wow! what an incredible phish show. let's get right to the review.
first of all, the energy in chaifetz was unreal all night. before the show even started, the blues were out to a 2-0 lead in the Cup, so people were understandably pumped up. phish kept that going with a chalkdust opener....
The first set is great fun, and remarkably energetic (the folks streaming it live were not lying); any set with a whistling Reba, Peaches, and Camel Walk is going to get a thumbs up from me. The second set is just as much fun, but with some Type II to spare - the (too short for me, but whatever)...
Well...tour opener, how about that, in the books. Phish came out swinging. Sounding both well rested and well rehearsed the boys sounded as confident as ever showing very little rust in the first set. Each song was played with precision and each had some extra mustard added. It was a set of old...
I don’t give too many 5 stars. But because game 7 was tonight and we heard Gloria ( St. Louis blues victory song for those who don’t know). And they played loving (Stanley) Cup, plus Twist (whether intentional given Tony Twist legacy) it will be my most memorable show.
Let’s go Phish.
And...
I'm going to keep this one short and sweet. Well... as short and sweet as a long-winded guy like me can keep it, anyhow, which I guess isn't especially short, but hopefully sweet enough to sweeten your night. It's a weeknight, after all, and some of us have remote work from the VRBO in the...
I think because STL was a sleeper and BGCA3 is considered the big marquee (prior to Dick's), the details aren't considered as closely. I think there is a general consensus among the Leg 2 shows (at least among those that attend/listen carefully/download) that the best shows pre-Dick's are BGCA3,...
Phish taps into moments that matter to people, and to the city of St. Louis, this moment was special. The crowd was chanting “Let’s go Blues” before the encore last night, and from what I hear Trey was at Game 6 (which is where he heard Blues fans singing Gloria). The band fully grasped the...
wow! so excited to be back reviewing shows. every time i'm about to begin another run of phish shows, i think to myself "i've never been more pumped to see phish," and this time was no different. in fact, i felt especially pumped this year, as the band has shown over the past few tours that they...
What a way to kick off the summer. I thought that sounded really good. I wish that No Men’s jam would have lasted way longer; it was a great vibe. They seems to have their chops ready for the summer. No doubt they will tighten the composed sections up, but they were ready to roll their sleeves up...
With due respect to wakajawakka, who clearly enjoys Phish and has strong opinions about what he likes about Phish, did anyone feel just a little condescended to by that review? What is this "don't be fooled" business? I'd rather he just said "who are you going to believe, me or your lying ears?"...
Extended take sets sail for "Type 2" waters, and cohesively shifts between
melodic effects-based playing, hose-y major key rocking and finally a
murky funk-rock section before shifting back to "Theme's" ending to close.
Excellent.
Another massive entry in the (almost) 40 min club spends ample time mining deep crevices, discovering diverse bits of melodic beauty, and exploring riff laden spaces, before Trey and the band finally lock onto an ecstatic progression that takes the band through a series of peaks so gorgeous and gratuitous, the stunned crowd responds with a full minute and a half of ravenous applause
The longest "Loving Cup" to date is a clever - if not forced - nod to a Stanley Cup win for the St. Louis Blues minutes before this jam. A quiet bounce led by Page's piano and fast rotary tone from Trey explores quiet space at first. A rhythmic plinko jam follows, with Page on Wurlitzer and Fish's wood blocks providing occasional accent. At 7:15, Trey hints at a shift from minor to major key tonality, although the band winds back down into the patient rhythmic shuffle. Finally, at 8:45 Trey plays a few trills and Page switches to synthesizer, as a deserved - though again, if not forced - peak matches the elation of the city's first NHL championship. Whale call and twinkly Rhodes dominate the forefront of the peak, which winds down to > "Twist."
A great exploratory version. Pushes the edges of "LxL" until about 7:30 when it breaks well beyond into an upbeat groove that builds intensity. Ultimately returns to "LxL" to finish and > to "Julius."
> from "Bouncing". A fireball version of the song with a mini-breakdown jam at the beginning and loads of energy throughout. Trey is on fire the whole time.
After transitioning away from the song, Page’s grand piano gives the improvisation shape and direction as Trey responds leading the band through uplifting and thematic play that modulates across both delicate and thornier spaces. Listen for Mike's "Meowdulator" pedal and Trey's "Hanon exercises" to make appearances before returning to the song proper to close.
> "Twist," a great, driving version which finds Trey (possibly) teasing "Holiday in Cambodia" after the ten-minute mark. Either way, dramatic, somewhat (pleasantly) droning play continues until, around 13:15, Trey strums - signals - a decisive shift, and play becomes more plucky, with more by way of sonic separation, before the jam bleeds out and > tease-driven "NMINML."
While arguably not as strong as 8/1/23 or 7/22/22 (Trey's tone feels a bit off, here), fans of this version should revisit play from 7/28/18 or "The Baker's Dozen."
> from "Tweezer," Trey's sprite soloing splinters to sparkle before more by way of serious improv. Terrific full-band play atop perfect, almost unnoticeable effects patiently builds, the four in total control, to make of this musical triumvirate (Trey summons, by strumming a series of simple chords, a > for a truly moving "Piper") something like one movement. Incredible moment.
-> from "Ether Edge", this version bounds along in familiar territory until a downshift at the midway point, after which the jam turns in a markedly different direction and quickly establishes a soulful, fully formed coda to take us home.
What begins as a relaxed and conversational groove shifts noticeably after 5 minutes growing eventually into a rhythm section powered freight train as Trey's melodic lines thicken becoming path clearing guitar blasts that lead to peak and return.
At around 8:00, the jam shifts away from the typical into a pleasant major mode section. From there, a synth/keyobard-led section morphs into cool, groovy music with nice Page/Trey interplay. The energy builds becoming more rocking, until finally returning to "Stash" proper.
After an appropriately funky opening, things relax a bit with Mike making his presence known melodically and Page supplying the now-ubiquitous samples of "The Final Hurrah" while Trey lays back. Later Trey reasserts himself with some striking soloing as the energy picks up towards the jam's conclusion.