2.0 Phish is among the most distinctly recognizable eras for a few reasons: Trey's gritty guitar tone, some rough-around the edges compositional execution, deep groove-based improvisation, and a few odd new tunes. On the whole, there are relatively few shows that hit the level of consistency through both sets that the band was hitting more frequently in the '93-'99 years. But boy when they hit, they hit.

We get a taste of that here with the Winter 2003 opener, which arguably kicked off 2.0 in earnest (though the New Year's Run has some highlights too). Set 1 opens with some fun tunes, including a new cover to celebrate the band's upcoming magazine showcase. The Fee outro jam leans more on the percussive and rhythmic side than some of the heavily ambient versions from '98-'99, serving things up nicely for a Taste that begins contemplative but bursts with energy by the end. With no rest for the wicked, Bathtub Gin carries the heat (the first of many fantastic 2003 Gins). This is a great example of what phans mean when they distinguish between a Trey solo and a full-band jam: every member pulls their weight in laying into the groove and building to a textbook hose peak. Pure celebration on all parts. Heavy Things and Golgi are pretty standard, but it's worth noting that Fishman just crushes this whole set. He takes every opportunity he can to be completely expressive in his drumming (just listen to the drums on Bathtub Gin to hear what I'm talking about).

Possum has an interesting ebb and flow of energy as it works toward its peak in an indirect, nonlinear path. The band is playing with the waters as they slip into Set 2. But the second-ever performance of WotC indicates no hesitation as the band dives head first into a meaty jam that turns quite Type II in its final few minutes. The -> to Carini is pretty cool, if not perfectly executed. All of These Dreams is a sweet cooldown before we head into a really sweet LxL. Trey's droning guitar sets a chaotic soundscape upon which you can really focus on Page, Mike, and Fish. It's a unique one, and you might miss the soaring Machine Gun Trey typically present in the tune, but it's worth listening for any fan of the rhythm section. The final real highlight of the show is a cool AC/DC Bag, notable not only for the stage-jumper's surprising Valentine's Day message, but also for its beautifully subdued, percussive jam. While Trey and Fish work the backdrop, Page and Mike have some really nice gentle moments in the front. The melt into Caspian is nicely done, and the appropriate Loving Cup encore bears some nice gusto that would be indicative of some great versions later in the tour.

Upon relistening, I think this show deserves a a higher rating; it should probably be safely in the low 4's rather than barely over the mark. In any event, it's certainly a foreboding beginning to one of the coolest tours/years of the band's music.