The four men of Phish returned to Madison Square Garden, their live music home base, to begin another four night run to close out another successful year. It was already their eighth visit in 2023 and their nice-round-number eightieth...
The four men of Phish returned to Madison Square Garden, their live music home base, to begin another four night run to close out another successful year. It was already their eighth visit in 2023 and their nice-round-number eightieth of their career. It all started with a show almost exactly 29 years prior, with their first traditional four-nighter 25 years ago.
Needless to say, the band felt right at home on the Midtown Manhattan stage. There’s really no need to warm up to the room that plays like their living room, and their comfort was evident from note one. The final shows of the year began with “No Men in No Men’s Land,” with the nod and wink appropriate lyric, “You’re happy that we’re here.” which received a huge roar from the anticipatory crowd. The band found room to let loose as a unit right away, with Mike Gordon’s bass driving the early action.
From there the set would take a sharp nostalgic turn, diving deep into the bands early catalog. Classic Phish fare from the irreverent barbershop-esque “Halley’s Comet,” to some of their earliest “hits” like “Sample in a Jar” and “Bouncing Around the Room” provided the crowd a trip down memory lane. Solid takes on other favorites “Runaway Jim,” “Axilla Part II,” and Son Seals’ “Funky Bitch” set the table for a strong finish.
Sticking to the early material, “Bathtub Gin” would provide the first real fireworks of this New Year’s celebration. Gordon once again pushed the agenda in the early going as the rest of the band remained within “Gin’s” lines. Page McConnell flinched first, moving to his clavinet while Trey Anastatio added sustained wails on guitar. McConell dug into some of his weirder tones and the whole thing got a bit dissonant. John Fishman pushed it forward with a marching beat and eventually locked into a dark groove with Gordon. The dark turned bright in a flash as Anastatio discovered a happy rocking theme that brought the whole thing back into the “Bathtub” to wrap it up neatly.
“Ghost” would top off the set with some more interesting improvisation, all four members combining to find an interesting theme. They quickly worked it to a peak which they sustained at for an incredible high energy workout. Gordon mixed in some “No Men’s” lyrics into the chaos but it all settled back into the “Ghost” groove as the first set of the run came to a close.
“The Howling” got things started in set two, as howling sounds bounced around the room, echoing in surround sound.
“A Wave of Hope” followed, and started innocently enough. The band coasted along for a little bit until you could almost hear the safety line being cut. The whole band dropped any semblance of a connection to the source material, diving into the deep end into a slow ooze. From there they entered mind meld territory, flipping from theme to theme without cue and without hesitation, like it was scripted. The pace quickened, slowed and sped up again. Dark, bright, rocking, cosmic, it was a journey and the map was being drawn in real time. The stage was surrounded by points of white light in a spastic swirl as Anastatio carried the final segment into bliss territory. They found their way to a slick transition into “Rift,” one of a few solid segues on the night.
A quasi-classic “Mike’s Song” > “Simple” segment gave the set more solid anchors to hang some cred on. Gordon played around with the rocking groove as the lights rode the deep end waves, undulating high above. As a counterpoint to the one-ness found throughout “A Wave of Hope,” in “Mike’s” the band fractured, fragmenting and deconstructing pieces of the jam. It got heavy and industrial, but never lost the underlying groove. It roared up to an unusual “Mike’s Song” peak that had hints of “Tweezer Reprise” hidden just beneath the surface.
The ensuing “Simple” again provided a contrast, staying spacey and ambient for most of it’s runtime. And as that time ran low, it transitioned excellently into a rocking “Blaze On” set closer, which featured solid in-the-pocket jamming from the whole unit.
Between new songs, old songs, and a full smattering of influences on display, Phish was setting the table nicely as they invited their fans into their home away from home to celebrate another year in the books. But with a long four-song encore that had multiple “ok now it’s over” moments, they were the hosts who couldn’t let their guests leave without a few proper good-byes. They welcome another party in the next three nights at the Garden. Shows 81 through 83 and year 2024 await. But who’s counting?
Setlist via Phish.net
Phish – Madison Square Garden – Thursday, December 28, 2023
Set 1: No Men In No Man’s Land, Halley’s Comet, Sample in a Jar, Runaway Jim, Bouncing Around the Room, Axilla (Part II) > Funky Bitch, Bathtub Gin > Ghost
Set 2: The Howling > A Wave of Hope -> Rift > Mike’s Song > Simple > Blaze On
Encore: mercy, The Squirming Coil, Weekapaug Groove > Say It To Me S.A.N.T.O.S.
Trey teased San-Ho Zay in No Men In No Men’s Land. Mike quoted No Men In No Men’s Land during Ghost. Mike’s Song contained sound effects used earlier in the show during The Howling.
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