Bethel 8-9-24

The first set was an absolute monster, setting the table for what was to come. "No Men In No Man's Land" in the two-spot was the perfect appetizer, clocking in at a hefty 11 minutes. This jam wasn't just a standalone spectacle; its themes and energy echoed throughout the rest of the night, creating a cohesive musical narrative that kept us all on our toes.

What really set this show apart was its relentless consistency. From the first notes to the final encore, there wasn't a moment where the energy dipped or the focus wavered. Even when Trey had some minor flubs in the composed sections of songs like "Cavern" and "My Friend, My Friend", it hardly mattered. The jams that followed were so spot-on, so exploratory, that any small missteps were quickly forgotten.

The "My Friend, My Friend" that followed was nothing short of revelatory. The band took this dark horse and transformed it into a thoroughbred of improvisation. The jam ventured into territory so new and exciting that it left both the band and the audience in a state of joyous disbelief.

Throughout the night, the Classic Rock influence was palpable, a continuation of the musical conversation that began with Billy Strings' sit-in. But this wasn't mere imitation - this was Phish absorbing that Southern rock DNA and splicing it with their own unique genetic code to create something entirely new and thrilling.

What really set this show apart was the sheer density of interesting jams per capita. Every song seemed to be a launchpad for exploration, with the band fearlessly venturing into uncharted musical territories. The interplay between all four members was nothing short of telepathic, with each jam showcasing their ability to listen and respond to each other in real-time.

From start to finish, this show was a masterclass in setlist construction and musical execution. The energy never dipped, with each song building on the last to create a cohesive narrative arc that kept us all on the edge of our seats (or dancing our faces off, as the case may be).

In the end, this might just be the top contender for show of the tour so far. Not because it had the longest jams or the rarest bustouts, but because of the consistently high level of playing and the band's willingness to take risks and explore new territories in even their most well-worn vehicles.

Speaking of "Cavern", how about that placement in the third slot? This is the kind of setlist construction that keeps us coming back night after night. The band seems to have thrown the rulebook out the window, placing songs wherever they feel right in the moment. It's reminiscent of what Dead & Company was doing at the Sphere, creating a sense of freedom and spontaneity that's truly exciting.

The second set came in strong, defying expectations and maintaining the high bar set by the first. This consistency is what made the show so special. It wasn't just about individual standout moments; it was about the overall flow and energy that kept building throughout the night.

Now, let's talk about that "Tweezer." Holy smokes, phans! This 24-minute monster might not have broken any length records, but it packed more ideas into its runtime than some entire shows. From the get-go, you could feel the Allman Brothers influence seeping through every note. Trey's guitar work was particularly noteworthy, channeling that Southern rock vibe with a freshness that belied its classic roots.

The jam started with a patient, groovy build. Around the 8-minute mark, Mike locked into a bass line so thick you could cut it with a knife. This gave Trey the foundation to start exploring, and boy did he ever. His playing was fluid and inspired, possibly still riding the high from his recent collaboration with Billy Strings.

At about 12 minutes in, the jam took a decidedly psychedelic turn. Page's keyboard work here was sublime, creating a swirling, cosmic backdrop for Trey's increasingly adventurous soloing. The interplay between all four members was nothing short of telepathic, with each musician seeming to anticipate the others' moves before they happened. But yeah Page and Cactus lockstep!

The peak of this "Tweezer" hit around the 18-minute mark, with Trey unleashing a series of soaring leads that had the entire venue levitating. The way the band built to this moment was masterful - a slow, steady climb that made the payoff all the sweeter.

But the real highlight of the night, in my humble opinion, was that "Pillow Jets" jam. Talk about filthy! This was Phish at their most experimental and daring. The first few minutes were a sonic exploration of bleeps and bloops that would make even the most avant-garde electronic artists jealous. All Jet no Pillow, brah!

Then, just when you thought you had a handle on where this jam was going, they pulled the rug out from under us. Trey started weaving in these Hendrix-esque riffs that somehow perfectly complemented the electronic soundscape they'd created. It was like hearing two completely different musical worlds collide in the most beautiful way possible.

The segue back into "Tweezer" was so smooth you could have missed it if you blinked. This return brought with it a thunderous energy that felt like the logical conclusion to the cosmic journey we'd just been on.

The way themes and motifs were woven throughout the set created a cohesive musical narrative that kept us engaged from start to finish. It wasn't just a collection of great jams; it was a carefully crafted sonic story with a beginning, middle, and end.

"Piper". This was Phish operating in uncharted territory. The tempo was noticeably slower, almost plodding, creating a tension that kept us all on the edge of our seats. Around the 5-minute mark, Trey started weaving these intricate melodic lines that seemed to dance around the rhythm section. Mike and Fish locked into a groove so deep you could swim in it, providing the perfect foundation for Trey and Page to explore.

What made this "Piper" truly special was the sense that the band was discovering new tricks in real-time. Around the 10-minute mark, there was a moment where the jam seemed to lose direction, but instead of falling apart, it morphed into something entirely new. Page's keyboard work here was particularly noteworthy, adding layers of texture that gave the jam an almost otherworldly quality.

Now, let's talk about that "Shine a Light". This wasn't just a cover; this was Phish breathing new life into a Rolling Stones classic. From the moment Trey hit those opening chords, you could feel the energy in the room shift. Page's vocals were soulful and emotive, perfectly capturing the spirit of the original while adding that distinctive Phish flair. The instrumental break around the 3-minute mark was pure fire, with Trey unleashing a series of soaring leads that had the entire venue levitating.

But the real gem of the night was that "Chalk Dust Torture". Buckle up, phans, because this was a journey for the ages. From the get-go, you could tell this wasn't going to be an ordinary "CDT". The interplay between Trey and Mike was nothing short of telepathic. At around the 8-minute mark, Trey hinted at a melodic theme that Mike immediately latched onto, creating a call-and-response that evolved into a full-blown jam.

And then, out of nowhere, they dropped that Yankee Doodle tease. It was so seamlessly integrated that you might have missed it if you weren't paying attention. This playful nod sent the jam spiraling into type-two territory, with the band collectively exploring soundscapes that were light-years away from the song's original structure. The way they managed to bring it all back home for a rousing finale was a masterclass in improvisational control.

The encore of "Big Black Furry Creature From Mars" was the perfect palate cleanser. It was Phish at their most raw and unfiltered, a reminder of their punk rock roots. Trey's guitar work here was particularly ferocious, channeling an energy that felt straight out of their early club days.

Closing with "JaBuMa" might have seemed odd on paper, but in the context of this innovative, boundary-pushing show, it was the perfect exclamation point. The precision with which they executed this complex piece was a testament to their musicianship and their willingness to keep challenging themselves.