Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
Credits | Terms Of Use | Legal | DMCA
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $2 million to support music education for children – hundreds of grants in all 50 states, with more on the way.
Review by QuinnTheEskimo
Set 1: PYITE gets things off to an energetic start. BDTNL is then played well and surprisingly well-received for a new song. Axilla pumps things back up, and then Taste shows off a bit more 3.0 polish. Boogie on Reggae Woman is funky as always. Stash is a bit heavy and a little chaotic, but still well played. Page has the stadium in the palm of his hands with Lawn Boy. People give Time Turns Elastic a hard time, but you could tell Trey was proud of it, which made it a lot more special than it may sound just off a recording. Back on the Train and Julius were nothing extraordinary, but a fun way to close out the 1st set.
Set 2: This DWD is a gorgeous – check it out. I usually prefer a completed DWD, but this leads nicely into a somehow intense, moving Piper. This Fluffhead (with a very welcomed "Fluff came to New York" shoutout) is magnificent. The peaks are oh so delightful. The last 3 minutes of this Fluffhead are pure bliss; I get chills listening to it. The rest of the set is a sheer funk-fest, and people loved it. Cities is very well played, and leads into a standard, yet forceful Free. I love that they still play Halley's Comet – it's proof that at heart they are still a bunch of kids who like to play music for the sake of playing music. By this point the band-members' smiles were reflecting the audience's smiles. 2001 isn't particularly jammed-out, but it sure felt like a ride in the grooviest spaceship in the solar system. Kuroda's lights all night, but in particular during 2001, showed how well he knew the venue, and the best way to make it look spectacular. The Bowie closer was predictable, but kept everyone moving around.
Encore: No complaints with skillful playing and loud chanting of Character Zero.
Sure this show is similar to others of the tour and the year, but it's another example of not only creative, thoughtful playing, but more importantly a very happy arena. All four guys on stage seemed as into it as if this were their first time playing the Garden, and the fans who came to take a break from the crazy Manhattan world outside certainly checked all their burdens and worries at the door and just enjoyed the several hour escape to the realm of Phish. Great time, and a show I'll remember for a long time.