Some people attend church on Sunday. My church on Sunday was Nassau Veterans Memorial Coliseum. The pastor: Phish. Sixteen years Uniondale, New York, has been waiting for the boys from Vermont to make a triumphant return to the arena. “Phans” braved the elements outside to see what the guys had in store for this Sunday evening in Long Island.
I was ten years old when the boys from Vermont unleashed what we know it as today…Island Tour ’98. Four shows spanning two states in the northeast. Long Island in New York and Providence in Rhode Island. But I’m sure many of you already know that. As Phish wrapped up a raging summer tour, everyone was already in full throttle with New Year’s rumors and possible fall tour plans. As the time got near, my mission was clear, and a 6-night run of shows was announced. A 3.0 island tour if you will.
Vida Blue - Page McConnell - keyboard, vocals (Phish), Oteil Burbridge - bass (Dead & Company, Allman Brothers Band), Russell Batiste - drums (The Meters), and Adam Zimmon - guitar (Ziggy Marley, Shakira) -- has released their first album in 15 years. CROSSING LINES arrives digitally today.
Vida Blue - Page McConnell - keyboard, vocals (Phish), Oteil Burbridge - bass (Dead & Company, Allman Brothers Band), Russell Batiste - drums (The Meters), and Adam Zimmon - guitar (Ziggy Marley, Shakira) -- has announced the release of their first album in 15 years. CROSSING LINES arrives digitally Friday, September 20.
The conference, which will take place in Oregon State’s Memorial Union, will include more than 50 presentations from researchers from more than 20 states and Canada. Presentation titles include: “Phish’s Improvisation in Light of Talmudic Scholastic Practice,” “‘This Your First Show?’: White Racism and Subcultural Capital in the Phish Community” and “The Neuroscience of the Jam: A research paradigm to study brain inactivity underlying improvisation in Phish.”
Wolf Brothers, consisting of Weir on guitar and vocals, Don Was on standup bass and Jay Lane on Drums, played a 1st set consisting of a mix of classic Grateful Dead songs including "Friend of the Devil” and “Althea" along with covers of Bob Dylan’s "When I Paint My Masterpiece" and Daniel Lanois' “The Maker” as well as a pair of Weir's solo and sideband (RatDog) in “Gonesville” and "Bombs Away” respectively. The first set ended with Barlow/Weir’s "Lost Sailor” segueing into “Saint of Circumstance.”
Jam band juggernauts Phish are in the midst of the West Coast leg of their extensive Summer 2018 tour. Fans have been wowed by the sheer diversity of setlists, unexpected arrangements, and intriguing chemistry. After the triumphant Bakers Dozen run at Madison Square Garden last summer, the quartet demonstrated their desire to explore far-off realms and keep their repertoire both expansive and tight.
There may be no band that has been more critically analyzed song by song and show by show than Phish. Phish phans are some of the most attuned and astute musical analysts in the music scene. Since my first show in December of 1996 at the Spectrum in Philadelphia to my 197th show at the closing of this summer tour at Dick’s Sporting Goods Park in Commerce City, Colorado, I have seen and heard such vastly differing opinions about nearly every show.
In today’s age of social media and the technological prison we live in it is amazing that a band like Phish can still keep a secret, especially from their rabid fan base. When the band announced in early September that they were finally releasing their long-awaited studio follow-up to 2014’s Fuego, message boards and dedicated fan sites immediately began churning the rumor mill regarding which songs would appear on Big Boat. The band had, after all, written and performed many new songs over the last few tours so it wou