PORTLAND RECAP: DRUM AUDITIONS
[Editor's Note: We'd like to welcome friend of the site and taper of many a Phish video,@LazyLightning55 for this recap.]
Last night, Phish made their return to the lovely city of Portland, Maine after a seven year absence, for their seventh show at the arena formerly known as the Cumberland County Civic Center. A small crew of us took in the sounds from dead center on the floor in what'd be the 20th row if there were seats.
“Grind” kicks off the festivities as I’m asked whose birthday it is. Maybe one of Fish’s 12 kids? I don't know. Always nice to hear, though and, of course, impressed to see how high these guys can REALLY count. “Cars Trucks Buses” makes its yearly appearance in a setlist, as Page’s lead gets the crowd grooving. “Blaze On” follows and is solid - Garry now has the sound dialed in, and Trey seems very happy onstage and has fun with it. Next up is “Yarmouth Road,” which whose namesake exists in basically half the towns and streets in New England, so is apropos at any venue northeast of New York City.
Photo © Derek Gregory
The next stretch of tunes from where we stood, was very exciting and sounded great. A standard “Kill Devil Falls,” which routinely lights the place up, did just that. “The Sloth” comes next. Always a good selection, it was a drop slower than previous 3.0 versions. A soothing rendition of “Billy Breathes” follows. This marks the second play in ten shows for this song that usually makes but an annual appearance. the standard “MFMF” re-energizes the crowd behind Fish's drum leads as Trey tells the dark story of man with knife.
After the Myfe, discussion goes on between bandmembers -- always exciting. All that time, to come up with “Heavy Things,” making seemingly its 14th appearance in ten shows. “Heavy Things” is its vibrant bouncy self, and Trey actually soloed for more than one measure after Page's now-obligatory solo.
Then came Mike's “555” which is standard, yet well played as it always seems to be.
Next was the new Page tune “Things People Do,” followed by “The Line.” “Stash” this late means it’s gonna be a good one. And a good one it is, as the jam begins, a virtual quiet comes over the band and arena as “Stash” slowly makes its way towards the screaming end to close the typical first set.
Did I mention the sound inside the hall was excellent?
Official Poster by James Eads
Set two begins with “First Tube,” which gets the place rocking asap as Kuroda lights us up along with Trey who does his rock star thing. Right into “Tweezer” we go… a few of us exchange glances, all the same glances... ones that say "OKAY LET’S GO NOW!" “Tweezer” begins its groove as usual at the 5 min. mark and we are hopeful the band is willing to do some exploring. They do for about 6 or 7 minutes as Trey leads the way into a nice dark groove. It would’ve been great to peak it out, but instead we land on “Guyute.” The story of the pig closes the three song opening to set two.
The opening notes of “Mike's Song” rings out and the crowd immediately gets down. After the jam, Trey turns to Page and says we are going to play “Tide Turns” now, and then whatever else I choose. “Tide Turns” is a radio-friendly Trey love song that runs about four and a half minutes and, I guess, is probably better than any song you or I have written. Next up is “Devotion To A Dream,” a song without a home that shows up unannounced, puts its stuff down on your couch, and entertains you until it leaves. This version was excellent. “DTAD” is followed by “Wingsuit,” which seems to get more and more precise with each play. “Wingsuit” is as excellent as the sound... Did I mention the sound inside was excellent?
Next up is “Bittersweet Motel,” which hasn't been played since 7/4/12 at Jones Beach. It’s nice surprise... maybe a li’l dusty but they get it done. Next came “Fluffhead,” making its second appearance of the summer after much clamoring from the fanbase for its return. Not only is “Fluffhead” played, but some Fluffhead -- a kid no more than 20 years old -- emerges from the back of the stage, and climbs onto Fishman’s drum kit, grabs a drumstick and begins to assist Jon with the first minute of the song until security realizes this kid isn’t in the band and removes him. “Fluffhead”’s climax sends the crowd into delirium as usual, and upon its final guitar strokes morphs into “Weekapaug,” which closed the set. Have you ever seen a “Mike's” > “Weekapaug” with “Tide Turns” > “DTOD” > “Wingsuit” > “Bittersweet Motel” > “Fluffhead” sandwiched inside? I haven't. There are firsts for everything, huh?
"Fluffhead" - Photo © Derek Gregory
For the encore, Trey requests Mike play “Contact.” Mike obliges, singing of hugging curves on a road, as the crowd sways its arms left to right and we repeat in unison exactly which car parts make contact with the road. Finally, “Tweezer Reprise” sends us out with a bang.
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And thanks for all the amazing video recordings you share with the community. Incredibly generous of you.
As for the kid who ran on stage, he was obviously benignly out of his mind. No violence please.
Hypothetically speaking, if I were some sort of detective assigned to sleuth out "behind the scenes tensions within the band manifesting onstage as a lack of jams", here's a couple observations:
1. Did anyone else pick up on Trey's sarcasm (and even possible annoyance) around the whole Contact request thing? Both verbally before the song, and also when they squared off to trade notes during the song; I thought I sensed some sarcastic mockery from Trey toward Mike.
2. I left the venue immediately after the last note of the show (for some fresh cool air), and observed that they each have their own tour busses, and all four of these separate tour busses rolled out in a convoy ASAP after the show. Point being that post show backstage affairs and riding on the same tour bus would foster comradery. The opposite would not.
Yes, I know I am probably being waaaay too analytical here, fearing the worst, making assumptions and/or seeing stuff that really isn't happening (no, not in that way). Please understand it comes from a place of concern (borderline worry) around musical disconnection onstage and an obvious lack of jams. It's from a place of love.
~Nigel
I don't know. At least they are all buses and not cars and trucks and buses.
I'm calling the The Line and Heavy Things at Mansfield. I'm jacked. Hope the sound is good.
2/10/90 La Grange
Being in a band is a bit like being in a weird marriage with a bunch of people you're not sexually attracted to
Reviewer could have afforded to note more than sonics of the show--like quality of playing, sense of cohesion by band members, etc. While the setlist looks interesting enough it is sad to hear the band has yet to 'click' this tour for an entire show. Great moments here (Stash, Tweezer, CTB) but little in the way of relaxed flow or 'listening' amongst band members.
Seems like the community (even this one) has soured a bit on the lack of evident practice this tour. No reason to avoid acknowledging it (esp. in name of 'vibes'), but look forward to shows that make us gush again.
Trey missed notes all over the place, the show had zero flow, inexplicable song selection, and zero successful improv to speak of, never mind the disturbing stage crashing incident.
Every performer has an off night, and it's OK to say so. Let's recognize the band's amazing talent by also acknowledging when they don't use them.
@title3jimi said:
Just wanted to give a shout-out to @LazyLightning55 for all the videos I have watched. Appreciate it!!
2. I left the venue immediately after the last note of the show (for some fresh cool air), and observed that they each have their own tour busses, and all four of these separate tour busses rolled out in a convoy ASAP after the show. Point being that post show backstage affairs and riding on the same tour bus would foster comradery. The opposite would not.
~Nigel[/quote]
1. A good portion of the show was played somewhat slow IMHO. Given the heat and the HVAC's inability to deal with the various types of smoke in the building who can blame these guys really. The stretch between Mike's and Weekapaug in particular slowed things down for me (an perhaps Mike). When Mike started Weekapaug, my take was he was ready to rip and did so with no holds barred. Right then, Trey put both hands to his face, shook his head, smiled while looking at Mike and to me it felt like he was collecting himself to be able to get on the train with Mike speed bass. When they came out for encore, I think Trey was still trying to catch his breath like the rest of us and therefore made the CONTACT request.
2. They've been traveling in separate buses for year. Please step aside, nothing to see here.
@as_my_senses_bleed: Ditto. Spot on, thank you.
And as @Franklin says in a Portland setlist review: That's my experience at least one show a year, I reckon. Well said!
Highlights included:
A "not terrible" Guyute
A well-played "Wingsuit" in the worst possible spot.
The least interesting "Fluffhead" of all time.
Low Points:
Everything else
Personally I'm happy to hear whatever they choose to share with us. Of course I love the old songs and the way they used to be delivered to us back in the day, but I love the new songs too; Not because they're exactly like what we cut our teeth on in the 80's & 90's, but because I respect these men as working, creative, dynamic, and changing human beings that have feelings and needs, too.
I've played in several bands, one of which stayed together for just over 5 years. I know first-hand how sick & tired one can get of playing the same material show after show, even though I KNEW deep down that our fans loved the songs that I was growing weary of. So isn't it better that our favorite band share new material and new means of delivery with us instead of the alternative?
I understand that folks get vocal about subjects when they care a lot about them, and it goes without saying that we care a lot about this band!
But the only consistent thing in life is change, and it's best not to hold on to anything too tightly. Just let it be what's it's going to be.
I know I've probably come across as preachy here, but I just want to try and put everyone's mind at ease a little, because I care about you all. We're cut from the same cloth and that's why we gather here.
I can't speak for everyone, but I know I'm going to follow this bus until the damn wheels fall off, and all the while feel lucky that I'm able to share a moment in the infinite space-time continuum with these guys!
I also think the band just played a whole lot better in the second set. It was mellow, but the music itself flowed nicely even if the middle of the set left something to be desired from a setlist perspective. As with the Dead, it's not what they play, but how they play it and I thought that rang true on this night's second set.
Anyway, I had a fun time even if it wasn't nearly in the top tier of shows I've seen since my first in 1994.
One of the band members (probably Trey) mentioned in an interview that they've been traveling on separate buses for a while, but that as soon as the show they're texting one another and talking more than they had in a while about the music -- and listening back to it, which is apparently unusual for them. (In The Phish Book it's mentioned that they surprised themselves by holding dance parties on the tourbus in 1997, soundtracked by a super funky show of their own -- was it Denver?)
Anyhow, it makes sense that four 50-year-olds with kids would be interested in preserving personal/family space during arduous between-show travel times.
on one of the show reviews recently someone pointed out that when Mike plays Sugar Shack with the MG Band, their guitar player always nails it. Trey's sloppy playing is bullshit. He's better than this.
Practice, Trey, damnit. Cause we love your compositions. Cause we work hard just to see you guys play. Cause we know you can do it. Cause you're a professional. Cause we love you and love your songs. I want to hear a flawless Divided Sky again. Please!
I noticed that Page has sounded better than he has in years. SPACII he was nailing it.
I normally could care less about vocals at a Phish show, but I do remember thinking I've never heard Page sound this good during Lawn Boy.
And the Old Port smells like straight tuna when it is that hot in the summertime.