Posted on behalf of @phanastasio:
Set 1: Demand - This is apparently some new song that Trey wrote. The lyrics are disjointed and make no sense, and musically this song is all over the place. I guess they haven't quite figured it out how it should end yet because it just kinda stops. What a...
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I've been seeing Phish since 94 and have maybe reviewed 5 shows up to now. I never saw the point as everyone always wrote what I felt.
These last few shows are different. They are a cosmic interstellar metaphysical psychic journey that explodes into the psychedelic...
I've seen every show at BGCA going back to 2012, and I thought last night was a very strong, if not absolutely transcendent show. I don't think it raised itself to the level 08/19/12 or 10/28/14 by any stretch of the imagination (few shows do) but there is lots of replay value here. (For me at...
Greetings from my couch in Rochester, NY! Let's do this!
[b]Set I[/b]
Best Use of Cowbell: 46 Days
Best Use of funk drippings and sassy swirling sounds: Cities
Nightmare-inducing vocals of the night: Guyute
Best howling from a crowd: The Dogs
A fun playful kickoff to a welcoming SF...
Was able to catch a show in full for the first time in a while.
Chalk Dust to open the show was short and sweet, not really jammed out, but it sets the tone for the show.
Free was standard and Breath and Burning was a nice newer song (they've been experimenting a little bit with this, I...
To put last night's show into context, I encourage everyone to read these threads: [url=http://forum.phish.net/thread.php?thread=1369177578]Driver campaign[/url].
The request made by a Phan to get the band to play Driver in honor of his deceased brother -- and getting the request granted -- is...
Congrats to all those in attendance last night that probably crossed a bunch of tunes of their bucket lists. I wish they would spread the goodies out a little more instead of just doing one throw down show per tour ala Alpine /15 and MSG bus set in 13. I guess there is something to be said for...
I like to spin the the dead center of the back hall of this venue. When all goes well you can see every member of the band enough to see smiles and nods from that spot and also see all of San Francisco unfolding right outside the doors. I think I've done that nearly every set of every show at...
Out of the gates, Page teases switching to D bliss and Mike tries to follow. Trey stays in a minor mode until 8:45, where he finally joins the bliss through whale call as Page switches to synth pads. Here, the jam coasts on calm waves of effects-laden happiness; at 14:00, Trey plays a pattern that builds to a whale call peak accompanied by chordal work on piano from Page and a ride cymbal-driven shuffle from Fishman. Before truly peaking Trey switches back to the fast rotary mode on his Leslie, and Mike leads the charge towards a Clavinet-dominated plinko jam. The jam winds down to a quiet and introspective effects dominated space led by bass swirls from Mike > "Twist".
The special nature of this "Sally" unfolds after the vocal jam, and rather than peaking at its conclusion, the jam continues to build, with full-band play informing a perfect blend of rhythm and harmony. Excellent musicianship modulates in intensity, before pulsing, high energy rock cycles up to a euphoric peak.
Like other recent strong versions, Trey's warm soloing shapes and colors a great groove. However here, Trey also works a series of licks into excellent and somewhat cacophonous full-band improvisation, which results in the wonderful, boxed-in feel of a "Guyute" jam.
Excellent jam which veers away at 8:00 into a beautiful but contemplative Page and Trey-led foray of deep introspection. Wish they would jam like this more often!
Strong jam starts in "Hood" mode, shifts to rocking minor mode at 7:25, settles briefly at 9:25 before becoming percussive and groovy, and jumps back to "Hood" proper at 11:52 with great "Type I" interplay, ending with an extended spacey phase-out.
The jam begins at a less frenetic pace than usual, before Trey's delay work and minor chording lead the jam into uncharted territory. At the 9 minute mark, the jam goes fully "Type II," and then turns ambient before > to "Mountains In The Mist."
Excellent, multi-section "Jim." The jam begins with a dark tone, shifts to some great, percussive rocking midway through, then explores more bleak territory before reaching interplanetary space and > to "Carini."
Bad Ass Mike kicks off this dynamic, multi-section jam with some really sick bass work. From there, it ranges far and wide before settling into quieter, but active playing which then > to "Steam."
Arguably the finest straightforward version to date, this wonderful version is replete with all sorts of good stuff, including fantastic playing by Mike, great Page and Trey counterpoint, and a lush groove with a peaceful and upbeat sense.
Outstanding version. Tight throughout with a tension and release that easily rivals great moments in Phish's past. Never sloppy, this version is a pure rager.
In contrast to some of the other monsters of recent years, this version stays tethered to "Tweezer" (or something close to it) for an extended period before it gradually peels away, but even while the jam remains within arm's reach of home, the play is fresh and engaging. From there the band embarks on an adventurous journey marked by constant evolution which flows remarkably well, making every new section feel like an organic extension of the same piece, all without relying on any of the well-worn paths one might expect a jam of this length to indulge in. And while this dynamic does not lend itself to a singular peak, the jam is ripe with recurring motifs and themes despite its freewheeling nature, perhaps culminating around 24:30 with Trey's long sustained note over a "MLB"-esque descent. > "Lonely Trip" to end this exhilarating ride.
A "long" intro, when measured against recent versions: Hear the first indication this time's gonna be different. Trey scratches. We're off. A near-perfect composed section. Great tempo. Measured, highly musical and if not dark, nothing by way of light play ensues. Yet. Listen for "McGrupp." A change. More by way of major play, now, and more "McGrupp." Seamless. Trey and Page swap a lovely melody. Great almost stop-start playing. Almost. No "woos." Great - great - sustain with Page pounding his keys and listen to the release, a bit of trilling with the band as one roiling and rolling to "Bowie's" signature close. One of the best versions since the band returned.
Centerpiece of a classic first set, Trey directly breaks directly to jam, a la "Cities." There is a sense of unencumbered determinism as, through the 5:00 mark, with Fish nuts on his cymbals, Trey sets off to strum. He then picks a melodic line made very much of the stuff of the song, which contributes to the evening's old-school air. Play pools a few minutes later to stew and it is from this brew, pleasantly offset by splashes of "Manteca" and dashes "Tweezer," where we get a sense this jam is going to be different. Only a few minutes remain, and it is here where you may find some of your favorite Trey of the tour before the band, as if the song hasn't been forgotten since 2003 (hyperbole), neatly drives the version to a close.
The return of Blonde No.1 elevates this Trey led version that, while it takes its time traversing melodic spaces early on, stays intently focused and forward moving throughout, growing organically into a satisfying masterclass in hose.
Of older material consistently performed well, particularly within the framework of more "conventional" play, "Roggae" seems overlooked. No more. Expertly the band moves through the song with the languid air of your favorite "Ocelot," marked by particularly impressive runs from Mike (he stuns, throughout) and Trey. Follow the 5:30 stamp, that point from where this sort of play is excised and, in its stead, more by way of unusual improvisation arises. This is music that builds to become informed by a huge, trippy blast of sustain, which, in time, morphs into the song's signature riff-cum-conclusion.