alive, in a band, and pouring your heart into rock & roll. Trey says the classic slab was ingrained in the band members’ “DNA” and
in the previously mentioned Phishbill, there was a superb essay by Rolling Stone magazine’s David Fricke in which he explained the story of Exile, and its logical choice for the boys of Phish.

Exile on Main St. :: 10.31 :: Indio, CA

Joined onstage for the set by soul singer Sharon Jones (The Dap-Kings), David Gray (trumpet), David Smith (trombone), Tony Jarvis (sax) and Saundra Williams (vocals), Phish donned its musical costume and delivered a two-hour experience that defied expectations.

From the opening one-two combo of “Rocks Off” and “Rip This Joint,” something at Festival 8 seemed to change instantaneously; in band, in crowd, and in the holy spirits that certainly swirled around us. Building momentum at a breakneck pace, the night turned a corner during the raucous “Tumbling Dice,” and the slow, beautiful twang of “Sweet Virginia” that found Fishman on vocals with the crowd singing along in perfect harmony, especially to the line, “Got to scrape that shit right off your shoe.”

Arguably the strongest song of the set was “Torn and Frayed.” Around the mid-point of the album, it was here that Phish finally made Exile its own. Built around the first big Trey jam of the night, it was hard to not see some of Anastasio in this story of a rock & roller struggling with the life he’s chosen, “but never more than one great lick away from redemption” as Fricke explained. This is the story of Phish’s past decade. Stardom. Pressure. Addiction. Failure. Redemption. Exile was Phish’s “one great lick” on Halloween.

The ninth track, “Loving Cup” was first covered by the band in ’93, at the very first show that McConnell debuted his baby grand, and it has been a staple ever since. Highlighted by the guest horns and a valiant effort by each member, this take rivaled any single version of this tune over the past 16 years.

Exile on Main St. :: 10.31 :: Indio, CA

Many of the songs on the album had rarely, if ever, been played live by The Stones, making them all the more special on this occasion. The crude “Turd on a Run,” and slow cooked “Let it Loose,” were two such examples. With no road map except the album versions to go from, Phish was able to play these songs in their traditional sense, while adding swirling piano chords and sprawling fret work by Anastasio, who played out of his head all night.

Phish was not only playing this costume, but actually living it with each and every note. By the time “Shine a Light” rolled around, many in the audience had goose-bumps and shouted along to the choir-like epiphany of, “May the good lord shine a light on you/ Make every song you sing your favorite tune.” Phish was doing exactly that, with every song off the album executed near perfection and played with a sense of joy and vigor that radiated throughout the audience.

Exile on Main St. will rank with the best cover albums Phish has ever played. While the title of the album speaks of being in Exile, Phish continued their return to glory with this set.

CINCO

How the hell do you follow up THAT? Simple. You deliver one of the best sets of improvisational music you’ve played in the past decade. “Backwards Down the Number Line” began a five-song set, followed by the thumping thunder of “Fluffhead,” in which Gordon took center stage. No flubs to speak of, this mega-number has certainly been a welcome addition to the band’s catalogue in version 3.0.

Phish Festival 8 :: 10.31 :: Indio, CA

The song of the night, though, was the Halloween appropriate “Ghost.” From the funky opening this roughly 15-minute cut took on a life of its own. Fueled by Trey’s furious guitar work, the theme developed into a scorching jam before returning full-circle to the loose structure of the introductory chords. The one breather tune of the set was a stirring rendition of Los Lobos’ “When the Circus Comes to Town,” with the line, “the day I burn this whole place down” foreshadowing some of the pyrotechnic displays that would happen shortly thereafter.

“You Enjoy Myself” is arguably Phish’s biggest, most popular composition. You could call it the quintessential Phish song. The Halloween ’09 version ranks up there with some of best they’ve performed. Led once again by Trey’s possessed guitar work, it was classic Anastasio. During the breakdown, the structures that defined the outer limits of the concert ground blew fire out of their tops in unison with the music. The band was locked-in, fired up (literally), and ready to conquer the world. After Exile and this third set, they’re a step closer.

The encore welcomed back out the horns for “Suzy Greenburg.” A song that has been overplayed since the band’s return, this version was easily the best one yet and again warrants talk of possibly a “best ever.” Jones’ vocals gave the ending jam an added boost and Page and Trey were blowing a gasket. Those onstage were having so much fun, they didn’t want things to end, and when the song was about to be over, Trey led everyone back into a reprise jam, akin to the Darien Lake ’00 “Suzy.”

Basking in the glow of fire, neon and the glory of a show this good, Phish rose to the occasion and made Halloween 2009 one for the ages. Not only did they conquer a classic in Exile, the boys turned in some of the best versions of their own classics.

More photos of this show are available here.

Phish perform again today in Indio. Keep an eye on jambase.com/phish for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available here.

Phish Festival 8 :: 10.31.09 – Halloween :: Indio, CA

Set I (Afternoon): Sample In A Jar, The Divided Sky, Lawn Boy, Kill Devil Falls, Bathtub Gin, The Squirming Coil, Runaway Jim > Possum, Run Like An Antelope

Set II (Night) – The Rolling Stones – Exile on Main St.: Rocks Off, Rip This Joint, Shake Your Hips, Casino Boogie, Tumbling Dice, Sweet Virginia, Torn and Frayed, Sweet Black Angel, Loving Cup, Happy, Turd On The Run, Ventilator Blues > I Just Want To See His Face, Let It Loose, All Down The Line, Stop Breaking Down, Shine A Light
Soul Survivor

Set III (Night): Backwards Down the Number Line > Fluffhead, Ghost, When the Circus Comes, You Enjoy Myself

Encore: Suzy Greenberg

Exile on Main St. & Suzy Greenberg featured Sharon Jones, David Guy, Tony Jarvis, David Smith & Saundra Williams

Phish Festival 8 | 10.30.09 | Indio, CA

October 31st, 2009 | No Comments

Words by: Brian Bavosa | Images by: Steven Walter

Phish Festival 8 :: 10.30.09 :: Indio, CA

Phish Festival 8 :: 10.30 :: Indio, CA

Festival 8 is not your regular Phish show. It’s not even a typical Phish festival.

Phish put on their first fest in 1996 with The Clifford Ball. 1997 welcomed The Great Went, 1998 Lemonwheel, 1999 Camp Oswego, 1999 brought the epic New Years event at Big Cypress, 2003 found It, and finally, 2004 brought fans to Vermont for Coventry. Festival 8 is the band’s eighth festival. But it also falls on Halloween, making it significantly different than any of the previous events.

Not only does Phish have deep history in regards to throwing festivals (many credit them with helping revolutionize American festivals as we know it), but the band’s Halloween shows are the stuff of legend. Dating back to 1994 when Phish performed The Beatles’ White Album in its entirety (and in order) in Glens Falls, New York, they have donned a “musical costume” for each following Halloween they would play.

1995′s “costume” was The Who’s Quadrophenia performed in Chicago. 1996 was The Talking Head’s Remain In Light busted out in Atlanta, and the last Halloween show Phish performed was in Las Vegas in 1998 where they did The Velvet Underground’s Loaded.

Festival 8 unofficially kicked-off on Thursday night with a soundcheck including teases of “Fuck Your Face” (last played about 20 years ago) and MGMT‘s “Kids,” off their smash hit Oracular Spectacular, which is rumored to be one of the eight remaining possible albums Phish will cover (they have been “killing off” a list of potential albums featured on their website, supposedly leading to the final selection which will be performed in its entirety on Halloween). Toss in the one-of-a-kind, unique stylings of the ground’s art, complete with 140 lit palm trees, “The Coil,” the burning heart of fire, beer tent, The House of Live Phish (where fans can mix songs from this past summer tour), giant Ferris Wheel, and white tents reminiscent of Shoreline, and Phish has turned The Empire Polo Club into what they are calling “Little Vermont.”

UNO

Trey – Phish Festival 8 :: 10.30 :: Indio, CA

Opening the first of eight weekend sets with “Party Time,” the feeling was immediately relaxed, a sort of anything-goes vibe. “Chalkdust Torture” came next, igniting the crowd with its trademark reckless abandon. The deep funk of “The Moma Dance” and a well placed “NICU” continued to build momentum, before a mid-set “Stash” offered the first real jam of the weekend, hitting some high points without getting particularly dissonant or scary.

A rare “I Didn’t Know” saw Jon Fishman play a vacuum solo while simultaneously “sucking and blowing in the shape of an eight,” followed by “Poor Heart” and “Cavern” that gave this portion of the show a real vintage ’92 feel.

“Beauty of a Broken Heart” is a Page McConnell number from his solo, self-titled, 2007 release, and tried to shine in Indio, but this entire set was already mailed in. Not lackluster or performed without passion, but Set I was akin to tantric sex. For all previous fests the band has been careful not to blow their load, instead working the crowd slowly, bringing the masses into a shared state of being that will last for hours and days upon end.

“Time Turns Elastic,” another tune off of the band’s latest release, Joy, concluded an hour-and-forty-minute set with a flurry, especially the last four-minutes, which are by far the most interesting part of the song.

DOS

“Punch You in the Eye” opened up the second set, with the line “where palm trees dipped and seagulls swerved,” drawing a huge response as lighting director Chris Kuroda splashed color upon the trees behind the stage. “Down With Disease” was on fire, bringing some of the most intense jamming of the night with Trey busting out celebratory licks on his Languedoc guitar. Morphing into “Prince Caspian” out of “DWD,” things again slowed a bit, but featured a McConnell led, Wild West-esque, bobble outro before a slamming “Wolfman’s Brother,” which was funky and stripped down featuring a concise Trey and Page led duel. Although a short version of “Wolfman’s,” it was still one of the night’s strongest numbers.

Phish Festival 8 :: 10.30 :: Indio, CA

The end of the set featured a standard “Joy,” before a menacing “David Bowie,” with Trey remarking, “we’re gonna give you a little hint about the Halloween album now.” A cryptic comment for sure, it’s hard to know exactly what Trey meant, but the obvious answer seems to be that they will not be playing David Bowie’s Hunky Dory, which up to this point was still one of the eight records still “alive” according to the band’s website.

The artistic highlight of the night was definitely “Harry Hood” with the roaming “Balloon Burble,” which is a blimp-like, balloon structure wired for psychedelic color via remote control. At times during the chill “Hood” jam it looked like a giant pill of rainbow that brought many back to Phish’s first festival 13 years ago at The Clifford Ball when the “Hood” jam featured fireworks. Full circle indeed.

A fun closer of “Golgi Apparatus” didn’t have the typical kick at the refrain, “I saw you with a ticket stub in your hand!,” because attendance seems slightly less than anticipated. Perhaps 30-50 thousand people as opposed to the 70 or 80 that the Polo Fields are capable of holding. The “Character Zero” encore was hot and full of gritty rock power chords, but the crowd seemed almost subdued, perhaps in shock that this historic event was finally underway.

Walking out shortly after midnight, a showing of The Shining on a giant movie screen attracted a plethora of bug-eyed campers, while many, including myself crept back to nearby condos and hotels to ponder what Phish had in store for Halloween.

More photos of this show are available here.

Phish perform again tonight on Halloween! Keep an eye on jambase.com/phish for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available here.

Phish Festival 8 :: 10.30.09 :: Indio, CA

Set I: Party Time, Chalkdust Torture, Moma Dance, NICU, Stealing Time From The Faulty Plan, Stash, I Didn’t Know, Poor Heart, Cavern, Beauty of a Broken Heart, Ocelot, Time Turns Elastic

Set II: Punch You In The Eye, Down With Disease > Prince Caspian > Wolfman’s Brother > Piper > Joy, David Bowie*, Harry Hood, Golgi Apparatus

Encore: Character Zero

* “We’re gonna give you a little hint about the Halloween album now.” -Trey

JamBase | Indio

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Phish Festival 8 Coverage Get It All On JamBase!

October 30th, 2009 | No Comments

Phish Festival 8 Coverage On JamBase

Live Reviews, Photo Galleries and Up-To-The-Minute Setlists & Live Tweets

Phish is getting ready for Festival 8 in Indio, California and JamBase is already on the scene! Embedded in the desert (okay, hanging at the pool before the show), JamBase writer Brian Bavosa and photographer Steven Walter are getting ready to bring you the most in-depth and up-to-the-minute coverage you’ll find anywhere. In addition to full reviews and photo galleries following each show, we’ll be updating the setlist live as well as offering live Tweets from the Polo Fields. Keep an eye on jambase.com/phish for all your Phish needs.

The festivities begin Friday (10.30.09) with two full sets, followed by three sets on Halloween, and three sets on Sunday, including the band’s first ever full acoustic set.

As they have throughout their career, Phish will perform an entire cover album on Halloween. This year’s “musical costume” has yet to be announced, but according to the band’s website, the final 8 candidates are:

David Bowie – Hunky Dory

Genesis – The Lamb Lies Down On Broadway

Jimi Hendrix – Electric Ladyland

King Crimson – Larks’ Tongues In Aspic

MGMT – Oracular Spectacular

Prince – Purple Rain

Radiohead – Kid A

Rolling Stones – Exile on Main Street

Keep your computer tuned to JamBase all weekend for Phish coverage.

Mike Gordon | 09.08.09 | Brooklyn

September 16th, 2009 | No Comments

By: Brian Bavosa

Mike Gordon :: 09.08.09 :: Music Hall of Williamsburg :: Brooklyn, NY

Mike Gordon by Dino Perrucci

Coming off the recent, wildly successful Phish Summer Tour, Mike Gordon had no trouble getting in sync with his solo band when they kicked off their own tour at Brooklyn, NY’s Music Hall Of Williamsburg last week. Joined by guitarist Scott Murawski (Max Creek), Todd Isler (drums), Tom Cleary (keys) and Craig Myers (percussion), Gordon was in a loose, jovial mood, repeatedly citing how much fun he’s had with this band over the past year.

The evening began with local boy Marco Benevento performing solo on piano. A rare talent, Benevento’s understated, tasteful efforts and strong jazz chops proved the perfect way to get the juices flowing.

Wasting little time, Gordon and company took the stage and jumped immediately into “Dig Further Down” and the bubbly bass-led “Radar Blip,” both off of his 2008 release, The Green Sparrow. However, the real treat of the early part of the show was a cover of Lynyrd Skynyrd‘s “Swamp Music.” When this tune starts, it sounds exactly like Phish’s “Possum,” which rumor has it, Phish co-founder and “Possum” composer Jeff Holdsworth used as inspiration for the tune. It was funky, feisty and truly allowed the band and audience to settle into a solid – and eerily familiar – groove.

Gordon originals “What Things Seem” and “Can’t Stand Still” both made their debuts, with the latter feeling particularly appropriate for this very laid-back Tuesday night tour opener in the hipster capital of the universe. Benevento and Duo partner Joe Russo, Gordon’s sometime tour mates, sat in for “Sarala,” a Craig Myers original where Russo went off on the kit in his unique slash and burn style, and Desmond Dekker’s “Intensified” which showcased Benevento’s organ abilities. As they segued into show closer “Traveled Too Far,” The Duo left the stage for the Mike Gordon Band proper to wrap things up with this rocking number.

The encore offered another surprise with an “Andelmans’ Yard” sandwich around “15 Steps,” a debut Radiohead cover that pleased the Brooklyn masses. “Andelmans’ Yard” is arguably Gordon’s best and most well liked solo tune, but it was not enough to salvage a loosey-goosey and at times sloppy tour opener.

Overall, it was a fun Tuesday that never seemed to click 100-percent, but rather felt like a free-from jam session in a cozy venue to kick off a solo tour. This might be Gordon’s side project and no one expects it to trump his other band, but that isn’t stopping Mike from having the time of his life.

Mike Gordon :: 09.08.09 :: Music Hall of Williamsburg :: Brooklyn, NY

Dig Further Down, Radar Blip, Swamp Music*, What Things Seem**, Can’t Stand Still**, Voices, The Field^, Couch Lady, Sarala#, Intensified^^ > Traveled Too Far

Encore: Andelmans’ Yard > 15 Steps*** > Andelmans’ Yard

* Lynyrd Skynyrd cover
** Mike original, first time played

^ Scott Murawski original
# Craig Myers original, with Craig on N’goni and Joe Russo on drums (Todd on percussion) & Marco Benevento on organ (with Tom on Keyboard)
^^ Desmond Dekker cover, with Joe Russo on drums (Todd on percussion) & Marco Benevento on organ (with Tom on Keyboard)
*** Radiohead cover, first time played

Mike Gordon is on tour now; dates available here.

JamBase | NYC
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Phish | 08.02 | Red Rocks Day 4

August 3rd, 2009 | No Comments

Words by: Brian Bavosa | Images by: Dave Vann

Phish :: 08.02.09 :: Red Rocks Amphitheatre :: Morrison, CO

src="http://images.jambase.com/bands/phish/090802_vann/21_1.jpg">Phish :: 08.02 :: Red Rocks Amphitheatre

Sunday night closed out Phish‘s famed return to Red Rocks. With hundreds of ticket-less folks outside and word of a tight band to kick off the current tour, hopes were high for the final night. Keeping with the theme of busting out fan favorites, Phish took the stage shortly after 8 p.m. and jumped into Ween‘s “Roses Are Free.” The previous night there was a fan up close who had a sign that read, “Jerry Loves Roses,” and apparently threw roses on the stage during the encore, with a note that quoted one of the songs lines: “Don’t believe the florist,” which Trey supposedly picked up as he walked off stage. I guess he took the hint because it was only the second time the band has played “Roses” since 2000, with the other being a badly butchered version at Alpine Valley in ’04. This version was tight, short and to the point and, like many songs this run, well executed.

“Wilson” kept the energy high and echoed the call-and-response between the band and crowd, before Trey blistered his ways through this oldie but goodie. An always fun “NICU,” which, in my opinion, has one of the most unique grooves of any Phish number, saw McConnell take charge after Trey demanded, “Play it, Leo!,” a tradition for this tune. An early set “Prince Caspian” and an out of place, mid-set, a cappella “Grind,” which Phish apparently loves singing, sandwiched another big gem, “Reba.” One of Phish’s compositional masterpieces, “Reba” had some intricate portions before a chill section that blasted into a soaring, uplifting jam. It’s one of the easiest tunes to close your eyes and drift off with. This version, sans the whistling at the end, was spot on and allowed me to do just that. Also, somewhere in there, Trey thanked everyone for making this weekend possible and relayed how much the band loved playing at Red Rocks.

src="http://images.jambase.com/bands/phish/090802_vann/30_1.jpg">McConnell – Phish :: 08.02 :: Red Rocks Amphitheatre

The rest of set one took on a slight resemblance to the Worcester Centrum show in ’03, where the band debuted a tune from each of their solo projects. The second ever rendition of McConnell’s “Beauty of a Broken Heart” from his ’07 album (read the JamBase interview with Page about this release here), and the second ever Gordon tune, debuted earlier this summer, “Sugar Shack,” filled in the latter portions of set one. “Broken Heart” allows Page to shine on vocals in a different way than his normal crooning, and boasts a really solid jam with collective efforts by the four members. “Sugar Shack” is, simply put, a Gordo tune. It screams quirky, bassy and bubbly, and is impossible to not bounce to. “Waste” and “Kill Devil Falls,” the new, 3.0 rocker off the forthcoming new album, Joy, closed a set one that was well played but sort of all over the map.

The second set held the fireworks and more surprises. “Boogie On Reggae Woman” kicked things off and was super funky, with Gordon’s bombs leading the way and Trey’s sexy guitar licks hot on his heels. This was a very good version, indeed. “You Enjoy Myself,” one of the remaining big guns, was up next, and appropriate since many claim the 6.11.94 version of “YEM” from Red Rocks to be one of, if not the best ever. It showed the band was focused and ready to rock. “YEM” highlighted everything Phish represents – soaring solos, funky bass lines, sharp interplay, trampoline dance moves and a vocal jam at the song’s end – under black-and-white lights that segued seamlessly into “Undermind.” During the vocal jam, a second drum kit was set up and Bill Kreutzmann (Grateful Dead) took a spot behind the kit to help push the set along. This again made me think of the final night at RR in ’96 where Phish welcomed Tim O’Brien to help them close that run out. Anyone that wanted a Jerry Garcia nod the previous night on his birthday would have to settle for Kreutzmann this night. Kreutzmann and Gordon have played together with Scott Murawski, so this sit in is not as far-fetched as some might think, but still awesome nonetheless.

src="http://images.jambase.com/bands/phish/090802_vann/8_1.jpg">Anastasio – Phish :: 08.02 :: Red Rocks Amphitheatre

A loose and funky “Undermind,” which seemed to take its time (a strength of the song), led into a fierce drum duel between Fishman and Kreutzmann, before Trey hit the opening hook for “Seven Below,” which bobbed and weaved with Trey repeating the infectious licks while Fish and Kreutzmann had a ball holding down the low end with arms flailing to and fro. A complete segueway-fest saw the band dive into some spacier territory for “Also Sprach Zarathustra,” commonly referred to as the “Theme from 2001.” All songs with Kreutzmann were a half step slower – in a good, loose way – and the “2001″ was no exception. In fact, it was so loose and dance-able with all of the empty space moving in and out that it was like trying to eat tomato soup with a fork – things just kept morphing and moving in a slippery way.

“Waves” saw Kuroda‘s lights shine once more on the majestic setting of Red Rocks before Trey took hold and shook all in attendance with a raging “Character Zero.” An all out fireball of blazing, scorching, heavy guitar rock, “Zero” is a fist-pumper that fires up everyone something fierce. It was a great ending to a super, guest filled second set.

The encore saw the four members proper come out again and had Trey explain that his daughter had been asking him to play this tune all tour and in turn, dedicated it to “Matt,” whom his daughter said should “keep your hair straight,” before the first “Bittersweet Motel” since Star Lake in ’03. “Bouncing Around the Room,” one of the songs that anyone who casually likes Phish probably knows, was nice to hear, regardless of whether you love or hate it, and featured the typical vocal levels and jam that peters out.

However, I simply knew the band wasn’t quite done yet, and was hoping for the one song that felt right to close things out: “Slave to the Traffic Light.” My personal, favorite Phish song, “Slave” represents the delicate, raw thunder and emotion that is Phish in a nutshell. It was the perfect closer to a historic, four-night run and return to one of the most amazing venues on Earth. And as “Slave” wowed the crowd with its sheer emotion, it felt more comfortable than a fleece blanket on a cold, winter night. An absolutely perfect conclusion.

src="http://images.jambase.com/bands/phish/090802_vann/13_1.jpg">Phish :: 08.02 :: Red Rocks Amphitheatre

Phish :: 08.02.09 :: Red Rocks Amphitheatre :: Morrison, CO

Set I: Roses Are Free, Wilson, NICU, Prince Caspian, Get Back on the Train, Reba, Grind, Beauty of a Broken Heart, Sample in a Jar, Sugar Shack, Waste, Kill Devil Falls
Set II: Boogie on Reggae Woman, You Enjoy Myself > Undermind* > Drums* > Seven Below* > 2001* > Waves* > Character Zero*
E: Bittersweet Hotel, Bouncing Around The Room, Slave to the Traffic Light

* with Billy Kreutzmann

For more pics of Red Rocks Sunday night go here.

Phish perform again Wednesday night at Shoreline Amphitheatre in Mountain View, CA. Check back for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available href="http://www.jambase.com/Artists/2698/Phish/Shows">here.

Just like Leg I of Phish’s Summer Tour, JamBase will be at every stop with more coverage than you’ll find anywhere! Keep up to speed with all things Phish at jambase.com/phish.

JamBase | Rocked
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Phish | 08.01 | Red Rocks Day 3

August 2nd, 2009 | No Comments

Words by: Brian Bavosa | Images by: Dave Vann

Phish :: 08.01.09 :: Red Rocks Amphitheatre :: Morrison, CO

Gordo – Phish :: 08.01 :: Red Rocks Amphitheatre

For as long as I’ve been seeing Phish -1 6 years and counting – the third night of a four night run has always been, well, wild, special and more often than not, THE night. Night three of Red Rocks was certainly a worthy contender in this tradition.

Opening with “AC/DC Bag,” the fire-fueled, Gamehendge rocker, it was on from note one. The line, “Let’s get this show on the road!,” is always a surefire way to let the masses know the band means business, and set one was my favorite of the three firsts opening sets thus far, on paper and in execution. Speaking of execution, the second tune, “The Curtain With,” was the first reading since the now infamous encore at Coventry, which Trey screwed up something awful. Tonight was flawlessly executed to perfection. The band really appeared to take their time in practicing and making sure they played this one right, and this take gave a flying “Fuck You” salute to Coventry and the bad memories it has held since ’04. Good riddance.

And then the band launched into the drum-lead “Mound,” a bust out not played since the last “return” show at MSG on New Year’s Eve ’02. Always a fan favorite, this too, is a difficult composition to pull off, and the band crushed it. All four members were in sync from the jump tonight, something that carried over to the crowd inside (and the few hundred who climbed the mountain behind the venue).

“Gotta Jibboo” was as fun and danceable as ever, while “Guyute” served as the composition song in set one. “Punch You in the Eye” – a song the band hasn’t had the easiest time with this summer – was exceptionally locked-in, and Trey led throughout; he was very sharp and spirited this evening, particularly in set two. “Tube” was the first set highlight, and was super-duper tight and funky, featuring McConnell on the Clav/synth who was simply laying it down. “Alaska” was reworked and featured a triple repeat of the opening line. It was loose and took on a bluesy, stripped-down feel. Another big gun, “Run Like an Antelope,” closed set one and was not as razor sharp as normal, but rather dark, twisted and weird. Overall, a great first set with some major treats.

Phish :: 08.01 :: Red Rocks Amphitheatre

Unlike the previous night’s (read about it here) rain-soaked set break, Saturday felt quick and saw Anastasio and company land in The Velvet Underground’s “Rock and Roll.” It lived up to its name for sure and eventually devolved into a spacey breakdown that found Trey looping effects and Gordon smothering pedals before dropping the intro bombs of “Down With Disease.” A song that took on real character in Leg One of the tour, this night’s “DWD” was shorter and more out there than usual, but still interesting.

The hammer was then dropped into “Free,” which with the exception of the big five or so, is, in my opinion, the quintessential, ultimate Phish song. Lyrically, musically and emotionally, “Free” represents all things good about Phish and why we continue to traverse the country to see them. It allows one to get lost and fly “freely” across a slamming anthem. But, the highlight of Red Rocks thus far, in my mind and in terms of sheer balls, was the first “Esther” since Vegas ’00, and my personal first since The Clifford Ball in ’96, ironically enough the same tour Phish last played Red Rocks. What most impressed me about this rendition was that Trey hit every single lyric. Not a flub to be found. It was also in these moments that I truly managed to lose myself and my ego, drift off to the sublime spaces that only Phish generates and truly believe in my heart of hearts that PHISH is the greatest band of our generation. While most of Phish 3.0 has been “safe,” the gall it takes to play “Mound” and “Esther” leads me to believe that there are still hints of greatness left in the Phab Phour.

Trey & Gordo – Phish :: 08.01 :: Red Rocks Amphitheatre

“Dirt” served as the breather song of the second set, but was more upbeat and Trey-charged than usual, with him adding some extra spice, so much so that the set-closing “Harry Hood” featured a “Dirt” guitar lick tease by Trey in the intro section. If I ever had to choose a place to “live beneath the dirt,” Red Rocks would be at the top of the list. “Hood” is also a perfect song for Red Rocks, with Chris Kuroda‘s lights resonating off of the giant red slabs to either side of the venue while the city lights of Denver glistened silently in the background. In a word, it was majestic. While the second set seemed short tonight, it still featured some big guns and a MAJOR bust out.

An encore of “Sleeping Monkey” was a semi-gospel prayer (with organ worship hands flying high) with a Beatles “Let It Be” tease by Page. The night was capped off by “First Tube,” which was super high energy and saw Trey jumping all over the place, literally and musically. Not only has Phish delivered three monstrous efforts in a row but the tour is just heating up. All signs for Sunday point to a narration, a huge “You Enjoy Myself” and a deep “2001″ to help us wrap up Red Rocks. Night four still has some huge tunes in store, but also some final surprises I’m sure.

Lastly, Happy Birthday, Jerry. Without you, Phish wouldn’t be what they are today.

Dig in, night four is descending upon us…

Phish :: 08.01.09 :: Red Rocks Amphitheatre :: Morrison, CO

Set I: AC/DC Bag, The Curtain With, Mound, Gotta Jibboo, Guyute, Punch You in the Eye, Tube, Alaska, Run Like An Antelope
Set II: Rock and Roll, Down with Disease > Free, Esther, Dirt, Harry Hood
E: Sleeping Monkey, First Tube

Phish :: 08.01 :: Red Rocks Amphitheatre

For more pics of Phish at Red Rocks Night 3 go here. And for coverage of Night 1, go here, and coverage of Night 2 here.

Phish perform again tonight at Red Rocks. Check back
for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available here.

Just like Leg I of Phish’s Summer Tour, JamBase will be at every stop with more coverage than you’ll find anywhere! Keep up to speed with all things Phish at jambase.com/phish.

JamBase | Three Fathoms Deep
Go See Live Music!

Phish | 7.31 | Red Rocks Day 2

August 1st, 2009 | No Comments

Words by: Brian Bavosa | Images by: Dave Vann

Phish :: 07.31.09 :: Red Rocks Amphitheatre :: Morrison, CO

Phish :: 07.31 :: Red Rocks Amphitheatre

Opening with “Runaway Jim” and a blazing “Chalkdust Torture,” two of the band’s favorite starters, signs pointed to night two at Red Rocks being another treat for all. Judging by the ticket-less masses outside and the growing anticipation every hour, the final, few shows here are going to be insane. Friday seemed to push things off towards that path. “Bathtub Gin” conjured up the elements of weather, as a bit later, the crowd would certainly shout, “Because we’re all in this together, and we love to take a bath.” The jam in this tune was strong and focused, led by Trey.

“Time Turns Elastic” found a new slot in the middle of set one, and seemed a good opportunity for many to grab a beer or hit the head. While it’s a beautiful composition, it just doesn’t do it for many, myself included. “Lawnboy” saw Page crooning and offering, “Thank you. Thank you very much,” followed by “Water In The Sky,” another foreshadowing tune with a Page piano intro that allowed him to really take charge. “Water” was loose and featured some dizzying dueling by Trey and Page at the song’s conclusion. The second new tune of the night, “Stealing Time From a Faulty Plan” is a darker one, with a razor sharp tone, strong direction and the haunting line, “I have a blank space where my mind should be.” Along with the set-closing “Split Open and Melt,” where the sky decided to open up something fierce, the band channeled that energy and played a dark, mean, winding jam that led us into what felt like a longer than normal set break where many fans were diving for cover in the downstairs museum area or under concession tents.

Phish :: 07.31 :: Red Rocks Amphitheatre

After seemingly an hour or so, the band reemerged, with the rain gone, and like Deer Creek a month back (read the review here), opened the post-rain break with a smoking rendition of The Who’s “Drowned.” Led by the fierce chops of McConnell, who, again, owned set two, the band found their way quickly to a meaty jam, which saw the four cylinders collectively lock in and Trey leading them into “Crosseyed and Painless.” A mighty surge of energy descended upon the masses when this one hit, and the set was only minutes old. Long a fan favorite, “Crosseyed” saw some wailing licks by Trey and an all out blitzkrieg by the band.

“Joy” followed for its second ever run-through and features some lyrics that some would call beautiful while others might term ‘sappy,’ I’ll call it a nice filler tune. However, the song of the night was “Tweezer,” where the band finally let loose for the first TRUE time all weekend. This version was the ’03 equivalent of David Ortiz on steroids and slugged its way to the Triple Crown. Fierce, fierce playing by all led to a jam that devolved into a breakdown of sorts. Easily, the song of the run thus far.

McConnell & Anastasio – Phish :: 07.31 :: Red Rocks

“Backwards Down the Number Line,” the third and final new tune of the night, simply feels the most “Phishy.” The lyrics are appropriate for version 3.0 and the jam simply soars. As if the statement of set two wasn’t already made, “Fluffhead” nailed that point home. Obviously practicing this song has reinvigorated the band and they have enjoyed playing it, and all those who pined for it for almost nine years have sure gotten their fill of “powerful pills” since Phish’s almighty return. “Fluffhead” segued into a short, quick reading of “Piper” before slipping into a piano solo akin to the end of “Squirming Coil,” where McConnell tickled the keys before starting up the set closing cover of The Beatles’ “A Day in the Life.” A masterpiece of a song, Phish does this one justice and it was the cherry on the sundae of set two.

An encore of “Suzie Greenburg” again saw Page crush the ivories, while Fishman joked that he wished he was a neurologist before the exclamation point of “Tweezer Reprise” closed things out proper. Two shows into the tour, the band seems to be focused and ready to go, with the “Tweezer” leading the way for early tour MVP.

Phish :: 07.31.09 :: Red Rocks Amphitheatre :: Morrison, CO

Set I: Runaway Jim, Chalk Dust Torture, Bathtub Gin, Time Turns Elastic, Lawn Boy, Water In The Sky, Stealing Time From The Faulty Plan, Split Open and Melt

Set II: Drowned > Crosseyed and Painless > Joy, Tweezer > Backwards Down The Numberline > Fluffhead > Piper > A Day in the Life

E: Suzy Greenberg > Tweezer Reprise

Phish :: 07.31 :: Red Rocks Amphitheatre

For more pics of Phish at Red Rocks night 2 go here. And for coverage of Night 1, go here.

Phish perform again tonight at Red Rocks. Check back
for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available here.

Just like Leg I of Phish’s Summer Tour, JamBase will be at every stop with more coverage than you’ll find anywhere! Keep up to speed with all things Phish at jambase.com/phish.

JamBase | Gone Phishin’
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Phish | 07.30 | Red Rocks Day 1

July 31st, 2009 | No Comments

Words by: Brian Bavosa | Images by: Dave Vann

Phish :: 07.30.09 :: Red Rocks Amphitheatre :: Morrison, CO

Phish :: 07.30 :: Red Rocks Amphitheatre

Colorful Colorado. So much Phishtory has happened here over the years. From the first-ever “official,” non-Northeast shows for the band documented in Colorado ’88 to the funk-era ragers of Denver in ’97, there has been no other venue in the state that has inspired the band to play more historic shows than Red Rocks.

From ’93-’96, Phish played a total of nine shows at this truly breathtaking, one-of-a-kind, natural amphitheatre, where the stage sits between two giant slabs of red earth that serve as a center for some cosmic and energetic interactions and results. I also know why everyone in Colorado is in such good shape because everything here is an uphill hike.

However, since some trouble in the little town of Morrison during the four nights in ’96 with fans and police, Phish has simply not been allowed to return for a number of reasons. And, with the venue holding maybe 8 or 9 thousand people, they simply outgrew it. I, like many others, never, ever expected Phish to return here and was floored when the announcement came. That also made these tickets harder to score than any of the return shows yet. It also made it a perfect choice to open the second leg of their summer tour with a statement – a four-night stand.

Trey :: 07.30 :: Red Rocks Amphitheatre

Opening with the very first song they ever played here in ’93, “The Divided Sky,” Trey Anastasio and company soared through this intricate and appropriate number and nailed it. Next up was the catchy “Ocelot,” a tune slated for the upcoming, September release, Joy, which many of the newer fans seem to really like.

“The Wedge,” another tune played in the first set of the ’93 show, features the line “take the highway to the great divide,” and boy, oh boy, is Red Rocks such a place. In fact, this was the first time in a long time that most of my night was spent admiring the scenic beauty and intricacies this venue has to offer rather than simply being fixated on the band and stage.

A funky, Fishman driven “Moma Dance” was above average and gave way to “Horn,” yet another Rift-era tune that had me thinking that the band was truly excited to be back on hallowed ground. But, the surefire highlight in set one was an atypical “Stash,” which saw some loose jamming and more twists and turns than the snakes outside in the surrounding park. It was led at different stages by all four and featured Fishman all over the skins. It was exploratory, yet not as dark as normal, and made for a great ride.

Set two began with some Trey banter introducing Mike Gordon before launching into “Mike’s Song,” and it seemed that immediately the energy of the band for set two was higher than earlier and we were poised for a sharp second effort. Again, Fishman took charge and pounded “Mike’s” into oblivion before landing in the beautiful middle portion of the “Mike’s Groove” trilogy, “I Am Hydrogen.” The beautiful segue was closed proper by a slamming “Weekapaug Groove” that saw great interplay between Trey and Page, while Fish and Gordon held down the beat.

Phish :: 07.30 :: Red Rocks Amphitheatre

Another of the night’s highlights was “Ghost,” which conjured up memories of the lauded, super funky, 11.17.97 Denver version. It bubbled up loose and funky, featuring some rock & roll licks by Anastasio, and finally landed in another funktastic number, “Wolfman’s Brother.” This two-song onslaught was a solid half hour of booty shaking and loose, yet inspired playing and jamming. At this point, the first set was a mere footnote in my mind.

The first “Billy Breathes” since the summer of ’03 was another nod that just about anything was possible during this four-night run. A song that does not always translate well live, this version did, slowing things down for a moment for all to soak in the power of this venue. “The Squirming Coil” was spot-on and saw McConnell, who was extremely impressive throughout set two, play his baby grand piano, which made hearts swoon at the end of this number and made me think it was the show closer.

That was until Fishman hit the familiar high-hat intro signaling “David Bowie.” This version was standard, yet sharp, and capped off a solid night one. Set two was super and continued with the encore of “Loving Cup.” A rocker that led the masses out to the trails and natural stairs of Red Rocks, it truly was a “beautiful buzz” to close out Night One.

Phish :: 07.30.09 :: Red Rocks Amphitheatre :: Morrison, CO

Set I: The Divided Sky, Ocelot, The Wedge, Poor Heart, The Moma Dance, Horn, Stash, The Horse > Silent in the Morning, Possum

Set II: Mike’s Song > I Am Hydrogen > Weekapaug Groove, Ghost, Wolfman’s Brother, Limb By Limb, Billy Breathes, The Squirming Coil, David Bowie

E: Loving Cup

For more pics of Phish at Red Rocks go here.

Phish perform again tonight at Red Rocks. Check back
for live Tweets, setlists, pics and full reviews. Complete Phish tour dates available here.

Just like Leg I of Phish’s Summer Tour, JamBase will be at every stop with more coverage than you’ll find anywhere! Keep up to speed with all things Phish at jambase.com/phish.

Continue reading for more pics of Phish at Red Rocks Night 1…