[We would like to thank @switz for recapping last night's show. @switz is the co-creator of Relisten.net and has seen too many 3.0 shows -Ed.]

The Summer 2025 Tour comes to an end one day before the beginning of Fall. 31 shows in total. The first half of the summer brought with it a clear intent: exploration and improvisation. The band stretched out, hitting a landing zone of patience, confidence, and serenity. As they wove through the country, spitting out gems such as the Pittsburgh "What's Going Through Your Mind", the Austin "Golden Age", and the Mann "Sand", energy grew.

This all culminated in the clear high-point, the final show of the first leg at SPAC. An energy-fueled, relentless night that fired on all cylinders from start to finish. And so the question was, what would the second leg bring for these final eight shows of summer? The band collected themselves and dusted off a variety of quality shows. It seemed as though they were going to play all eight shows with no repeats, most notably holding back "Tweezer" for the first night at Hampton. Though a few repeats did eventually show up, it's abundantly clear that sometimes restriction and restraint prove to unlock the band further, and give them far more freedom to stretch songs into jams.

The first two nights at Hampton were a celebration. Phish (and improvisation) at its highest ideal is an attempt to capture a moment of extreme presence–an experience all built upon an excellent rock and roll concert, for those of us adults who love both nursery rhymes and evil improvisational jams.

Few worlds in which Phish exists are more energy-fueled than Hampton Coliseum. A storied venue, affectionately called "The Mothership" because it lights up like a Frank Lloyd Wright synagogue—or perhaps a spaceship. Famed for The Warlocks show in 1989, a handful of Phish runs in the '90s, and several notable 3.0 performances (i.e. 2013's Carini, 2013's Tweezer > Golden Age > Piper > Taking Care of Business > 2001, and 2018's Simple).

3.0 is now just one year shy of the age of 1.0 (17 years), a frame of Phish's story that has gained its own historical credibility, standing tall on its own. Filled with highlights and authentic energy—the band now has a cornucopia of shows that have manifested that presence, with Summer 2025 being yet another highlight tour to match Fall 2013, Summer 2015, The Bakers Dozen, and a handful of others.

Rumors circulated before the show that this would be their last at Hampton because the venue is slated to be torn down. Though it’s hard to confirm the veracity of that rumor, just hearing that pangs a little. The venue's age showed itself in its flawed production, with Saturday's entry taking over 100 minutes and Sunday taking a cool 75. Alas, the all-GA room has a notable ability to hone the audience's and band's energy because of its incredible architecture and intimate nature.

Going to a Phish show is a practice in gratitude, as we see more and more shows, with that comes expectation. You have a profound experience and so you chase that profound experience. But after seeing many shows, you come to an impasse where you begin to let go, take stock and appreciate the experience for what it is. Little expectation, little pretense. Just an understanding that in this digitally expanding world, Phish is a rare meditation in being wholly present.

The lights go down and the band leads off with "First Tube." "Twenty Years Later" adds some color, a song somewhat maligned in the early days that has fully matured into its own. "AC/DC Bag" gives the audience the opportunity to sing along, another judgement that the jaded vets will lay upon you, but feels all too good in practice. "Foam" is an old-school favorite with its complex time signatures and melody that always reminds me of the Duo's 53-minute rendition with Mike. "Life Saving Gun" shows off Trey's new Dumble amp. His tone was very pure and clean all summer–sometimes feeling almost too clean—but this new amp brought with it some welcome complexity and grit. Put me down as a fan. "Roggae" lets the energy drift to introspective.

"Also Sprach Zarathustra" turned the room into a dance party. A girl (5'2") to my left hopped on her partner's shoulders so she could see the stage. Her eyes lit up. In what I (6'2") take for granted: sightlines at every show, she was able to soak in. Before some people around us complained she was being a nuisance–every incident at a show seeming like a micro-aggression, or perhaps from a different perspective, a person just having the confidence to ask for what they need. Personally, I give a lot of latitude to the crowd at Phish, if your intentions are pure.

On the left of the arena hung a large "Meat" sign, and the band obliged the request. My notes read, "What a treat it is to watch a conversation with friends." "Split Open and Melt" offers dissonance, Page leading the intro to the jam with Mission Impossible vibes. "Melt" in particular is a free-jazz exploration that to me represents a willingness to surrender, a challenge to the audience and band. In that act of letting go, you confront your expectations and allow the experience to wash over you.

A brief "Golgi Apparatus" gives way to the set closer "Most Events Aren't Planned." A "Mind Left Body" tease that may or may not be acknowledged by the nerd-commission of this very website showed some energy to close the set. A solid and fun set, though trim of improvisation.

The second set began with "Mike's Song" in the same slot as 7/12/25 in North Charleston. "Mike's" built energy into the always welcome ambient space of "I Am Hydrogen." "Weekapaug Groove" once again turned the room into a dance party, before the best young Phish song, "What's Going Through Your Mind" rang out. The song structure, the lyrics, and more than anything–its inventive and original vocal arrangements make this song a hit. Debuting with Billy Strings on 8/7/2024, "WGTYM" gained its foothold and many fans on its second performance at "Mondegreen." Since, several versions have gone deep and this was no exception. A total burst of energy, this jam built and coalesced into some "Paug"-like peaks. The jam led towards a slinky, pregnant segue into "Scents and Subtle Sounds."

This "Scents" was overflowing with energy, the chorus imbued with some extra jus, until the band settled into a patient, beautiful melodic line building it towards its rightful peak. Around me were many talkers, finding this place in the set to somehow enact wide conversation, before a slight request to keep it down. Though they ignored my plea—the band ended up winning, shutting them up with rapt attention. Though there've been many great "Scents" in 3.0 (Mann 2015 and Baker's Dozen among my favorites), this may be the one I'll go back to most often. A true highlight. Back-to-back 20 minute jams gave this show some juice that will stand the test of time.

"Lonely Trip" gave way to the late fourth quarter and offered a cooldown, before the band dove into "Ghost." Nodding to the wonderful Hampton 2013 "Ghost," this featured its own exploration and major-key build. "Chalkdust Torture" ended the set in high-energy fashion.

A long encore break before the band walked back on stage to play "A Life Beyond The Dream." The rare context of a song that may have been written by Trey, but is forever owned by his late band-mate James Casey. James performed this tune with Trey while he was battling cancer, and I can't help but think of him every time I hear it. A song that should perhaps be retired, if not for the wonderful homage it pays every time it plays. "Harry Hood" sent us home, the quintessential Phish closer, perhaps for the last time in this room.

We could unpack this show, but given its place as the final show of the tour, I think we're better off spending our time unpacking the whole tour. A band, in its forty-second year, delivered a complete summer of incredible shows. Deeply inspired playing met incredible patience and cerebral communication. This tour is replete with highlights and energy, the band locking into cohesive pursuit and painting a palette of their time-and-place. So, instead of expectation, we are left with immense gratitude. Gratitude for the band, gratitude for the fans, and gratitude for the collective energy that makes this all happen. To the staff, the touring-crew, the venues, the tapers, and everyone else, we thank you. Odd year Phish strikes again.

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