moe. kicked off the end of its 25th anniversary year with a New Year’s run at the Palace Theatre in Albany. The New Year’s Eve show proved memorable in many ways, with several old songs making a return; the debut of a brand new Al Schnier-penned instrumental and an acoustic take on Talking Heads’ “This Must Be the Place (Naive Melody).”
The band has been celebrating its 25th anniversary throughout 2015 and sound as cohesive as they ever have. A relationship this long, no matter what the scenario, is difficult to maintain at any level, yet it seems as if moe. has found new life in this trip around the sun. Onstage smiles were continuous during this run; it’s obvious that this is a band still having fun playing together.
The crowd arrived at the picturesque Palace Theatre for the New Year’s Eve fete dressed the part. Many came in formal attire, while others simply donned the traditional New Year’s headgear and gaudy glasses—all were geared up for a solid performance.
Busting out with a rare “Defrost” (last played Aug. 8, 2008), bassist Rob Derhak smacked everyone in the face with some of his trademark slapping.
The energy remained high throughout the first set both onstage and off as moe. dusted off a few more oldies in the form of “Canned Pastries” and “Po’ Sadie” (last played Dec. 30, 1998) with each drawing knowing glances among long-time fans and cheers from the newer ones.
Though there are distinct differences in Schnier’s and Chuck Garvey’s guitar styles, there is not a more complementary duo in the game today. Evidence of this shone during the instrumental “Pastries.” While Derhak, percussionist Jim Loughlin and drummer Vinnie Amico laid down a smooth funky beat, Schnier and Garvey traded licks back and forth on opposite sides of the stage surely causing slight whiplash among some onlookers.
The lounge jazz intro to “Don’t Fuck With Flo” segued perfectly out of a lengthy run-through of a jazzier than usual “Timmy Tucker,” creating a huge build-up to the sing-along chorus of who not to mess around with. Garvey made heavy use of his effects pedals, combining with the spectacular light show to create a true rock-star experience to cap off the first set.
Following a half-hour break, the band opened the second set with a tribute to the Saranac Brewery for the Hoppy Hour Hero brew many in the house were imbibing in on this night. Naturally, “Happy Hour Hero” followed. Garvey used his talkbox to wish everyone a “Happy New Year.” A long and sweet segue out of “HHH” into the reggae “Seat of My Pants” held the crowd’s attention until Schnier’s opening notes led the way into the moe. classic. The heavy break down part of “Seat” had Schnier in full-on rock god mode. Schnier threw in barre chords, finger tapping, the trademark facial expressions and an on-his-knees serenade to those in the front row.
The brand new and sweeping Schnier instrumental “Montego” was well-received and should prove to be a nice jam vehicle in shows to come. “Four” closed out the second set. Garvey was on fire during this one. Those riding the rail Chuck side were treated to a guitar clinic from the maestro as midnight loomed.
Set three began with what has now become a moe. NYE tradition—the playing of Pink Floyd’s “Time/Breathe” during the countdown to midnight. Once the confetti cannons blew their payload, Derhak broke into an a capella “Auld Lang Syne,” a song that, like most people, Derhak had issues remembering the lyrics to.
This led to the surprise of the night as Loughlin left the confines of his kit at the back of the stage to drop some mad rhymes to House of Pain’s “Jump Around.” The stage soon filled with band and crew family members jumping around as Loughlin had instructed.
moe. continued the set into the wee hours of 2016, dropping in a newer fan favorite “Billy Goat” followed by an intense “Meat” that proved to be unfinished. Garvey again displayed why he’s one of the premier guitarists in the genre throughout the spacey, funky, jam; at times using his microphone stand as a slide for his guitar.
A solid run-through of “Brent Black” featured a stellar jazz-informed solo from Amico and a roaring bass solo from Derhak. “Wind it Up” wrapped up the set, leaving the exhausted audience breathing a sigh of relief.
As the band members took a brief break, microphone stands were brought to the front of the stage for the encore. Schnier played his acoustic, while Garvey plucked on his electric. Amico played the tambourine and Loughlin the maraca, as Derhak, with the assistance of a lyric sheet, sang the Talking Heads’ “This Must Be the Place (Naive Melody)” with help from the crowd on such lyrics as “Home is where I want to be.” As moe.’s adopted hometown, the collaboration was a fitting end to the show capping off the band’s silver anniversary year.
Setlist
Set 1: Defrost> Akimbo, Y.O.Y., Canned Pastries, Po’ Sadie, Timmy Tucker> Don’t Fuck With Flo
Set 2: Happy Hour Hero> Seat Of My Pants, Montego, Four
Set 3: Time> Breathe> Countdown/Happy New Year> Auld Lang Syne, Jump Around*> Auld Lang Syne, Billy Goat> Meat#> Brent Black, Wind it up
Encore: This Must Be the Place (Naive Melody)
*Jim on vocals
#unfinished
The live recording of Aqueous’ 
David Loss not only handles guitar and vocal duties but also keys and synth. In listening to this release, it’s his nuances that bring out the best of the Dark Side recording but also the best of Aqueous’s original material. He seems to always know where he is in regards to complementing his fellow musicians. It’s a mind-numbing skill to have as a musician to be able to understand that sometimes less is more, or that layers are built on levels, but that in order to build a deep sound, the levels can’t all be the same.
A straightforward but near perfect “Rift” and phans were ready to put their wingsuits on. “Wingsuit” allowed both concertgoers and the band to relax if only for a few minutes. Since its release in 2014, the song has solidified itself in their repertoire, beginning with a breezy intro but making its way to an explosive display of instrumental technicality. The pressure from “Wingsuit” subsided with an easy-going “Ocelot.” McConnell the lounge singer stepped up to the mic and delighted fans with “Lawn Boy.” He introduced Gordon who took a few minutes to deliver a bluesy bass solo. “Run Like an Antelope”—an eternally pleasing song—included a scorching solo from Big Red, which hit every single note. “Antelope” returns with teases of “Stash” and “Stealing Time.”
The band took a new approach to how fans see and experience a show in Madison Square Garden by utilizing an innovative space in the room for the first time during their New Year’s gag. As the third set started, all four members rose up on a small stage at the back of the house. Once the band was positioned under a funnel shaped screen a curtain suspended fully encapsulating the quartet in a full cone shaped hourglass complete with a full light show. This new, visually aesthetic treat was something that shed a light on why Phish fans come back time and time again. The deeper undertone of the hourglass is open to interpretation, but it looked like that band was literally lost in time and in full control of their musical destiny.
New Year’s Eve is one of the most anticipated nights for live music all year and along with Halloween is one of the toughest tickets to get. Phish delivered three sets and an encore full of musical highlights, stretching many of their songs well beyond their traditional norms and as the band broke into a new stratosphere there was no looking back. The first set saw some serious heat in a nice extended, delay-based jam from Trey in “Wolfman’s Brother,” the sold out crowd singing the outro to “I Didn’t Know” and a smoking “Reba” > “Walls of the Cave” to cap off the first set was just a warm up, though packed full of heat. The second set was where Phish took standard songs and stretched them into something great through some stellar improvisation. The “Kill Devil Falls” -> “Piper” -> “Twist” was some of the most beautiful pieces of improvisation and the most fluid transitions of the entire run. With two sets under their belt, the band was flexing their range and evidently having so much fun on stage.
Being a fan of improvisational jam band music means that you’re open to trying new things and after your ticket gets scanned and you walk into the venue, you’re taking a musical leap of faith and a risk to explore parts unknown. As Phish closed the chapter of 2015 they proved that they’re firing from all cylinders with their foot firmly pressing down on the gas pedal looking into 2016. It seems as if the band is unstoppable of even being slowed down and no matter what they do next, they’ll do it with grace and conviction. There’s simply no better way to ring in the new year than with a garden party and whether the band is flying in on a hot dog, being raised on hydraulic lifts, literally staging a runaway golf cart marathon, playing on top of an equipment truck or fully encapsulating themselves under a psychedelic hourglass, for that brief moment perhaps you can quench that insatiable thirst for more Phish.
Over three sold out nights in Burlington this New Year’s weekend, Twiddle played into the past, present and future of their musical catalog and continued to prove why they are one of the most talked about bands in the jam scene. The packed crowds at Higher Ground were treated to three very different nights of 
The second set saw a weaving of non-Twiddle moments, including a tease of Phish’s “Divided Sky” as well as a meaty jam of Daft Punk’s “Robot Rock,” in the middle of a nearly 20-minute version of “The Box.” The night ended with a more mellow approach as Twiddle cooled off the crowd with “Beethoven and Greene” before ending with a “Gatsby the Great” Reprise.
While the three day run didn’t include much in the way of catalog rarity, what it lacked in surprise it more than made up for in production value. Twiddle demonstrated a growth in technical skill and creative staging. Their studio polish appears to be rubbing off into their live performance with precision, turn-on-the-dime transitions and unique musical moments. The latest addition of Evan Antal as Lighting Director (Zed’s Dead, Kendrick Lamar) on this three-day run elevated the overall show experience.
This show started off as a Trey lover’s wet dream. “Sample In a Jar” kicked the festivities off in fine fashion, with Anastasio showing the renewed vigor in his fingers had carried over from the summer. His short lead was crisp and fluid, and featured bursts of notes that show he has been practicing a lot. “Free” continued the Trey-led theme, as Anastasio was a rapid-fire genius from about 6 minutes on, up until the song’s closing coda. “Simple”>”Back on the Train” displayed a little full-band interplay, but again it was Anastasio who owned the section, before “Waiting All Night” and “555” slowed things down and funked them back up.
A sublime “Roggae” gently gave way to a story of a child being frightened by a big, scary dog. A rollicking version of 2014 Halloween favorite “The Dogs” gave way to a set-closing “46 Days,” where Anastasio and Page McConnell traded haunting, yet tasty licks, sending the crowd completely amped up heading into set break.
Up next was “Ghost,” and it wouldn’t be a notable version if it didn’t sandwich a brand new song, “Can’t Always listen,” which I honestly thought was “Goin’ Down the Road Feeling Bad” for a handful of seconds. A line from the chorus, “The stars are sitting pretty/and the world’s just spinning fine,” made for an upbeat and happy vibe of the song that simply made me smile and think that everything will be fine. Sit back, forget about everything else, and enjoy these four nights with four guys on stage and 20,000 of my closest friends.
A segue back to a short “Ghost” jam gave way to a “Waves” that proved inspired, but wasn’t anything to get crazy over. Phish decided that during the 15:17 that followed, the duration of “Bathtub Gin,” that they were going to take us on a sonic journey. There are so many times in my years of seeing this band that I am convinced they read each other’s minds, but this “Gin,” which did not contain a moment of down time or any confusing parts, proved my thoughts right. The last five minutes soar to a level that only Phish can climb to. If the Magnaball “Gin” was a surprising treat that brought the song back to its improvisational roots, then the “MSGin” surpasses that in stature and cohesion alone.