Two years succeeding their debut, self-titled EP as a funky musical quartet, SkyDaddy makes a comeback with their latest EP Wide Eyes, due out on all digital platforms come August 1.
Dave Heinz (bass/vox), Joe North (saxophone/EWI), Tom Claney (guitar/vox) and Pat Agresta (drums) fit together as a jazzy-funk ensemble with nods of soul and rock fusion from downstate New York. However, its their solo skills that come together to create all that SkyDaddy stands for. Riding the wave of the ever-growing music scene in the Northeast, the foursome have lent their jam talents to venues across NYC and the tri-state area in support of The Nth Power, Pink Talking Fish, Amy Helm, Spiritual Rez, Sophistafunk and Zach Deputy, all within the last year.
Their self-titled effort brought fourth a five-track EP, including “Tell Me I’m Crazy” and “Just Enough Wine.” Dipping their toes into varying genres, Heinz, North, Clancey and Agresta use their talents to deliver spacey, progressive-like jams while capturing soul through their meaningful lyrics and memorable hooks.
Wide Eyes comes in the form of three tracks, all of which have the ability to get you on your feet and dancing or at least swaying side to side in your work chair. “Effortlessly Elegant” introduces the EP with a fitting title as the opening notes of the track and buttery-smooth saxophone make the listener’s need to move around and dance grow stronger by the second. “By the Fire Tonight” follows next, letting Agresta and the drum kit lead into the second track which appeals largely to the funkier soundscapes of their music. “Perspective” emphasizes on Heinz’ hearty vocals as he sings of relationships, wide eyed girls and the burning question of how they found their soul. Over the course of one year, the EP was recorded in REM Studios in Woodcliff Lake, NJ, collectively and accurately encompassing their sound as a unit thus far.
You can catch SkyDaddy on their Wide Eyes Tour during their slew of upcoming NY show dates, including a live WRRV Session at Newburgh Brewing Company, a September 19 Garcia’s gig with The Magic Beans in Port Chester and quick stops through VT and CT.
It’s been a long and inspired ride for the Athens Georgia based Drive-By Truckers. Since their debut album Gangstabilly almost 20 years ago, the band has seen numerous band lineup changes and produced multiple critically acclaimed LP’s. Co-founders of Drive-By Truckers Patterson Hood (lead vocals, guitar) and Mike Cooley (lead vocals, guitar, banjo) have been the architects of their longevity by amassing a pool of amazing musical talent that currently includes Matt Patton (bass guitar, backing vocals), Jay Gonzalez (keys, guitar, accordion, backing vocals), and Brad Morgan (drums). The band’s last LP, 2016’s politically charged American Band, takes head on the subjects of gun violence and the current state of U.S. racerelations that only a Southern based rock band steeped in that culture and tradition possibly could.
Drive-By Truckers at the Egg
DBT brought that politically charged power and intensity to the Hart Theater located in Albany’s Egg Performance Art Center on Tuesday July 25. This is the eleventh stop on DBT’s Resist Tour and the band was accompanied by opening act The Seratones. Based out Shreveport Louisiana, The Seratones are touring in support of their 2016 rocking release Get Gone. Lead Singer and guitarist AJ Haynes along with band members Connor Davis (guitar), Adam Davis (bass guitar), and Jesse Gabriel (drums) kicked off the show with a high octane version of “Choking On Your Spit.” The high octane, in your face, offering set the tone for their remaining energetic set.
After a short break, it was the Truckers turn to take the stage and they kicked off their set with “Filthy and Fried” off of 2016’s American Band. Vocalist Cooleypainted a gritty picture of a modern day landscape that showcases the angst of a 27-year-old woman trying to cope with the struggles of gender identity in everyday life. Next it was Hood’s turn to take the lead on vocals with a stirring rendition of “Two Daughters and a Beautiful Wife” off of 2008’s Brighter Than Creation’s Dark. It was just a little later in DBT’s set that Cooley realized that the crowd at the Egg were being overly reserved and sitting statically in their seats. He addressed the audience, stating that it was alright if they wanted to keep sitting down. Cooley went on to say that he and the band were more than willing to play slow songs, but if they wanted to rock they should feel free to get up on their feet. The newly energized crowd eagerly left their seats, the majority of which, stayed that way for the remainder of the performance.
DBT kept up their end of the bargain by cranking out down and dirty versions of Truckers fan favorites “Where The Devil Don’t Stay” and “Puttin’ People on the Moon.” Bassist Matt Patton also got a turn at vocals later in the set with a high-powered rendition of the Ramones classic, “The KKK Took My Baby Away.” DBT finished the night with an encore that included American Band’s politically charged “What It Means.” The song lyrically examines the ever-increasing incidents of gun violence in America and references the gun slayings of African Americans Trayvon Martin and Michael Brown. The stage lights went down during the performance, with the exception of a brightly lit Black Lives Matter sign that was prominently featured on the side of the band’s piano. Hood ended the anti-gun violence anthem with the impassioned mantra “It ain’t political…It’s personal!”
The Truckers wrapped up their set with a stirring version of “Grand Canyon” off of 2014’s English Oceans. Hood dedicated the song on-stage to “Departed Drive-By Truckers Family,” a reference to longtime merch-man and band ambassador Craig Lieske who passed away in 2013. The Drive-By Truckers will be featured at both the Newport Folk and XPoNential Music Festivals later this month.
Setlists:
Drive-By Truckers: Filthy and Fried, Two Daughters and a Beautiful Wife, Ramon Casiano, Baggage, Marry Me, Dead, Drunk and Naked, Guitar Man Upstairs, Darkened Flags on the Cusp of Dawn, Surrender Under Protest, The Company I Keep, A Ghost to Most, The Guns of Umpqua, Where the Devil Don’t Stay, Puttin’ People on the Moon, Shit Shots Count, Ronnie and Neil, Kinky Hypocrite,The KKK Took My Baby Away, Sinkhole, Made Up English Oceans, Let There Be Rock, Zip City, What It Means, Love Like This, Grand Canyon
Seritones: Choking On Your Spit, Sun Kingdom Come, Get Gone, Head-trip, Chandelier, Tide Brainwashed, Take It Easy, Necromancer, Don’t Need It, Trees
New York City based progressive rock band, Haakon’s Fault, has recently released their brand-new EP, Waning Gibbous. Despite the four-track project’s shortness, the band’s style and skill level is well showcased, combining elements of both wailing and grunge guitar offset by the entrance of a clean vocal by lead vocalist, Harry McNamara.
The EP’s opening self-titled track, “Waning Gibbous,” acts as an inviting introduction to the project. The song’s lead guitar riff captures and heats up the track to soon be cooled down by calming vocals. Despite the hot and cold nature of the track, it catches on fire with a piercing guitar solo that secures focus and desire to listen to the next three songs.
Waning Gibbous continues with a variety of sounds, followed by the second track, “Wicked World.” The track’s opening riff tells listeners to fasten their seatbelts. They’re on for the ride. With tints of hard-country, “Wicked World” symbolizes the versatile nature Haakon’s Fault has with their music.
Moving onto “Save Us” and then “Higher” Waning Gibbous provides an easy listening atmosphere for all listeners of music. It is very rare that a project is able to appeal to audiences of different genres while still remaining true to their sound. Haakon’s Fault is an example of a band that makes prog rock listenable to everyone. Their new EP stabilizes the thought that everyone, no matter the age or music sensibility, is able to rock.
Chocolate donut night on the sixth night of the Baker’s Dozen MSG residency brought Phish to cover an American Idol contestant’s viral hit, bringing “Chocolate Rain” to life, along with “Ass Handed,” tying the theme to the music once again before letting loose with a set of rarities and surprise jams. “Free” and “Sand’” marked the high points of Set 1’s jamming, with ‘Weigh’ and ‘Destiny Unbound’ garnering the loudest cheers as fans crossed songs off their bucket list for yet another night. During “Divided Sky,” Trey held ‘the note’ for such a long time that Chris Kuroda lit up the arena, with one spotlight shining down on Trey as he slowly looked around the entire arena, in as much awe of his surroundings as the crowd was.
The ever rare “Have Mercy” was the bustout to start set 2, opening the way for “Chalkdust Torture” which clocked in at 24 minutes and stood out as the jam of the evening. Ascending jams that rose and rose with full band builds with no let up highlighted “Chalkdust,” creating a jam vehicle that found its way towards Hot Chocolate’s “You Sexy Thing.” Hearing the opening notes of the funk from this 70s classic, the audience erupted in the glee of an out of left field bust out that led to a funk jam for the ages.
“Mercury,” while fresh and left off Big Boat, bridged the ending of “You Sexy Thing,” a jam the band sought to return to at the first opportunity. By the time the funk ended, the audience welcomed “Backwards Down the Number Line” with as much energy as they could muster and with “Rock and Roll” following, the crowd went into a frenzy listening to that New York Station. An encore of the ever rare “Fee” and “Space Oddity” capped the night as Phish continued to raise the bar during their historic run at Madison Square Garden.
Setlist via Phish.net Set 1: Chocolate Rain[1], Ass Handed, Free, Weigh > Undermind > The Oh Kee Pa Ceremony, The Dogs, Destiny Unbound, Divided Sky, Things People Do, Sand
Set 2: Have Mercy, Chalk Dust Torture[2], You Sexy Thing[3] > Mercury -> You Sexy Thing > Backwards Down the Number Line > Rock and Roll
Encore: Fee[4], Space Oddity
[1] Phish debut; a cappella, with Page on a midi controller keyboard.
[2] Unfinished.
[3] Phish debut.
[4] Lyrics changed to “have a chocolate donut and catch your breath.”
Phish returned to the comfy confines of Madison Square Garden for Night 7 of the Baker’s Dozen residency on Saturday with a show that had all the Phishy elements fans love, starting off with with the energetic scorcher “Llama,” fastening in the crowd for a memorable, cinnamon flavored night.
Many fans who didn’t figure out their ticket situation in advance were left with their finger in the air come show time as it seemed many were shut out. Inside the venue, a recording came on urging the crowd to “not eat the brown donuts,” as they are not so good, surely a play on the famous brown acid announcement at the original Woodstock.
After the straightforward “Llama,” Phish launched into “Wilson” and the crowd was instantly ready, painting the famed venue walls with only the type of energy a Phish crowd can bring. Normally a quick hype song, this “Wilson” stretched beyond the nine-minute mark with an atypical jam out of what normally closes the song, which caught few off guard after the surprises Phish had in the first six shows.
Standard takes on “Stealing Time From The Faulty Plan” and “Ya Mar” warmed up for the semi-rare, and ultra sought after “Tela.” The band nailed the song and Trey played the closing guitar section masterfully, igniting a rousing applause from the capacity crowd.
“The Birds”>”The Line” was a nice segue, with the latter containing a bit of full band improvisation. “The Line” takes a lot of heat in the Phish world for being a bathroom break song, but this one was well placed and you can just tell how much Trey and Mike enjoy playing the song based off their mutual grins.
A brief “Water In The Sky” came as a warm up for the close of the set, which began with a very well played “Vultures,” another song that seemed to add an extra layer of frosting on an already rocking first set. Mike took the lead to sing “Train Song” that led into a segue into “Horn,” in which the entire band played each note almost perfectly. In recent years, Trey has taken some online flak for not playing the composed guitar part of “Horn” perfectly, but he did last night.
Not many expected what came next. When Page hit the two notes on the clav and Trey played the fuzzy lead line, the crowd nearly exploded with energy as everyone realized Phish was covering The Beatles’ beloved “I Am The Walrus.” As the band and crowd sang in unison and Chris Kuroda turned the Garden into a rainbow light dance party, a guy leaned in to my ear and said, “So dude, I really think they’re not going to repeat a single song.” Me too, kid. Me too.
After set break, Phish started up with “Blaze On,” a song that debuted two summers ago and quickly found its place as a first set rocker, late set jam vehicle and the coveted second set opener. It was apparent that Phish was going to sink their fins into this one as Trey didn’t waste a second before jumping into a nearly five-minute lead solo that was him wield his Languedoc high, bending notes in his signature rapid fire licks. It was some of his finest playing of the run, which was a bit of foreshadowing for what’s to come.
“Blaze On” then started to devolve, until Phish reconstructed it into a major key with a mildly funky and ethereal jam that kept everyone’s interest before bringing it back to a swirling crescendo finish that clocked in at nearly 24 minutes and left some speechless. This band is clearly as comfortable as they’ve felt in a really long time.
After a segue into “20 Years Later,” which seemed to contain some Led Zeppelin type elements in the jam, Phish broke out “Alumni Blues”>”Letter to Jimmy Page”>”Alumni Blues,” two of their oldest songs. While the segment was very textbook, it was very well played and featured Trey and Mike facing each other for a short bluesy segment, after which Trey shouted “it’s alright now, ‘cuz Mike’s playing the bass,” which elicited a crowd roar, before Mike took a short but powerful lead solo.
Out of the soundscape came fan favorite “Meatstick,” which has a rich history with MSG. In 1994 and 2010, Phish used the song as part of their New Year’s Eve gags. After the dance part, Trey and Page led the band into an atypical and psychedelic jam which landed perfectly on “Dirt.” While “Dirt” is typically a first set song, last night’s placement couldn’t have been any better, giving fans a bit of a break after nearly an hour of some pretty unique music. But, hey, that’s why we follow this band.
With time winding down in the night, anticipation was high in regard to what they’d close the set with. When Fishman hit the drums, “Harry Hood” made it’s Baker’s Dozen appearance and did more than close the set. Clocking in at 17:20, this “Hood” broke itself down into ambient space before Trey, Page and Mike revved the sing into the highest gear with very Allman Brothers’ “Mountain Jam”-esque teases and quotes. Approaching 17 minutes, “Hood” finished with a peak that only that song can bring. When this is all done and said, “Harry Hood” will go down as a very notable jam from this run.
Almost forgot that the theme was cinnamon donuts? Well, after a somewhat lengthy encore break, Phish came out and lit into a cover of Neil Young’s “Cinnamon Girl,” which was last played by the band 19 years, 364 days ago. The crowd had anticipated the song all night and Phish delivered with a stellar take on the song that sent 20,000 people flowing onto the streets of midtown Manhattan.
The stage is set for what we in the Phish world gear up for: A Sunday show. I think the saying goes something like, “never miss a Sunday show!”
In reality, it should be, “never miss a Phish show!”
Set 1: Llama, Wilson > Stealing Time From the Faulty Plan > Ya Mar, Tela, The Birds > The Line, Water in the Sky, Vultures, Train Song > Horn, I Am the Walrus
Set 2: Blaze On > Twenty Years Later > Alumni Blues > Letter to Jimmy Page > Alumni Blues > Meatstick > Dirt > Harry Hood
The String Cheese Incident is known to shake things up with its tours this Thanksgiving and New Years Eve. This is not the type of band to have an East-Coast, West-Coast, and Mid-West tour, evenly spaced throughout the year. This year alone they’ve played in Mexico with Dead and Company, Los Muertos Con Queso (Get it?), played a string of Mid-West intimate venue shows, a two night run in Atlanta, and are playing a sleuth of new festivals like Summer Meltdown, The Oregon Eclipse Festival, and Element Festival in Princeton, BC, (not to be confused with Elements Fest in Brooklyn).
The only thing that seems normal this year is the annual three night run at Red Rocks Amphitheater that just took place July 21-23. After thanking the fans for a wonderful hometown throw down, the band announced that this year it will be playing a pair of Thanksgiving weekend shows in Chicago on November 24 and 25 at the Chicago Theater. SCI also announced it they will ring in the New Year with a three night stint at the Capitol Theater in Port Chester, NY.
This comes as a huge surprise to fans, as this will be the first year not held at the 1st Bank Center in Broomfield Colorado since 2012. Cheese heads in the Northeast are rejoicing as they plan ahead for what will be a weekend to remember. This past New Year’s Eve, the band welcomed Big Gigantic for an entire set of the “Big Gigantic Incident” and The Floozies for their own set the following night. We can only guess what cheesy goodness they’ll serve up to us this year.
Ticket info and details are expected to drop soon. And remember, Life is Gouda.
On Wednesday July 26 at Madison Square Garden, Phish devised a plan to make hump day a great day. Keeping in form with the powdered donut theme, the foursome launched into an acappella version of Fleet Foxes’ “White Winter Hymnal” to get the party started. The “white snow red as strawberries” lyric reprised the Saturday night donut theme to the delight of MSG regulars and set the tone for a cover-filled evening on Night 6 of their Baker’s Dozen.
Fans entering the Garden after work could relate to the traffic -jammed “Cars Trucks Buses” that took the second spot in the rotation and saw Page McConnell work his magic on the boards. The always welcomed “My Soul” kept the energy building before a “Roses Are Free” completed the back-to-back cover annihilation. The Chilling Thrilling Sounds “Very Long Fuse” received some extended love as the powder keg audience realized they wouldn’t be getting another five song first set.
Rarities like “Pebbles and Marbles” have been filling the donut holes in a magical way throughout this run and it has become so common to hear bust-outs that the audience didn’t even detect how special it was. While speaking about special moments, the almost 15-minute “Tube” was explored by the band as if it was in a 1990’s Discovery Zone. The bouncy punch initiated by Mike Gordon was only outshined by Page’s dirty synth orgy. Trey found his groove and dissected the jam into what will be known as the “Baker’s Tube” for years to come.
When second sets begin with hard-rocking machines like “Carini,” Phish followers know they are in for a sweet treat. The 16-minute lumpiness dug its feet into the ground and setup another rarity in “Mr. Completely.” The TAB classic has only been played a handful of times by the quartet, yet it made its second appearance this tour to the delight of die-hards. Trey’s ditty may or may not become a staple in the band’s repertoire, but for now there is still much work to be done with the jam.
“The World’s Most Famous Arena” experienced a flashback to 1998 as the Vermonters destroyed Price’s “1999.” The second set was familiarly baked with incredible choices but the highlight may have been the jam that ensued. “Steam” rose out of the stage as a seamless and perfectly placed transition before Led Zepplin’s “No Quarter” shocked and awed an already speechless crowd. Page’s well-executed vocal takedown mixed with the ferocious Jimmy Page-like guitar antics by Big Red solidified this version as possibly the best one ever played. An overly ambitious “Character Zero” closed the set and proved that surprises come in all forms during this epic 13-show run.
Where is the powder? There’s the powder. Phish never lets us down in terms of donut symbolism. The encore debut of Neil Young’s “Powderfinger” closed the night and permanently gave us a new motto to live by: “Never miss a Wednesday show.”
Set 1: White Winter Hymnal[1], Cars Trucks Buses, My Soul, Roses Are Free > The Very Long Fuse, Gumbo, Yarmouth Road, Pebbles and Marbles, Farmhouse, Tube Set 2: Carini -> Mr. Completely > 1999 > Steam > No Quarter, Character Zero Encore: Powderfinger[2]
The band played mostly hits, but dropped in an occasional B-side or rare track. They kicked off their set by going way back to the first song off their very first album, Rockin’ Around (With You). Petty and the Heartbreakers took us on a ride through time which Petty described as “We’re going to pretend like this is a record spinning around up here playing our entire catalog and every now and then we are going to drop the needle.”
Petty took fans through a history of his solo and the Heartbreakers catalog, including “Mary Jane’s Last Dance,” “You Don’t Know How it Feels,” softer hits like “Wildflowers” and “Crawling Back to You.” They ended the evening with fan favorite, “American Girl.” Check out the photo gallery below.
On a night where jams were promised, jams were delivered. The complaint ‘Phish doesn’t jam anymore’ is now an antiquated phrase reserved for jaded vets and those looking for a reason to justify not attending a show. On Honey Dipped Jam-Filled Donut night, Phish’s Baker’s Dozen shifted into high gear starting the show with a 5 song first set with no song shorter than 10 minutes. By the time the show was over, the band had two 30 minute jams under their belt, as well as the debut of “End of Session” from 1998’s Story of the Ghost. The fourth night marked the best of the run, with nine nights still to go.
Starting for the fourth show in a row with an ‘S’ song, the normally simple “Sample in a Jar” topped out at 10 minutes, far longer than usual. It was when “Lawn Boy” started that fans were in for a treat among treats, and 29:59 later, after enormous blissful jamming that began when Page stood up to get his keytar, everyone knew they’d gotten something far out of the ordinary. Repeated listens will be required to fully absorb what Phish threw into this jam filled “Lawn Boy,” no, “Lawn Man.”
“My Friend, My Friend” and “Stash” both topped the 11-minute mark with stronger than normal Type I jams that kept the set flowing. “Bathtub Gin” followed suit, and despite these last three songs having as much punch as any first set jam this run, “Lawn Boy” slightly overshadowed the others, more for the factor of jamming “Lawn Boy” among all the other songs in their repertoire.
The second set started with “Fuego” clocking in at close to 20 minutes, followed by “Thread” which debuted in Chicago as a unique prog-rock number but also provided a bridge between jam vehicles, as “Crosseyed and Painless” provided an additional dose of jam that was promised. The Talking Heads cover veered into the usual improvisation and picked up speed as it dipped into a “2001” prelude that shifted gears and instead continued the “Crosseyed” jam in a third, or even fourth altogether different section.
“Makisupa Policeman” with nods to Page and Mike from Trey and the jam out of Makisupa melted into “End of Session,” which debuted to the delight of the few who recalled the final track on Story of the Ghost, an ambient composition on many fans bucketlists. The set was capped by “Tuesday” and “Cavern” and fans picking up the jaws that were dropped in the 33 minute “Crosseyed.”
To end the show, “Julius” came out rocking and segued into the ending of “Lawn Boy” to the intense delight of fans who saw the show come full circle, heading into Powdered donut night.
After two nights of Phish extending jams amid bustouts and debuts during the Baker’s Dozen, it was clear that these donut themed shows would be filled with jam and not jelly. On Red Velvet donut night, the audience was treated to a pair of Velvet Underground covers bookending the show, as a red hue illuminated the Garden and once again the mantra ‘Never miss a Sunday Show’ held true.
Opening with Velvet Underground’s “Sunday Morning” with Fishman in a Cardinal’s stole and mitre, he sang a perfect song to fit the day and theme, all while blessing the crowd with the ‘holy water’ that was in his scepter. And with that, the show amped up the energy with “Axilla” driving the crowd into a frenzy, “Your Pet Cat” throwing in a dose of funk, and an 11 minute “Back on the Train” that easily ventured beyond the usual length for the Farmhouse fan favorite. “How Many People Are You” kept the energy flowing, and while “Glide” isn’t an intense song, the oft-chased after song was greeted by all as another example of working through the band’s deep catalog to ensure no repeats throughout the 13 show run.
After a standard “Theme From the Bottom,” the jam of the evening took off inside “It’s Ice,” with the band stretching this version out past the 15 minute mark with a deeply exploratory jam built on patience from all four members. Setting the tone with jams in non-traditional jam vehicles has been a hallmark of this tour (see: Dayton “Wombat,” Pittsburgh “Mr. Completely”) and “It’s Ice” with its jazzy improvisation follows this trend. Closing the set was “More,” something everyone was asking for after the “Ice” jam.
After a creamy first set, Phish came out firing with a brief, but punchy “AC/DC Bag,” which a lot of fans were hoping would get lengthy jam treatment. While it clocked in at its typical time, “Bag” still got the Garden dancing as Anastasio brought some youthful playing to one of Phish’s oldest and most played songs.
Whatever song was up next was sure to get stretched out, as the band has displayed incredible improvisational prowess on this tour throughout each show, but especially in the second sets. So, with the opener providing more of a quick rocker, “Wolfman’s Brother” brought out a very audible cheer from the crowd, as Chris Kuroda followed suit with maybe the most intense lights of the run so far. From behind the stage, it appeared, at times, that the red lights morphed into a reflective orange, which made the crowd appear, at times, on fire. Meanwhile, after Phish got through the song portion of “Wolfman’s Brother,” the band kicked it 50 yards past high gear with a sort of circular feeling ambient jam that saw Mike Gordon lead a layered approach to another old and beloved song, which bled into “Twist.”
This “Twist” can really be described by its several distinct sections, and was highlighted by Page McConnell’s stellar use of his new synth toy. It seems that every member of the band has added something new, at it showed in this jam, which gave way to a series of loops from Anastasio. When it all came together, the peak settled back gently into the song’s theme. “Waves” came next, and quickly went dark and deep, but the jam was the only flat part of the entire set. Some around the section were loving it, but others were not sold on the jam. “Miss You” filled in where “2001” seemed to be emerging from the spacey jam out of “Waves.”
“Boogie On Reggae Woman” and, of course, “Wading In the Velvet Sea” closed out the set in funky and somewhat emotive fashion. Everyone knew “Velvet Sea” was coming, and it was pretty well placed after a set chock full of improvisation, landing well.
For the first time since Deer Creek 2012, Phish busted out a fan favorite in the Velvet Underground’s “Sweet Jane.” Kuroda brought back the red light theme, and Phish played the song flub free, ending with the crowd in a frenzy as the Anastasio jumped up and down to conclude another stellar show of the Baker’s Dozen.
Night 4 of Baker’s has been announced as Jam Filled, with mini Raspberry donuts the theme of the night. Few things can get a phan’s heart pumping than to know a night full of jamming is on tap.
Setlist via Phish.net
Set 1: Sunday Morning[1], Axilla, Your Pet Cat > Back on the Train, How Many People Are You, Glide, Theme From the Bottom >It’s Ice > More Set 2: AC/DC Bag > Wolfman’s Brother[2] > Twist > Waves > Miss You, Boogie On Reggae Woman, Wading in the Velvet Sea Encore: Sweet Jane [1] Phish debut. Trey on drums. [2] Unfinished.
August 1.
