Venues

Cumberland County Civic Center

Portland, ME, USA

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Top Rated Shows

Highest rated shows at this venue by Phish.net users:

Date Rating
1993-12-30 205 votes 4.4927/5
1995-12-11 115 votes 4.4000/5
1999-12-08 111 votes 4.2793/5
1999-12-07 104 votes 4.1731/5
2009-11-29 116 votes 3.7155/5
1992-07-09 21 votes 3.1905/5
2016-07-06 422 votes 2.9218/5

Top Reviews

Highest-rated reviews from shows at this venue:

2016-07-06 by Franklin 61
First of all, big props to Otto's in Portland. $4 for a local beer AND a great slice of pizza? Yes please! Anyway. The pizza was probably cooked in an oven, but it could have just as well been cooked in last night's arena. It was -real- hot in there from the get-go. Body heat was rampant....
1993-12-30 by andrewrose 27
Things are different nowawaydays, but if you got into the band in the mid-nineties, odds were good it wouldn't be long below someone handed you a copy of this show, or at least the second set. If you were like me you wore that XLII ribbon down into dust. So if you're reading this and you've never...
2016-07-06 by as_my_senses_bleed 23
Is this hitting bottom? Disappointment turns into concern. What's wrong, guys? The world is growing more difficult, even for sonic superheroes. Is there anything we can do to help? I realize I'm heading towards having another post deleted due to a lack of concrete connection to the show at hand....
2016-07-06 by Fondue 20
A small venue. Indoors. Close to their homes. Middle of the week after a few days off. The formula for success? ...YMMV, but for me, it sure was fun to be at. That being said, last night, and much of this year, have been average, middle of the road Phish shows - a handful of moments I dig and...
2016-07-06 by icculusFTW 19
Not sure where to start with this one - but it was not good. 1.5/5, 2 would be a big stretch. To start, the place was seriously a sauna (like, I nearly passed out) and I wonder if it affected the band too. Trey missed notes all over the place, most painfully in the Billy Breathes solo, and...
1993-12-30 by waxbanks 18
If you know Phish you know this show; if you're a newcomer to the scene working back through the archives from a baseline knowledge of, say, post-'97 Phish (unlikely though not unthinkable), you might be surprised by 12/30/93. The rock'n'roll stuff is blue fire: a top-10 version of Mike's Song, a...
2016-07-06 by SolarGarlic505 16
Couldn't agree more with the sentiments expressed here that something is awry. Overall uninspired playing, choppy setlists, no steam 4th quarters, obvious tension on stage between members, nearly no assertiveness from trey . . . . . . . . all of this truly has me worried for the band we all love....
2016-07-06 by Phabio 14
Not sure if this is just another example of a "you had to be there" show but after streaming last night things just felt off. Is it great to hear Cars Trucks Buses and Sloth? Of course. Is it great to get Tweezer, Guyute & Fluffhead? Of course. But does any of that feel as good if the...
2009-11-29 by Thaddyd 13
I happened to be in Portland on a business trip. When I checked in to my hotel I saw lots of people looking like they were going to a show. When I asked someone, they told me that Phish was playing only a few blocks away but of course the show was sold out. I have always been a big Dead fan but...
1999-12-07 by n00b100 13
The first set is fine, if entirely standard, but the Halley's Comet (now available in SBD form thanks to Kevin Shapiro) is absolutely worth hearing, as the band locks into an airtight, super-smooth groove right out of the gate, with Trey's solos spiraling around said groove like a DNA...

Notable Jam Chart Performances

Individual jam chart entries from this venue:

1999-12-07 • Halley's Comet (27:56) Set 1 Noteworthy
An excellent, rollicking, and very upbeat jam develops immediately. Quiets down slightly at about 16:00, but regains momentum and a different vibe around 20:30. At 24:10, the jam finally slows down, taking a blissful few minutes to transition to "Coil." Includes a "Gotta Jibboo" tease.
1999-12-07 • Bathtub Gin (16:48) Set 2 Noteworthy
Fantastic groove-based "Gin." The jam quickly leaves "Gin" behind (at 6:50), breaking into a groove that paints a beautiful, serene, and otherworldly landscape. Page's deft use of effects adds to the scenery. A very unique "Gin."
1995-12-11 • David Bowie (23:12) Set 2 Noteworthy
Haunting, ghoulish and riveting version that includes a long intro. Fish kicks ass! Maybe not as exploratory as the summer '95s, but it compensates with twisted psychological tone.
1993-12-30 • Slave to the Traffic Light (9:35) Set 2 Noteworthy
Page stays on piano throughout, which adds grandeur to this version, while Trey really just adds color to the chord progression for most of the jam, enhancing its majesty. But it's over the top when Trey takes the lead.
1993-12-30 • Mike's Song (12:44) Set 2 Noteworthy
Fantastic version which sounds light years removed from the improvisational wackiness of August '93. This "Mike's" has melodic grandeur that distinguishes it from almost any '93 siblings. The signature 2nd jam has moments of hose foreshadowing a bright future for "Mike's."
2009-11-29 • Light (12:15) Set 2
Solid jam with subtle melodic and harmonic play develops on the periphery of standard fare.
1999-12-08 • Sand (17:16) Set 2
Explosive trance.
An upbeat groove develops away from the standard that has an almost an "Gin"-like vibe to it before returning to "DwD."
1999-12-08 • Piper (19:31) Set 2
The jam downshifts from typically high energy "Piper" fare to a subdued, low key groove with spacey Page effects.
"Tweeprise" VJ! (No B&D.)
1999-12-08 • Ya Mar (14:24) Set 1
A nice percussive, somewhat dark, jam emerges that is unusual in its sentiment.
Per @sandyfr "Closing a strong first set, this Antelope starts with some classic siren loops, before moving beyond the standard fare around 9:00, gradually losing any form of sensible key. The music morphs into an atonal wall of filthy harsh noise, as the alien mix of shoegaze and free jazz create a swirling tornado of cacophony."
More of a full band jam, as the separation between Page's solo and Trey's was not clear at this stage.
Vocal and guitar response by Trey is hilarious and wild. Page responds back with another long and dramatic solo; the klezmer, and more weird chanting from Mike.
1995-12-11 • Harry Hood (14:57) Set 2
A good mix of quieter playing leads to anticipation as the build develops, then the peak delivers a celebratory release.


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