The weird thing was how absolutely gorgeous a day it was that afternoon. Mid-70s, mostly sunny and blue skies. During the show, I was in the pavilion -- or as Trey says at the end of Suzy, "...underneath this big tent," -- but in the back section. While that Suzy Reprise Jam was building and building, the ground in the lawn behind us cheered louder and louder. Right as it reached the absolute top of the peak, a rush of cold, ankle-deep water came crashing in. Really put an extra exclamation point at the end of one hell of a set.

Setbreak hits, and within 10 minutes any warmth that the afterglow of the first set was gone. I can't even imagine what it did to those of you on the lawn. Listening back to the Drowned now (literally now -- I put the end of the Suzy on to quote Trey correctly, and it just reached the start of Drowned going Type II), in retrospect it's one of 2000's darkest and most experimental jams. At the show itself, the jam's darkness and lack of danceability just absolutely killed the energy in the place, which never recovered for the rest of the show. When they announced a year later that 9.14.00 was chosen to be one of the first six LivePhish releases, I couldn't imagine why. It only took one relisten to understand completely.