Phish - August 16th, 2024

Bananas - there's possibly something like six (or whatever) key changes - Phish arguably performs a parody of a "Type II" Phish song. While there may be segments one might not recommend, it's almost as if there's willful-sh*t in this version. And so perhaps you'd rec. it all. It's crazed. The ending might leave you thinking, "WTF?", too. Awesome. > "Pillow Jets."

> from "Ruby Waves," the jam (once through the song) is more an interlude, a punishing kaleidoscope of sound sure to please shoegazers and those with their heads in the clouds. Terrific outro-cum-drawn-out segue for a rabid "YPC."

> from "Pillow Jets," the song, some of the faster Phish you’ll hear these days (this version, anyway), functions as an extension of the set's sound, "YPC's" signature-lick taking several speedy laps before Trey breaks to solo, at points melodically, and hammer the -> drawing out "Ruby Wave's" conclusion.

> from "YPC" to complete the version.

In keeping with Phish's renewed appreciation for faithful performances of their classic material, this version is distinguished not only by high-level execution through "Fluff's" most challenging passages, but also by an incendiary "Arrival" section, with Trey sending sheets of euphoric sound throughout the Woodlands of Dover.

Performed behind a giant curtain which obscured the stage and served as a screen for dynamic visuals designed by Moment Factory like those shown at Sphere earlier in the year to morph and intensify with the music, this experiential set is another massive must-hear festival instrumental. Dubbed the "Woodlands Jam" to reflect the name and arboreal setting of the Mondegreen festival grounds in Dover, DE, trees are also predominant in the imagery shown throughout. Following that same theme, the opening minutes of the jam can be interpreted as the sounds of the forest as it stirs to life and slowly envelops the listener in a musical massage. With Trey employing the acoustic guitar in a jam like never before, Page layering in dreamy synths, and Mike and Fish providing delicate rhythmic accompaniment, a baseline of peaceful post-rock crossed with psychedelic folk is established, a mode which is returned to later in the set. The first step outside of this zone is marked by the snarling electric guitar and percussive rolls shortly before 12 minutes which introduce a much more assertive segment of rock that quickly escalates and becomes chaotic and decidedly uneasy as synth textures from Mike and Trey come to the forefront. After a brief reemergence of the acoustic calm of the first movement around 20 minutes, the electrified sound returns and builds waves of bliss around an indelible theme led by Trey simultaneously riffing on both electric and acoustic guitars until some rock and minor dissonance creeps in, leading to a sudden shift after 35:00 into a thrilling high-speed chase which gets heavier and more hectic as it builds to a frenzied peak. Then, at 43:00 a final celebratory coda is unleashed to peak the jam a second time and leave the Woodlands awash in a beautiful buzz.