Set 1: A bit more standard as far as first sets go, compared to the last few shows' first sets, although the We Are The Champions tease (is it really a tease, though? They played a full chorus!) in The Moma Dance is one of those moments of sheer kismet you only get once every great while, and is certainly worth hearing. The banter before The Line is a lot of fun, too (man, poor Page, having to live as a Mets fan). Wolfman's Brother, as full of piss and vinegar as it's been the past few years, makes for a nice capper to the set.

Set 2: After a typically blazing First Tube, Disease gets the first jam vehicle call, and they move into a darker version of the usual Disease jam, as Mike (again!) pushes for a different key and Trey peels off some minor chords. Page goes to the piano as loops start buzzing around, then back to the organ, as Fish just blasts away with some inspired drumrolls and woodblock shots. Then, as though bursting through cloud cover into sunlight, the band moves back into a more optimistic key, with a big ol' meatball to boot, then start going into LA-style classic rocking mode before ending with surprising gentleness. Not quite up there with the big Diseases of the year, but certainly nothing to sneeze at either.

A perfectly fine Theme is next, then a very nice second set call with Melt, which builds tension in the time-honored Melt manner before getting really dissonant and nasty, Trey coaxing strangled-cat noises with the whammy, Page hammering away on the piano, Mike and Fish gluing everything together. Someone in the show thread said that the Melt jam didn't really go anywhere, but I'm not sure I agree - for one thing, Melts almost always go to the same anywhere, and that's back to the main Melt theme, so the trick is how they get there, and for another, the jam was so wicked and crazed that it hardly matters anyway. A nice companion piece with the Randall's Melt, and an SOAM to bring back memories of 20 years ago. Heavy Things actually works as the landing pad (dig the breakdown when Page gets his chance to solo!), and then comes Light.

Light, of course, has a good deal to live up to at the BGCA, and they once again offer a companion piece to that silky-smooth version, with a weirdo off-kilter jam similar to 7/14/13 and the Tahoe 2011 version. Out of a darker-than-usual Light jam, Trey starts up a repeating chord pattern, Fish thundering away, and Mike once more really stepping up. The band pushes towards a more warm and upbeat jam, and Page goes to those twinkling notes he likes so much, Fish still urging the jam forward, everybody just working together in perfect synchronicity. But then, with things getting a little plinko-y, Trey gets a bright idea and starts with some sharper chords, Mike hits on a new weird bassline, and they go into a weird, almost uncomfortable jam full of distortion and buzzing effects. And then, so suddenly you have to just laugh out loud, Possum pops out at the end just as neat as you please, and it's a rockin' Possum to close out another darn good set. Contact (with clavinet-driven funk jam!), Meatstick, and Zero close things out.

Final thoughts: A tick below last night, but last night's show is a year highlight, so there's no shame in that. Light and Melt are must-hear material, and the DWD isn't too shabby either. A great way to close out the very good BGCA run before Vegas.