Phish guitarist and New York City resident Trey Anastasio kicked off his eight-week virtual residency at the Beacon Theater last night, delivering the kind of live music we’re all starving for right now. Appropriately named “The Beacon Jams,” this Friday night, and the next seven as well, will serve as a weekly musical oasis for a world currently deprived of massive live shows and indoor concerts. Broadcast by twitch.tv, Trey and friends delivered two-plus hours of music spanning the musician’s prolific career.
Tonight’s performance was essentially a stripped down version of the current Trey Anastasio Band configuration. Longtime stalwarts Tony Markellis and Russ Lawton manned the bass and drums, respectively. Cyro Baptista was behind the percussion kit, and delightfully present and high in the mix all night. And a spry Ray Paczkowski added his signature sound on keys for most of the night. Jeff Tanski, a friend, theatrical collaborator and fellow NYC resident, would also sit in on piano for a few songs.
One of the more interesting aspects of the show was that instead of a typical stage setup with the band facing the seats, the back of the stage was opened up entirely for the cameras and the band faced the opposite direction. With the majestic yet empty Beacon Theater as the backdrop, the night started off aptly with “Corona.” Making its first live appearance since a 4/27/18 Trey show in New Orleans, this set the tone nicely with a short but passionate outburst of a jam.
The “Blaze On” that followed carried things even further. Cyro and his wearable rub board gave it a nice percussive touch early. And the extended jam that ensued had everyone getting in on it courtesy of rotational solos before Trey put the finishing touches on it.
He had a noticeably fun time all night “breaking the fourth wall” after songs and mentioning/thanking the twitch chat room that was shown in front of him on a monitor. and mentions/thanks the chat room. After some playful banter, it was time for “I Never Left Home,” one of the many new Trey songs from his new Lonely Trip album that was recently produced and released while in quarantine. The echoe-y vocal effects and spellbinding dark and psychedelic jam that this evoked in its first live showing just oozes with Phish potential.
The ensuing “Soul Planet” featured another extended jam, this time fueled by Russ on drums. Trey then took a quick moment between songs to read some more chat room messages and also wish his Mom a happy birthday. Jeff Tanski then came out for “Shade” on piano with Ray moving over to the organ.
Photo: Angela Cranford/MSG Entertainment
“Dark and Down,” a classic TAB song then followed before the debut of another Lonely Trip song “A Wave of Hope.” The upbeat lyrics and positive sentiment noting “this too shall pass” carried right over into the next song, “If I Could See The World,” another new Lonely Trip number.
Things then shifted from inspirational to funky through the “Sand” that followed. With Ray heavy on the clav per usual. this one is given the full treatment with pulsating rhythm supplied by Russ and Tony and another passionate Trey solo on top of it all.
One of the true highlights of the evening was the “Stash” that immediately followed. This would be the only “old school” Phish song played tonight and it was anything but traditional. Trey was only accompanied by Jeff Tanski on piano and Cyro who added a mesmerizing percussive element simply by clapping along in various rhythms. This all served to create an acoustic “Stash” of sorts that is a must hear.
The Phish vibes were out once again in full force in the “Everything’s Right” that came later. Cyro began this one with what seemed to be percussive ping-pong paddles of some sort before a Russ shuffle beat steered the song into its familiar beginning.
Although he never left the stage, some true acoustic songs seemed to begin the unofficial “encore.” This included a tender rendition of “The Inlaw Josie Wales,” a song Phish hasn’t tackled in 20 years, although it does get some run through TAB. This also gave Trey a chance to talk about the rehabilitation house that proceeds from this residency are going towards, obviously a project near and dear to Trey’s heart.
“46 Days” saw the rest of the band then come out and finish things off in style. This marked the end of night one with another seven Friday nights of Beacon Jams lined up to follow. It’s fairly clear that each night will feature new guests, stories and interaction with Trey via twitch, and live music that’s good for the soul.
Trey Anastasio “Beacon Jams” Beacon Theater – New York, NY 10/9/20
Corona > Blaze On, I Never Left Home [1], Soul Planet, Shade [2], Dark and Down, A Wave of Hope[1], If I Could See The World[1] > Sand, Stash [3], When the Words Go Away [4], Everything’s Right > …And Flew Away[1], The Inlaw Josie Wales [5], Sunset Days [6], 46 Days
[1] Debut. [2] Jeff Tanski on piano. [3] Only Trey, Jeff Tanski on piano, and Cyro clapping. [4] Debut; Trey solo acoustic. [5] Only Trey on acoustic and Jeff Tanski on piano. [6] Trey solo acoustic.
Trey Anastasio will hold a series of free live concerts from the Beacon Theatre, in partnership with MSG Entertainment. The Friday night series, dubbed The Beacon Jams, will kick off on October 9 at 8pm and run through November 27, featuring both acoustic and electric performances, as well as home audience interaction, with surprises in store. The series of performances will stream exclusively on Twitch, in partnership with Relix Magazine.
While each performance of The Beacon Jams is free, fans are encouraged to donate to the WaterWheel Foundation, and its new Divided Sky Fund (DSF). The proceeds will be used to deliver help to those affected by addiction and help further plans to open a treatment center in Vermont.
When we thought about playing the Beacon, I was reminded of the meaning of the word. A beacon is a beam of light, often from a lighthouse, which sends it out to sailors who are lost at sea and all alone. They look for the beacon and it guides them home. Sometimes gifts come wrapped in strange packages. A lot of this is thanks to Twitch and our friends and family at MSG Entertainment. When the idea to do these benefits was born, everybody at MSG Entertainment jumped in and partnered with us and the Divided Sky Fund, which is very kind of them. This is an opportunity for forward motion.
Trey Anastasio, on The Beacon Jams
The WaterWheel Foundation, created by Phish in 1997 to oversee the band’s charitable endeavors, partners with local non-profits while Phish is on tour, and partnering with national organizations during times of need, donating millions of dollars over the past 20+ years.
The Divided Sky Fund will focus on delivering quality care and compassionate treatment for those suffering from addiction. Fans will be encouraged to donate throughout the eight-week event; net proceeds from merchandise sales during The Beacon Jams will go directly to the DSF.
I’ve been sober for 13 years. It’s a great blessing in my life. We started talking about the idea of a treatment center about a year ago. I was worried that the project would get derailed because of the pandemic but it didn’t – it actually picked up steam; things are really rolling along now. The Beacon Jams emerged as a way to raise money for it while also allowing me to play for the fans again.
Trey Anastasio, on the Divided Sky Fund
Executive Vice President of MSG Entertainment, Darren Pfeffer spoke highly of the new series.
We’re thrilled to be able to partner with Trey on this very special and first-ever virtual residency at the Beacon Theatre to benefit two immensely important causes – the Divided Sky Fund and the WaterWheel Foundation. As we navigate the live music scene through this socially distant world, we couldn’t think of a more natural way to bring live music to so many fans for such a great cause. Trey’s connection not only with the Beacon Theatre, but with all our venues over the years, including Madison Square Garden, The Chicago Theatre, and Radio City Music Hall, have made this unique concept a perfect partnership.
Darren Pfeffer, Executive VP of MSG Entertainment
Twitch, a platform finding immense popularity in the last year due to the increase in streaming of online performances, also celebrated the partnership.
We could not be more excited to be part of this amazing partnership with Trey Anastasio and MSG Entertainment to help raise donations for such worthy causes. Twitch offers the same intimate experience that artists and their audiences have come to expect from live shows. Over the course of this virtual residency, fans of Trey and Phish will be able to attend performances from anywhere in the world, while feeling like they are right in the front row of the Beacon.
Will Farrell-Green, Head of Music Content at Twitch
Trey Anastasio has been busy since March, releasing numerous songs on his Instagram account, culminating with releasing an album featuring many of these songs, Lonely Trip. Anastasio was also the first in-studio musical guest on The Tonight Show with Jimmy Fallon in late August, performing alongside the Roots.
Ed. note: this review of Trey Anastasio at Carnegie Hall was original published on PhanArt.net in September 2009. For a more recent review of Anastasio at Carnegie Hall, read our review from October 2019.
For years I have considered orchestral compositions the ultimate form of music, with the intricacies that I felt would never be understood, a style that would be too difficult to get into, and a high-class following that would elude me forever.
This started to change years ago when I heard the amazing beauty of Eric Clapton playing with the Royal Philharmonic Orchestra in London (February 10, 1990), and discovered the intersection of one of the greatest guitarist in history and one of the finest orchestras in the world. Hearing “Layla,” “White Room,” “Bell Bottom Blues,” as well as a unique Guitar Concerto in two movements performed with a guitar (?!) AND a 40 piece orchestra. My ears never had it so good. Every note was played, expanding, but not drowning out, the original composition. Bands like Queensryche and YES had explored orchestral infusion into their rock act previously, but the Clapton collaboration hit home with me, and I was forever hooked.
The only thing that stood in the way of getting a fix for this new-orchestral sound was more combination acts like the one that got me hooked. It took only a couple years before Trey was playing with the Vermont Youth Orchestra on “Guyute,” but opportunities to see this were limited. I listened to the version on Sharin’ in the Groove, The Mockingbird Foundation’s tribute album to Phish, over and over, guiding the orchestra while I drove cross-country and around town. This was some of the best music I could have imagined to hear.
When Trey Anastasio was announced to play the 2004 Bonnaroo music festival with the Nashville Chamber Orchestra, I knew that this would be the musical experience I had been long waiting for – combining my favorite band’s music with an orchestra, drawing out every last note of music hidden in there, expanding the tablature to a full musical composition replete with instruments I had not seen nor heard from since grade school. The experience was the highlight of that Bonnaroo, and set the stage for the musical bliss that was set with Trey Anastasio at Carnegie Hall on Saturday, September 12, 2009.
The show having been announced in mid-July, I immediately purchased the best seats I could afford (4th row balcony, which I hoped would provide immense views), as I knew the size of the room was considerably smaller than a normal phish-venue, and the demand would certainly be high. Arriving at Carnegie Hall, I saw what I had joked would be there, presuming it wouldn’t – nitrous tanks and a few shady-entrepreneurs making a quick buck on fans with money to burn on a cheap high. Ignoring this, I went inside and found myself walking up, up, up, up to the top level, and then was guided to my seat by an usher, which felt very high-class. Taking my seat, I marveled at the crowd around me, the youth, the remarkably familiar feeling I had in this great community of people, as well as the sharply dressed folks who took the occasion to go ‘phormal’, as we once had for Radio City in 2000. The crowd was very chill and happy, and notably respectful of the hall, likely thrilled to be able to see such a unique night of music in such a famous building.
The seats were small and legroom was nil, but that was all taken away with the warming up of the New York Philharmonic. You could hear each section of instruments (the strings, the horns, the woods, the percussion, etc…) randomly tuning up, and a finely tuned ear could hear aspects of the peak of “Guyute,” the middle section of “Pebbles and Marbles,” and miscellaneous tuning and playing as the crowd got settled.
Upon their arrival to the stage, the principal violinist, the conductor, Asher Fisch, and then The Bad Lieutenant himself, Trey, came out to thunderous applause, likely the loudest Carnegie has ever heard. “First Tube” was soft and quiet at first, but perfect. Trey’s guitar was quieter than ever, but he changed the volume as the song got towards the end, with an amazing buildup, similar to the now-invigorated versions Phish has played in ’09. The flutes, violins and bongos/congos are heavy in this song, carrying the tune to its final section and peaking very subtly and suddenly.
“The Inlaw Josie Wales,” “Brian and Robert” and “Water in the Sky” were soft excursions into the mid-’90s writing of Trey, and showed the orchestral side of his writing that had been there all this time. “Divided Sky” was the crowd pleaser-supreme in the first set, giving the crowd a wide range of melodies and expansion of an already tremendous song. “Pebbles and Marbles” and “Guyute” closed out the first set, the latter of which had many heads bobbing and moving hands subtly to the movement of Asher Fisch, who was one of the more animated conductors I could have imagined, making Tom Hulce’s Mozart look like a impassive director of music. Fisch was swaying from side to side, almost seeming to leap in the air at times when the music compelled him to do so. It almost seems as though he would fit in at a Phish show.
Setbreak brought about a trip to the headiest smelling bathrooms since the last Phish show, and long lines of fans waiting for water, as the room was getting a bit warm. “‘Time Turns Elastic” started with the first two movements, which are not heard in the Phish version, as they are a cornucopia of the orchestra’s sound leading into the ‘Submarine’ section of the 30 minute composition.
This may be one of the best compositions I have ever heard, with crescendos and arpeggios that showed the masterpiece of Trey’s orchestral composition was a crowd pleaser, an attentive crowd focusing on the various sections intently. When played with Phish, fans take time to refuel and make pit stops, but for this version of “Time Turns Elastic,” every audience member hung on each section, as the segues were fluid to say the least. The most fascinating thing about this version of “Time Turns Elastic” was the focus on the various movements and sections within the song. The final section, ‘Carousel’, brought the song to a resounding peak, with applause that was the loudest of the evening thus far.
“Let me Lie” was touching, soft and short, providing a nice interlude in between two long epics, the latter being the debut of “‘You Enjoy Myself,” the immense Phish crowd pleaser. This was the song the entire crowd was waiting with bated breath to hear, only to be paused and let the excitement build longer as Trey thanked the audience, the orchestra, and remembered his late-sister, Kristine Anastasio Manning, for which her foundation that night was a beneficiary.
“YEM” started off with a round of applause overshadowing the opening section, but soon, you could hear a pin drop, were it not for the orchestra. The crowd hung on every note, hearing the song like never before, but really, like the song was meant to be heard – this version of the song brings out layers and aspects of the song still left unexplored through almost 500 performances over the course of the band’s career. The ‘Pre-Nirvana’ segment had the percussionist working a snare drum to emulate Fishman, as the strings brought about the largess of the ‘Nirvana’ section, with Trey playing softly and complementarily alongside the collection of musicians onstage. The xylophone in this section is worth turning the speakers up for. A crescendo appears with the trumpets, French horns and tympanis working to bring the song to its first crest. More xylophone brings the section typically played by Mike to its peak, with Trey playing louder and the horns coming in to build the song up once again.
The next section with the tremendous peak was resounding with horns and cymbals making it akin to the concert version. The bongos and congos took over the interlude in between these two sections, with an even louder zenith reached before ‘The Charge’ appeared and then dissolved with audience laughter, before a funky YEM jam beat was played by Trey and the percussionist, all the while the trombones, tuba and French horn played ‘Boy, Man, God, Shit’ in a way it was never played before.
You can’t help but laugh hearing this section, both out of the humor inflected by the horns, as well as the precision reached in the performance. Clarinets and other woods built up the song where the trampolines would usually come into play, and then the strings and full orchestra come into play, bringing the song into a three minute composed jam that highlighted all the parts of the song, as well as the musicians on stage, who were performing for an audience larger than they could possibly know.
As the final jam section ended and the strings played a very light ‘Wash Uffizi drive me to Firenze’, Trey set his guitar down and took towards the microphone, and began a vocal jam all on his own, a first for any Phish fan. The similarities between this vocal jam and the ‘Arc’ that Eddie Vedder performed on his 2009 solo tour were resounding, with the exception that Anastasio does his vocals all on his own, and without the addition of looping sounds; the room carried Anastasio’s voice throughout its acoustic borders, while the orchestra backed up each inflection of Trey’s voice.
The roar of the audience at the end was deafening, even for one of those cheering loudly. We cheered like a Phish audience for a very non-Phish set of performers, and they deserved every ounce of it. An encore of “‘If I Could” was so perfect, you need to hear it to truly appreciate how soft and elegant the song gets; the album version has strings towards the end, which is a nice start for a song that has found a new home in an orchestral composition. The harp solo after the first two sets of lyrics is enough to make your eyes well up with tears of joy, and then the strings make the wells runneth over. A more beautiful composition is hard to come by.
As the show ended, fans ventured out into the streets to dodge the nitrous vendors, and headed out into the night, having experienced one of the most amazing musical events of 2009, let alone the entire decade/century. Yes, it was that amazing.
Overall, even the most rabid of Phish fans and music fans in general, would appreciate the intricacies, tempo changes, structure and multi-auditory stimulation that come from the greatness of an orchestra. Seeing Trey in an orchestral setting is the way to see him perform him music. Remember, he went to school for this, so this isn’t some silly venture like Jordan playing baseball. No, this is the real thing. This is Jerry Garcia playing solo shows, Mick Jagger putting out subpar solo albums for unknown reasons, and Bono hanging out with world leaders to push for more attention to Africa. This is where the rockstar in Trey goes on to become something more, something larger, something that transcends Phish, but brings along the music for the ride. You have to ponder the thought, since Trey went to college for Composition, had he not co-founded Phish, would he have been a colleague of Fisch?
One has to wonder, have we been duped this whole time by Phish, that now we deep down can appreciate the intricacy and effort it takes to create orchestral music? Most the songs played that night have been played by Phish since the early days (YEM, Divided Sky), the ’90s (Guyute, Inlaw, Brian and Robert, Water in the Sky) and in recent years (Time Turns Elastic, Let me Lie, Pebbles and Marbles), yet at those times, few considered that we were hearing the rock and jam versions of classical songs. All these songs have that familiar strain, and can possibly convert Phisheads into classicophiles in no time.
This show was a game-changer and eye-opener for many fans. Seek it out and join in one of the greatest auditory experiences you have ever heard.
SummerStage Jubilee was announced by City Parks Foundations to benefit free programming in the park. The benefit will take place on September 17, 2020 at 8PM across different virtual platforms. The benefit will include performances from big names like Sting, Norah Jones, and Trey Anastasio and an appearance from Billie Jean King.
The 2020 SummerStage Jubilee Benefit Concert will help support the free parks programs and ensure they can continue. The City Parks Foundation is the largest presenter of free arts and cultural programs in New York City parks. They serve 300,000 New Yorkers each year through arts, education, sports and community building initiatives. The fundraising being done through the SummerStage Jubilee event will help fund free tennis and golf instruction, experiential, science-based lessons, buying tools and bulbs for volunteers to beautify local parks, providing training, microgrants, and coaching to facilitate their local advocacy. Donations will also help ensure SummerStage, New York City’s largest free music festival, and SummerStage Anywhere, its virtual festival, will remain free and available to all New Yorkers. At a time when public programs have been upended, destroyed, and cancelled by the COVID-19 pandemic, the city’s parks have remained open as some of the only public assets available to all still in these trying times.
David Barse, City Parks Foundation Board Chairman spoke about the SummerStage Jubilee Benefit Concert saying, “This benefit concert will help support the important work that the City Parks Foundation does in every community, park and green space we serve in New York City. Although the concert is free, as is our usual SummerStage festival, we hope that viewers will feel motivated to support our work and make donations to keep that work going during these challenging times.”
The benefit will last an hour and will highlight the various City Parks Foundation programs. SummerStage Jubilee will feature musical performances by Sting, Norah Jones, Trey Anastasio, Rufus Wainwright, Leslie Odom Jr., Rosanne Cash, Emily King, PJ Morton and others to be announced on top of notable advocates for CPF’s work including tennis icon BillieJean King.
https://youtu.be/BQE9IqKPMAA
The benefit festival can be viewed across all SummerStage social platforms (Instagram, YouTube, Facebook and Twitch) via live stream on Thursday, September 17 at 8PM EST. Donations can be made on the SummerStage website.
For more information on the event visit the City Park Foundations website.
It felt good to see music performed live, on stage, once again. On Tuesday, August 11, host of The Tonight Show, Jimmy Fallon, welcomed Phish’s Trey Anastasiointo the studio where he performed “I Never Needed You Like This Before” off his new quarantine-written and produced album Lonely Trip.
This was also the first time The Tonight Show house band The Roots had performed together since in-studio production was halted in March due to COVID-19. Anastasio spent that time writing in his Upper West Side apartment, where he recorded over a dozen songs which he shared on his Instagram. Among these would be the tracks that appeared on the raw, low-fi Lonely Trip, written with longtime collaborators Tom Marshall and Scott Herman.
According to Rolling Stone, Anastasio arrived at New York’s Rockefeller Center alone with just his amp and guitar. Once he took a COVID-19 test and tested negative, he took the elevator upstairs to play with The Roots in Studio 6A, Conan O’Brien’s old studio, where the band members and Anastasio could better socially distance.
Phish frontman Trey Anastasio today releases his new album, Lonely Trip, comprised of songs written and recorded during lockdown at his home in New York City.
Initially, Lonely Trip songs were released through Anastasio’s Instagram over the past five months, and have been remixed by longtime studio collaborate Bryce Goggin. The album releases on Anastasio’s own label, Rubber Jungle Records.
Anastasio shared this on the making of Lonely Trip:
Lonely Trip was conceived and recorded in isolation at my home studio (aka Rubber Jungle) during the peak of New York City’s COVID-19 crisis, March — July, 2020. When the lockdown began, I had by chance just completed a weekend songwriting session with my friends and longtime collaborators Tom Marshall and Scott Herman. That session took place March 13th and 14th just as the crisis was beginning in New York, so the themes of fear and isolation were already finding their way into those first songs. By the time I arrived home, the situation in NYC had gotten much worse.
Knowing I wasn’t going to be leaving my apartment for a while, I started working. It felt therapeutic to write. I wanted to connect with our community in some way. The unplanned nature of the recording meant I didn’t have a lot of gear during this process. I had an electric and an acoustic guitar, a small amp, two microphones, some percussion, and two keyboards, including an old Kurzweil with very realistic drum sounds on it. Everything was recorded through a Spire 8-track. Lonely Trip is truly a raw, low-fi recording.
The process of writing songs became a reflective and healing experience. Being able to share these songs instantly with our community via Instagram felt equally profound. It harkened back to my youth, before there was a Phish, when I would write songs and home-record them specifically with the intention of sharing them with my circle of friends via cassette four-track recordings.
As the weeks went by, I worked on improving my recording techniques. I called recording engineers including Ben Collette and Vance Powell to get tips on microphone placement, and I purchased a bass guitar online. I also started tapping into a Dropbox folder with about 30 four-minute drum sequences that I had recorded with Jon Fishman over the last year.
For the previous few Phish albums (including Kasvot Växt and Sigma Oasis), I had been experimenting with writing songs, starting with drum beats that I had sung into my phone. Fish and I would go into the studio and record the beats exactly as I had sung them, with Fish launching off in his unique way after a minute or two. I used these beats as building blocks to many of the songs on Lonely Trip, and it explains how I could do a whole album in Rubber Jungle with such good sounding drums. Thank you Fish!
The album was ultimately mixed by my friend Bryce Goggin, and as always, Bryce’s mixes sound incredible. Thank you Bryce!
Lonely Trip was my message in a bottle during this time, and I wish I knew how to properly thank all of you in our community for listening and responding. It meant so much to me. Thank you. Wishing all of you much love and safety during this turbulent time.
This album is dedicated to the heroism of our healthcare and essential workers.
— Trey
From Anastasio’s experience to your ears. Doing what few performers have done during this great pause, Anastasio releases an album that conveys the emotions of doubt, fear, joy, loneliness, love and many more in a seamless album. As songs appeared on Instagram, Phish fans jumped at the opportunity to revel in the unique and fresh tracks that were inspired by the same lockdown conditions they were experiencing. The result of Lonely Trip is a journey through the past five months and will serve as an uplifting musical bookmark on this era.
Today was unlike past pandemic-era Mondays for Phish fans, who were teased with a video of guitarist Trey Anastasio from what appears to be Phish’s Barn Studio in Vermont.
The video, shared via Jambase, was taken by Trey’s daughter Eliza Anastasio and posted to her Instagram stories.
Fittingly, Eliza used the original music of “2001” (née “Also Sprach Zarathrusta”) to demonstrate her dad’s new gear on stage.
Could Phish have something in store of fans in terms of a live stream from The Barn? Given the Dinner and a Movie series each Tuesday night, it’s possible that live performances are on tap, akin to Goose‘s successful Bingo Tour.
Trey Anastasio postpones his upcoming concert with the Boston Pops at Tanglewood. While originally scheduled for June 20, 2020, the first ever performance for Trey with the Boston Pops will move to 2021 on Friday, June 18. Ticket holders will be able to use current tickets for next year’s event.
Trey Anastasio adds to an already busy summer of Oysterhead and Phish with three additional orchestra performances in June. In addition to the previously announced performance on June 20 at Tanglewood with the Boston Pops, Anastasio joins the National Symphony Orchestra on June 17 in Washington D.C., the Philadelphia Orchestra on June 23, and the North Carolina Symphony on June 26 in Raleigh.
Trey Anastasio Band )TAB) closed a sold out, two-night run at the historic Capitol Theatre in Port Chester, on Saturday. Fresh off ringing in a new decade, up in the rafters of Madison Square Garden, Trey and his amazing band warmed up the theatre with energy and ease. The original rock palace served as a perfect setting, allowing for a more intimate and special-filled night of fan favorites, and debuts.
The weekend was a springboard for a short winter tour to begin mid-January.
The night kicked off with a mellow “Everything’s Right.” The highlight of the first set came with the debut of “Silver Light,” only to kick back with “Ocelot,” and round out with “Rise/Come Together.” After a short break, the second set ensued: “46 Days,” a bass heavy “Sand,” an eight-minute “Mr. Completely,” and a classic “First Tube,” to close out a great night. The octet returned to the stage for a 12-minute encore (of a not-so) “Brief Time” and “Push on Till the Day”
Set One: Everything’s Right, Cayman Review, Acting The Devil, Alive Again, Sometime After the Sunset, Silver Light, Mozzambique, Ocelot, Curlew’s Call, Rise/Come Together.
Set Two: Burlap Sack and Pumps, 46 Days, Magilla, Sand, A life Beyond The Dream, Liquid Time, Heavy Things, Traveler, Mr. Completely, Dark and Down, First Tube.
