oh kee pah

graph via hidden track

Alpine 1 with the hands-down victory for favorite Leg 2 show. Likely the band could have simply played Down with Disease -> What’s the Use? > Scent of a Mule, Mike’s Song > Dirt > Sneakin’ Sally through the Alley > Weekapaug Groove as the entire show and it still would have received many votes. It was that good!

photo via online phish tour

The first time Mango graced our presence this year was at SPAC on Father's Day. Phish came out for the second half of their shows with a dark and masterful Carini. As I have said before--Carini is making a comeback in 3.0 Phish, big. This Carini sparked the summer's night air with something fierce. Trey took dashing leads out of the gates with the rest of the band anchoring him down to the unforgiving and dark waters of the song. Instead of letting the song dissolve when this version reached it's breaking point, the delicate and unmistakable guitar notes of Mango started. The duo of songs looks odd on paper, one might think it was one of Trey's forced and awkward segues again--upon listening you realize that it's anything but. The band gracefully moves into the song, almost cleansing your musical palate before dropping into another more heavy song in the band's repertoire, Wilson.

photo via Dog Gone Blog

Placement and execution are the most essential aspects when delivering a slow number. Slow does not mean a lack of energy, but rather a reduction in tempo. To to draw a comparison, when you’re driving it’s fun to go fast, but if you never slow down you might not get to enjoy the scenery around you. It’s the same in music – a set that constantly charges along is not as interesting as one that explores variations in tempo, and volume as well. The truth is, Phish has so many amazing slow songs it troubles me why they are not played more often. And that’s not to say the ones that were played are not great songs, they just weren’t delivered properly in most cases.

In three shows at The Greek, Phish blew open multiple jams, setting a clear precedent for the rest of the tour. Beginning with “Disease” and “Tweezer,” and continuing with “Cities,” “Rock and Roll” and “Simple” during the sequel, the band grew more connected each night. Peaking in full bloom during The Greek’s final set, one of summer’s finest, Phish navigated an odyssey through “Light,” producing one of tour’s improvisational high points. Playing a Berkeley run during “Jerry Week,” there was a palpable buzz of a possible Dead cover, but Phish couldn’t have given a greater tribute to Garcia than a cerebral and intricate masterpiece that became the defining open jam of summer.