DICK'S3 2016: A DICKSMAS MIRACLE!
Uncomfortable truths are sometimes easier to acknowledge after the passage of time. This is especially true when there is a happy ending involved. So it goes with Phish's 2016 summer tour. Let's be clear: Heading into Dick’s, 2016 wasn’t just below average—it was among the most puzzling and disappointing stretches of the band's career.
Phish has always had highs and lows—many more of the former than the latter—but there was always an explanation for the lows. In retrospect, 1996 was about the band re-inventing itself after the peak of 1995. We all know the explanation for 2004, though the band still managed to scale massive peaks even during that time of trouble. In 2009, Phish was still getting their sea legs under them. But 2016 hadn’t provided an easy answer, at least not yet.
Photo © Dave Decro Photo
One obvious feature of 2016 is Trey's fascination with the Marimba Lumina and the rotation or percussion jams it has spawned. However, that's only part of the story. Even if you're not a fan of the Marimba Lumina-inspired jams, it’s a fairly small part of the show. No, the truly concerning aspect of summer 2016 was the tentativeness and unwillingness to stretch out songs in the rest of the show. There seemed to be a palpable sense of discomfort and lack of confidence onstage for significant stretches of the summer.
Not everyone will agree with that assessment, of course. But even those who do may have been uncomfortable acknowledging it. After Dick’s, it's a little easier to do so. The band that walked onstage Friday and dropped a massive “Ghost,” “No Man's Land” combo, along with a fantastic start-to-finish second set was simply not the same band we saw for most of the summer. Saturday saw another statement-making opening sequence in “Slave,” “DWD,” and “What's the Use?” What would Sunday hold?
After purposeful opening sequences on Friday and Saturday, Sunday's proceedings began with a somewhat wobbly version of "Moma Dance." When Trey started up "Chalk Dust" in the two-hole, there was reason for excitement. Not only had the number two spot had produced outstanding jams the previous two evenings, but the history of great "Chalk Dusts" at Dick's is perhaps unmatched by any other song and venue. Extended versions of "CDT" had been aired at every other Dick’s run, including two pantheon versions of the song on 8/31/12 and 8/31/13. What would last night hold? Though the somewhat slowed tempo and Dick's history had us dreaming of a mammoth jam, it turns out, we got nothing more than a tight version. So ends the Legend of the Dick's Dust… until next year, anyway.
A “Mike’s Song” played at Fare Thee Well tempo was up next. “Wingsuit” followed and featured a typically excellent solo from Trey, but the show could have been fairly described as a bit on the plodding side at this point. “Weekapaug” changed that with some particularly nimble playing from Trey, as the band scaled the first peak of the night, albeit a relatively small one. “Party Time” did well to continue the now upbeat nature of the night before we got to our first significant highlight in “Bathtub Gin.” Mike, in particular (who may have been the MVP of the weekend), seemed to propel this “Gin” forward until Trey grabbed the reins and took it to an absolutely cathartic peak that separated it from the realm of the “average great” 3.0 versions.
There are few songs I look less forward to in 3.0 than “Split Open and Melt.” The band more often makes a mess of this once great song and Trey has been known to conjure sounds of kitten strangulation from his guitar. Not tonight, though. The 9/8 bars in the jam section that so often seem to confound the band were successfully navigated and nary a whale call was to be found. The version itself was unspectacular, but sometimes that's plenty good enough.
“Tube” followed and continued its positive trajectory. Clocking in at roughly eight minutes, Trey employed the echoplex to great effect, complemented by the rest of the band exploring the deep funk potential that of the song that had for so long lied dormant. “Character Zero” followed, which was a positive because you either like the song, or fall into the “Don’t you worry, don’t you fret, There’ll always be the second set” camp, which rejoiced at the possibility of a tour-closing “Zero” encore being taken off the table.
For the third consecutive show, Phish delivered a meaty first set. The topic of conversation at setbreak seemed to center on just how good of a second set we could expect and, also, whether we should expect any setlist antics, in light of last year’s encore finale. We would not get antics; the “Thank You” encore seems to have closed that chapter of the Dick’s experience. What we got instead was far better.
Photo by Herschel Gelman.
“Crosseyed and Painless” opened the set, and the only question seemed to be just how big a version we would get. The answer, in all likelihood, is “bigger than you thought,” as it clocked in at either 18 minutes or an hour and a half, depending on your method of accounting. This version featured wave upon wave of peaks, with all four band members actively engaged with substantial contributions of ideas, before settling into “Steam.” “Crosseyed” reappeared in “Steam,” as it would in every other song in the second set and encore. This wasn't the first time Phish has tried this trick, but it was their most successful.
“Piper,” another song with a strong Dick’s history, batted third. The jam built to its usual initial peak and then, well, you can't stop the Marimba Lumina, you can only hope to contain it. Trey retreated to Fish’s kit and was soon joined by Page and, finally, regrettably, Mike, for a five minute “Drums” segment. This segment of the set didn’t do much for me, but if your biggest criticism is five minutes of drums in your 19-minute “Piper,” your set is probably doing just fine. Besides, the jam that emerged from the “Drums” was spectacular, returning (again) to the “Crosseyed” theme.
“Light,” which has likely been the most dependable jam vehicle of the summer, was next. This version started quietly, with a delicate little watery jam where all four band members are clearly listening to and playing off each other. A repetitive pattern develops, winds its way into a jam punctuated by a series of ascending notes from Trey. This is truly top shelf Phish at this moment, before, naturally, resolving into more “Crosseyed” teases. At this point, it’s important to note that the set was moving at approximately four songs per hour, which exactly how fast you want a set to move.
“Lizards” was next and provided the closest thing to a breather in this set, if your idea of a breather is a 25,000 person sing along paired with one of Trey’s most beloved solos. Great sets tend to feed upon themselves. The heightened energy can lift otherwise good songs to greatness. The “First Tube” set closer may not have provided much in the way of substantial improv, but the energy at that point was through the roof. Well, if there a was a roof, it would have been through it and, either way, it was a perfect way to end the set.
By the time the encore started, there was still the possibility of something otherworldly happening, but we settled for a rare encore version of “Walls of the Cave” (8/2/13 being the only other encore placement). Of course the “Walls” was adorned with one last set of “Crosseyed” teases before closing the book on Dick’s 2016. And what a book it was. Before the run started, no one had the right to have any expectations for these shows, but Phish stepped up and delivered the best show of 2016 (arguably the best two shows, along with Friday) and the best Dick’s run since 2012.
A true Dicksmas miracle!
Photo by Patrick Jordan (9/3/16) © Phish.
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Phish.net
The Mockingbird Foundation
But it was damned successful no matter how you slice it
I'm thinking the medal platform is 2012, 2016, 2011, but YMMV
Great review.
the rest
2011 does not get enough love. Not to mention there were no lines for anything at dicks in 2011.
Fab run.
Also, the potential funk of tube LAY dormant. If we ever meet, you can punch me in the eye then.
Thankfully the second half of this review was spot on, but the first half...you almost made me think you don't like the Phish anymore.
So much of Phish is what you choose to make of it. If you get off on analysis then more power to you I guess, but I believe this kind of writing is negative and decreases enjoyment of future shows for readers whom digest this and bring in expectations or thoughts that are not their own into the next show.
Reviews like this are why I stay off .net during and leading up to a tour, so I can clear my mind.
Oh well, as David Hume argued: "There is no accounting for taste"
No one is saying that the tour was objectively "bad" -- even a subpar Phish show is great by normal concert standards -- but it was clearly out of step with the amazing standards phish has set for themselves, especially in the wake of 2015's breathtaking summer.
Let's get specific: the kind of setlist creativity, reckless confidence, and explosive, unrestrained jamming we saw at Dick's was basically the standard for much of last year. Especially in August - night after night after night, the hose was on full blast.
Now, compare that to the spotty nature of this summer, with many shows that stayed firmly in the box with hardly a jam in sight.
I'm talking about, for instance, the train wreck shows in Portland and LA (both rated under 3 stars by phish.net fans), and shows like Minneapolis, SPAC 2, Syracuse, Gorge 2, Deer Creek, that were fine collections of songs without a really significant jam to speak of, more or less. And then there's the fact that even most of the higher point shows - Wrigley, Hartford, Chula, Lockn for instance -- really can't touch the highs of 2015, or even 2013 or 12 for that matter (again, the Phish.net community ratings confirm this.)
Now, shows like SPAC 1, Gorge 1 and BGCA 2, and individual jams like SPAC Moma, BGCA Sally, the Lockn Ghost> Gin and Light, broke form and certainly touched the heights Phish is capable of reaching.
But the point is that that's clearly a spotty record for the season, especially after 2015, and shows like Portland and LA were downright listless and concerning.
For the band to come out at Dick's and play three back to back complete, scorching, confident 2015 level shows was, just as the review states, a major and thrilling step forward.
Again, the point is not that Phish 2016 was objectively "bad" pre-Dick's - from from it - the point is that it was a noticeable step back from the incredible place Phish had reached in 2015.
And sure, every year can't be 1997 or 2015, and that's fine, but I don't see anything wrong with acknowledging 2016 had not been on that level, that it was a relatively spotty, hopefully transitional tour up to this point.
Listening to Phish critically and thoughtfully - like this reviewer does well, shows nothing but love and respect for the band and the amazing standard they've set for themselves over the course of 33 years.
But now - coming off Dick's - fall tour has some amazing potential to change the narrative on the year. Can't wait for it to start!
Those first sets -- alone -- are a huge step forward from the rest of 2016.
We all love Phish here. High fives all around.
But this is a place for open and thoughtful discussion of the band's shows that recognize the fact that different shows are, in fact, different, and that, relative to the standards set by the band itself, some are, at least to many discerning listeners, 'better' in certain respects than others -- and that that is OK, and it is not Phish.net's job to protect you from that fact.
We are all entitled to our opinions -- and if you disagree with a review, you can say why and have a civil conversation without blaming the site for making you feel less special about your experience. Your feelings about the experience are yours alone -- Phish.net has no power over them.
@mistarich said:
It's kinda like 80's Dead in this one small respect - it often all seems to depend on which version of Trerry shows up. Or maybe I'm just projecting.
PS: I took a fair amount of heat for calling SPAC3 a "bad show" in my recap. In some respects I was being hyperbolic for stylistic purposes, which is my prerogative as the author. But in the cold light of day, and relative to the last 10 sets of the summer, I stand by that assessment 100%. When you compare it to a show like DICKS3, it's really entirely different level of Phish, altogether.
Still, though, I think you're right that a community conversation review approach is a cool idea.
That would work great on the Phish.net podcast! Which I'd love to produce if ya'll want one...
@mistarich said:
I agree with your retort of my post. In my defense i was not trying to state the phish.net reviews should all be "fluffers" saying the band can do no wrong so no one feelings get hurt. That would do no one any good and would be downright boring. Going to 58 shows in 3.0 I have seen my fair share of lackluster shows and can admit that. My main point is that phish.net is a website "by the fans for the fans", and is well respected in the community and therefore should have more all-encompassing reviews as opposed the opinion of one fan. For example, while the Wrigley shows were less than stellar, phish.net chose to have the review done by someone who wasn't even at the shows and he made a point about the lack of energy. In that review I would liked to hear that he had a conversation with friends who were there. A "communal" effort to the reviews could be greatly beneficial is all that I am saying. We do all love Phish here and we are critical of the band sometimes because we care so much. In this instance I was critical of phish.net because I care about it and highly respect the opinions that come out of it.[/quote]
I will also just echo ALL of Sonic 708s comments as I couldn't avree more with him. Very well stated 708!
I also failed to read your initial posts which were very well rounded and a good read. I think a podcast involving a round table of 4 or 5 seasoned fans (even a few newbies) would be super interesting and educational!
'12, '16, '14, '15, '11, '13 is my order!
Less cowbell please!! The reviewer is rather diplomatic about Trey ruining this otherwise cool jam.
As for 2016, the reviewer unfairly compares it to August 2015. Mansfield through Dicks 2016 is better than 2015 before Atlanta. 2016 had more variety and equally good execution of composed music and tight fast solos. 2015 is the better year overall, yes, but the tour improved with time like most tours in most years. 2015 had Shoreline set 2 early on, without which the narrative would have been about the same.
Not only were your comments spot-on, I thought you were actually restrained. I felt your commentary was entirely appropriate to add a sense of perspective to a great run which is so starkly juxtaposed against a drab and disappointing summer.
Thanks for the work in this.
I know Dick's technically ends the summer tour, but I think of it as it's own entity. The band always has weeks off leading up to it, and it is the longest running consistent set of dates Phish have ever played (sorry MSG). I can only hope they continue to play here on Labor Day weekend.
What an incredible band, and what an incredible community. Thank you all!!!
Perhaps the tendency to keep songs inside the box is a product of writing and recording new material. Regardless, I thoroughly enjoyed this year despite the absence of huge jams.
Still waiting...for what? The gag? That ever elusive Gamehenge set or song you've been chasing? For death? Waiting is the natural state of being. Think about that next time in the beer, bathroom, or merch-line. The gag was: they played fucking awesome. They played all your favorite songs, awesomely. Trey played yet another uniquely face-melting once-in-a-lifetime guitar solo, for the gazillionth time. No trampolines, no vacuums, debuts, or gags-- be grateful for your marimba lumina drum freakout. If that's what it takes to scratch the itch tonight, so be it. As always, best show ever.
To me, summer 2016 felt more like 2009-2010...not *bad*, but really far from what we've seen in the last 5 years. The highlights were high, but the rest..well..ain't much to it.
Don't let .net reviews spoil your good time. It's ok that people have negative opinions of tours and shows, and it's certainly OK when they're put in writing. That shouldn't take away from your positive experience. I had a really positive experience this summer, but as I said, musically speaking I was actually pretty bored by the end of my run of shows.
I call it like it is when I see Phish and I just cannot understand why there is so much negative talk about summer tour. The only thing I can attribute to it is us Phish fans not being OK with anything other than what we want to hear. I say "we" because I've been guilty of it many times. However, I'm just as satisfied with a show with incredibly tight playing and couple 15 minute jams, tightly played with beautiful peaks, as I am with a 30 minute stretched out version of a song. Frankly, I don't care how long the jam is as long as it's locked in and takes me to the musical place where Phish tends to. To say the band wasn't communicating well etc. this tour to me just says that you're disconnected from the energy the band is trying to deliver on stage. I thought they were incredibly connected, on point, and high energy. I bet they would disagree with you firmly. I thought there were a few more stand out shows last summer but I thought this summer delivered excellently in a much more high octane kind of way. I'm not gonna waste my time naming all the jams I thought were phenomenal this summer because the negative nancies on here are convinced of their own opinions already. To each his/her own.
I know I'm not alone when I say that the reason I go and see 10-15 shows a year isn't to get my 30th Character Zero or AC/DC Bag. Don't get me wrong, I absolutely love those tunes, and expect to get a handful when I see that many shows, but what actually drives me to take a week of vacation and fly across the country to see them 7 times in 8 days is the excitement of hearing some good ol' fashion Phish improv. One can argue the different merits of making a Phish show great, but there is absolutely no argument that this summer lacked the jamming that we've come to expect over the last 20+ years. And I think it's fair to 'expect' some form of jamming from Phish in 10 shows...they're a jam band, and it's their jamming that made them popular.
Perhaps add on the fact that many of their new songs are even more bubble-gum/downers than those on Joy and Fuego, despite Gordo saying it was 'all meat,' and you have fans that are not entirely pumped on this summer's run of shows.
It's ok that people have negative opinions of Phish. I'm a firm believer that disliking parts of Phish is an essential part of loving Phish.
Much love, and can't wait to see y'all in the Fall!
@icculusFTW said:
I'm sad. Phish is evolving... changing.... and I am finally just starting to lose interest a tiny bit (which just means I'm not quite as obsessed anymore).
I think most old school hardcores would concur with the following quality hierarchy:
1. '97 - '98
2. Dick's 2012
3. Summer 2015
In that context, summer & Dick's 2016 would sound disappointing.... as they do to me. There can be any number of root causes and conditions for the absence of quality, long, cohesive type II jams, and I won't speculate here. However, what I will comment on is Trey's new trend of putting down the guitar and going up to jam with Fish on percussion and/or marimba lumina. Once in a tour, perhaps as a freaky fun occurrence would be OK, but now it's a trend. And a disappointing one at that.
I'm a little sad.... but not giving up hope. I will never give up hope. And I will always - for the rest of my life - have an entire library of "go to" jams to lean on. For that I am grateful.
Peace,
~Nigel