On a cold December night, Phish played the 2nd of 3 shows at the world’s most famous arena. If the 7th Avenue screen of Madison Square Garden did not give it way, then the chaos within the train and subway terminals at Penn Station sure did. The scene may be a bit cliché at times with fans who welcome extended improvised jams, have the munchies at times, and obsessively tour around with the groups in search of hearing that one song. (On a personal note, out of the six times I have seen the band they have not played “You Enjoy Myself”. They played it the following night at MSG. Oh well.) But I will leave this small trace of bitterness to the side.
Phish’s reuniting was more than necessary for each band member creatively and individually, as well as for the “jamband” community at large. In 2004, they awkwardly left the scene, and thereafter guitarist Trey Anastasio went through many personal and legal troubles. In the meantime, there were many solo projects from 2004 to early 2009; bassist Mike Gordon released The Green Sparrow, while Page McConnell put out his solo debut, and Trey Anastasio released a number of efforts. However, there was still an undeniable void in the concert movement started by the Grateful Dead and then carried by Phish.
While the latter has never been highly praised by critics for studio albums, their live presence was sorely missed. But after all the hype of getting back together, and oddly enough a warm up gig as a wedding band for a crew member, they had a homecoming of sorts on March 6, 2009 in Hampton, Virigina (The box set Hampton Come Alive was recorded at the Hampton Coliseum). After gigging slow and steady since then, they have found new musical ground and picked up where they left off with their audience. This current time is marked by focused, more-succinct but heavily improvised rock with a touch of progressive music and nerdy arrangements from their early days and is affectionately called by “phans” as “Phish 3.0” These months of touring and more importantly regimented practicing have gotten them to a new place. In a few words, this show produced one of Phish’s most organic live products this year.
A good atmosphere was evident from the energetic yet disjointed first set. It contained a number of heavy jam-rock hitters, and stealth fan favorites such as “Axilla I” and “Taste”. A personal favorite was the opening “Punch You in the Eye” whose Latin middle section is certainly hip shaking. A few songs in, it was evident that something bigger could happen as they played a solid bass-thumping cover of Stevie Wonder’s “Boogie on Reggae Woman”. This was followed by their jazz rock standard “Stash” complete with a minor key melody and a final improvisation that was dark at times, and big and bright at others. Newer cuts from the band’s latest studio album Joy “Backwards Down the Numberline” and “Time Turns Elastic” were also performed. For me, sections of “Time Turns Elastic” could be considered the only letdown of the 1st set as the band played fairly loose through an intentionally composed piece. At sets’ end, unexpected, funky, and free-flowing versions of “Back on The Train” and “Julius” produced a raucous round of applause.
The true highlight of this show was all of the 1 hour 20 minutes second set comprised of just 9 songs. While the jams often brought forth pure and unadulterated rock, what was more impressive was just how much Trey Anastasio, Page McConnell, Mike Gordon, and Jon Fishman listened to each other. More often though, Trey Anastasio was the bandleader that evening as his chords, motifs, and spacey playing queued the band into later numbers. Don’t get me wrong though, Page had MVP
Inside the just shy of 20 minutes “Down With Disease” their improvisations spanned big arena rock, one-chord vamps, electronic jazz sections, and a subtle segue which became more obvious as the 2nd song “Piper” emerged. Throughout, they kept the fans mesmerized and on their feet. What amazed me most about this set was how the jams had a great deal of cohesion and direction, yet contained the right amount of ambiguity by teasing several of their catalogue numbers. Cover placement was also good as they played a brief and punchy “Cities” by Talking Heads. The concluding portion of the show saw Phish performing spirited versions of “2001” and “David Bowie” which didn’t shy away from leisurely moments. For all the above reasons, Phish continues to be a top-touring band. They keep people on their toes and had me looking forward to their next time in the New York area.
One final note, I have posted portions of the bands set on Manhasset Music Scene’s imeem player to stream for your enjoyment. Season Greetings and happy musical adventures to all.
Some of Phish studio recordings, including Joy, Farmhouse, and Undermind, as well as Mike Gordon, and Page McConnell’s albums are a part of Manhasset Public Library’s Media Collection.
J.P. Leonardi
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