Phish - August 14th, 2004
Newport State Airport · Coventry · VT
1 Tom Marshall on vocals.
2 With Trey banter. At the end of Hood, the band stopped playing allowing the audience to sing the "You can feel good, good, good about Hood" refrain.
Song length in play order. Tap a point for that song. Swipe the chart to see the rest.
Tonight's unique songs by the era Phish first played them.
- '83-'899
- '90-'946
- '95-'005
- '03-'042
The studio home of each song, from phish.net. Covers count as one slice.
- Round Room3
- The White Tape3
- A Picture of Nectar2
- Billy Breathes2
- Farmhouse1
- Hoist1
- Junta1
- Rift1
- The Story of the Ghost1
- Covers4
- No studio album4
Shows since each song's previous appearance. A big number is a bustout.
- 1-25
- 3-57
- 6-159
- 16-502
Whose songbook tonight drew from.
- Phish original19
- Cyril Ferguson1
- Jimi Hendrix Experience1
- The Who1
- Trey Anastasio1
A typical night, rotation-wise - nothing shelved more than 50 shows.
Gap = shows since the song was last played, at the moment it was played.
Jam breaks from the standard at 11:00 into a mellow groove that builds energy and > to "Runaway Jim."
Very improvisational, "Type II" version with a -> to a very improvisational, "Type II" "Gotta Jibboo."
The yang to 4/16/04's yin. Tight playing for '04. Dark and grimy up front, but once it pushes through to the heavens this "Gotta Jibboo" is breathtaking.
Jam segment rages practically non-stop, and Tom Marshall assists with the "Rocco" lyrics.
Nimbly textured and surgically precise like the big '97 "Bags?" No. Highly improvisational, well played AND a great listen? Absolutely. This version is MUST-HEAR, like 11/21/97, 12/30/97 and 9/14/99. The Coventry "Bag" is full of "2.0-style jamming," is played very well overall, and it's highly listenable. -> to "46 Days."
Trey talks about writing "David Bowie" for 4 1/2 minutes before the song - well worth hearing. The jam itself is pretty decent with a nice little shift to major mode and an intense ending.
A decent jam develops which has an underlying Mike and Fish fueled groove that continues almost throughout. Trey at times uses a lot of distortion, and his seeming lack of direction gives the jam a disjointed feel. Great -> to "The Wedge."
While the composed section is far from spotless, the jam is very good and multi-dimensional, including a nice move to major mode followed by some great exploration. Unfinished with a > to "Free."
Some sweet Mike bass, then gets very quiet with just Mike and Trey playing, then Fish and Page jump back in.
Very raw in parts (at least Trey), but a serious piece of improvisation nonetheless. At the 7 minute mark, the band gets very quiet and almost stops. Trey plays solo for a stretch, and briefly addresses the crowd. Around 12:30, the other band mates rejoin in a very upbeat and rocking jam that accelerates into near fury by 21:30.
Versions phish.net's jam charts single out as noteworthy.
This was the first show of the Coventry festival and was simulcast in movie theaters nationwide. During YEM, the band gave away their trampolines. Throughout the duration of the set, groups of fans held the trampolines above their heads, and some fans jumped on the trampolines as well. Tom Marshall sang the lyrics to Antelope. Trey teased Waves in Halley's Comet. Before Bowie, Trey told a story of the summer he spent living in a cabin in the Northeast Kingdom where he remembered writing several songs, including Bowie. Trey explained that Bowie was an attempt to see “how far can you push it in the harmonic and rhythmic language and still have people dancing.” During Hood, Trey (speaking in rhythm) noted that because there were a row of rocks separating the band from the crowd, they were feeling a certain level of disconnect (particularly when Mike plays a "sexy" note). To remedy the situation, Trey and Mike ventured down onto the rocks for the duration of the song. At the end of Hood, the band stopped playing, allowing the audience to sing the “You can feel good, good, good about Hood” refrain.
Setlist, gaps, jam charts, and notes from phish.net, a project of the non-profit Mockingbird Foundation.