Thursday, August 25 marked the debut performance of Joe Russo’s Almost Dead (JRAD) at Saratoga Performing Arts Center (SPAC), a remarkable step for the all-star Grateful Dead tribute act featuring drummer Joe Russo, guitarists Scott Metzger and Tom Hamilton, keyboardist Marco Benevento and bassist Dave Dreiwitz.
photo by Zak Radick
An enthusiastic Saratoga Springs crowd – one that has seen JRAD perform from Brooklyn Bowl to The Palace Theatre and stops across the country – was treated to a fitting opener of George Jones’ “The Race Is On,” followed by an extensive “Shakedown Street” that followed. After “Row Jimmy” (which had a “They Love Each Other” tease at the start), the band shifted into “Dancing In The Street” and then seamlessly into “The Music Never Stopped,” which featured teases of “Dancing” and “Shakedown Street” intertwined throughout, then provided a sharp return to the end before closing the set with “Touch of Grey.”
photo by Zak Radick
After a setbreak full of Tom Petty songs, Russo, wearing a Late Night with Seth Meyers shirt, led the band through a rousing jam that worked its way into “Playing in the Band.” Hinted at by pre-show MoTown songs (and The Chordettes “Lollipop” post show music), JRAD then debuted Smokey Robinson’s “Second That Emotion” after the 20 minute “Playing.” The highlight of the night would arise in “Brown Eyed Women” that found Hamilton, Metzger and Benevento alternating in taking the lead in the jam, each of them finding higher peaks to reach with each passing of the baton. “Let It Grow” and Dylan’s “When I Paint My Masterpiece” followed the scorching “BEW,” and the set was brought to a close with an upbeat “Franklin’s Tower.”
During the encore of “I Know You Rider,” Hamilton found every peak to take the envigorating jam up another step, as JRAD gave the SPAC crowd an uplifting number on which to end their historic night.
Set 1: The Race Is On, Shakedown Street > Row Jimmy > Dancing In The Street > The Music Never Stopped > Touch Of Grey
Set 2: Playing In The Band, Second That Emotion > Brown-Eyed Women > Let It Grow > Masterpiece > Franklin’s Tower
On the 53rd anniversary week of his career-making performance at Woodstock, Carlos Santana was back at the original site of the 1969 festival, the muddy field of happenstance hippie production transformed into the remarkably well-oiled and gorgeously appointed concert venue/museum now known as Bethel Woods. Once again, the Latin blues and jazz-inflected guitarist demonstrated that his passion for music, and his mission to use it to impart a message of love, peace and unity has not cooled one degree.
Photo: Kevin Ferguson/Bethel Woods
I have had the pleasure of seeing Santana live on at least five occasions. The first two were in the early and mid-‘70s respectively, shortly before and then after his embrace of guru Sri Chimnoy and his legendary guitar battles with another Chimnoy acolyte, jazz fusion great John McLaughlin. My third live experience was when he was even deeper into his jazz phase, a 1988 performance at the Saratoga Jazz Festival with a band co-led by Miles Davis and Weather Report saxman Wayne Shorter. The fourth was also at Bethel Woods, in the summer before Covid-19 descended to darken stages and our lives. Each and every time, Santana would rise to the occasion and spit with his guitar “sapphire bullets of pure love,” quoting McLaughlin. As always, he was again backed by an ace band that served up the crowd-pleasing hits and a few surprises.
The show Sunday, August 21 at Bethel Woods was made even better by the staggering 90-minute plus opening set by Earth, Wind & Fire. Though they are enshrined in the Rock & Roll Hall of Fame and have earned a boatload of Grammy Awards and other honors, Earth Wind & Fire just don’t seem to get the respect they truly deserve. They are one of the most successful acts in history, selling over 90 million albums, with a litany of Billboard charting singles that betters most acts of their era. These are songs that have lived on as samples powering hits by new generations of artists, from Drake to A Tribe Called Quest to Bjork. Even without the presence of their founder and leader, the late Maurice White, the 12-piece band put on a staggeringly energetic and hit-packed show. The focal points are the three founding members still performing today – the always smiling bassist Verdine White, percussionist and vocalist Ralph Johnson and the extraordinary lead vocalist Phillip Bailey.
Photo: Kevin Ferguson/Bethel Woods
They hit the ground running at Bethel with an uninterrupted string of eight high-energy hits including “Shining Star,” “Getaway,” “Serpentine Fire,” “Sing A Song” and “Got to Get You Into My Life.” The most striking aspect of an EW&F performance is the undiminished state of Phillip Bailey’s soaring falsetto voice. Even at 71, Bailey hits all the high notes, probably the highest of high notes in all of music, at least since they stopped cranking out operatic castratos in the 17th Century! His son, Phillip Bailey Jr., shares both the lead duties and otherworldly vocal instrument of his father.
The entire band is as tight “as a mosquitoes’ tweeter” to quote another great musician, Nina Simone. The whole affair seems largely directed by the powerful centerstage presence and thumping bass of Verdine White. The band then cooled things down by serving up some of their hit ballads including “Head to the Sky,” “That’s the Way of the World” and “After The Love Has Gone,” before upshifting to more high-energy favorites – “Boogie Wonderland,” “Let’s Groove” and the set closer “September.”
Photo: Kevin Ferguson/Bethel Woods
Santana’s performance began with a throwback to Woodstock ’69, with video of the famous rain chant segueing into a shortened but nonetheless powerful performance of “Soul Sacrifice,” one driven by Santana’s super talented drummer wife Cindy Blackman. The band then performed more early classics, “Jingo,” “Evil Ways,” “Black Magic Woman/Gypsy Queen” and “Oye Como Va.” With his jazz improviser’s heart, Carlos evolved his approach to these well-worn songs, providing bluesy B.B. King-like lines darting around the vocals, a quote from Steely Dan’s “Do It Again” in “Evil Ways” and Wes Montgomery-like octave runs on “Black Magic Woman.”
Photo: Kevin Ferguson/Bethel Woods
Santana then shifted the mood with his fantastic ballad, “Europa.” It boasted a delightfully hesitant rendering of the soaring melody and unexpected avenues in his solo, when he rolled the treble off his guitar giving it what Clapton called “the woman tone.” On this and every number, Santana was supported by a first-rate row of players including longtime bassist and former Miles Davis sideman Benny Rietveld, keyboardist David K. Mathews, percussionists Karl Perazzo and Paoli Mejias and vocalists Andy Vargas and Ray Greene.
After “Europa,” Carlos went into a long rap about Woodstock ’69. He humorously reminisced about praying to God to help him keep it together during the performance, one he played while high on L.S.D. given to him by Jerry Garcia, with a guitar whose neck was turning into a snake! Making jest of the old adage that “if you were high at Woodstock, you probably wouldn’t remember it,” he said: “If you were as high as I was, you would never forget it!” He added: “What I think we need is more of that Woodstock spirit in the world today, something to help get rid of the fear and division that is destroying society.”
Photo: Kevin Ferguson/Bethel Woods
Santana really hit his electric stride on “(De La) Yaleo” from his career-revitalizing disc Supernatural and the lovely acoustic ballad from the same album, “Put Your Lights On,” the latter sung here admirably by the band’s second guitarist Tommy Anthony, who swapped in for Carlos on several numbers. Santana again saluted Woodstock ’69, with video clips from the fest of now deceased performers like Jimi Hendrix, Johnny Winter, Joe Cocker, Richie Havens, Alvin Lee and organizer Michael Lang, during a soulful reading of the Youngbloods’ hit, “Get Together.”
The band finished out their lengthy set with some the latter-day highpoints from Santana’s discography, including “Corazon Espinado,” “Maria, Maria” and “Smooth.” After a fiery drum solo from Blackman and an introduction of Michael Carrabello, the original Santana conguero who is now back touring with the band, they closed out the evening with a seamless medley including bits of the James Bond Theme, The Doors’ “Roadhouse Blues,” The Chambers Brothers “Love Peace & Happiness” and Sly’s “I Want To Take You Higher.” In keeping with the spiritual nature of this and every Santana concert I have attended, he ended with a positive message, urging the audience to take on a new job: “We all need to become weapons. Weapons of mass compassion.”
Sal Cataldi is a musician, writer and publicist living in New York City and the Hudson Valley,. He is President of Cataldi PR and leader of the band Spaghetti Eastern Music and member of the duos Guitars A Go and Vapor Vespers.
Phil Lesh and The Midnight Ramble Band joined forces for a recent gig on Saturday, August 20 at Bethel Woods Center for the Arts. With the Midnight Ramble Band featuring names like Larry Campbell, Teresa Williams, and Amy Helm (daughter of Levon), the powerhouse ensemble delighted all with a mix of The Band and Grateful Dead material. NYS Music’s Howard Horder was in attendance and captured some of the magic with the photos below. And check out archive.org for an audience recording of the show if the setlist below appeals at all.
Phil Lesh & The Midnight Ramble Band Bethel Woods Center For The Arts – Bethel, NY 8/20/22
Set 1: Tennessee Jed, Rubin & Cherise, Scarlet Begonias > Not Fade Away, Brokedown Palace, Franklin’s Tower, Ophelia, Sugaree
Set 2: Shakedown Street, Playing in the Band, Eyes of the World, Chest Fever, Unbroken Chain, Atlantic City, River Deep, Mountain High
Andy Frasco & The U.N. played two new songs, overcame an early fiasco and threw a raging party over a two and a half hour long set with many old favorites on Friday, August 19. It marked his his first time playing at Lincoln Hill Farms in Canandaigua, NY.
The band also announced plans for its New Year’s Eve show at the Town Ballroom in Buffalo on Dec. 31.
Photo by Carla R. Coots
The band was rocking from start to finish; it seemed like everyone else was surely amped up on plenty of energy drinks or something. Except they hit a snag right into the second song “Blame it on Me” when the power went out on some speakers and Frasco’s microphone was cut. The band quickly improvised, as Ernie Chang on saxophone played as loud as he could while he and guitarist Shawn Eckles traded licks back and forth and drummer Daniel Avila kept the tempo going. Frasco pulled out the signature bottle of Jameson whiskey out and it seemed like an appropriate time to have a drink. Whatever technical difficulty happened, it was enough for the whole band to take a break and get off stage.
When they came back, they finished “Blame it On Me” and Frasco and the band seemed like they were ready to get past that mishap and crush the rest of the night.
Frasco shared some new music with the crowd as he went into “I Miss Getting High Just to Get By,” then he played another new one right after with “High On Our Own Supply.”
He then played another two rocking songs with “Love, Come Down” and “Slam Piece” and the band did not slow down one bit. Frasco said, “Let’s get the party started,” and cracked open a beer to dump all over himself. He then took a moment to chat with the crowd and get everyone pumped up as they teased the deep riffs of AC/DC’s “Thunderstruck” and went into a short version of Van Halen’s “Running with The Devil” which fit the band with their wild energy and crazy hair.
“Pay to See Your Smile” then slowed things up a bit along with the song “Better Day” that gave the band a chance to catch their breath and wipe the sweat off their faces. Chang played keys for the song and the slow start built up into an epic climax with guitarist Shawn Eckles giving it 110 percent.
Photo by Carla R. Coots
They played “Baby, Take the Day Off” and then Frasco said he always wanted to play drums on a farm, so the entire band changed which instruments they were playing. Everyone was still rocking, and it seemed like everyone knew what they were doing on each instrument. Guitarist Eckles continued to crush it on every instrument he played form the keys to drums. Frasco ended up on the bass and it looked good on him.
Back on their normal instruments, and before the next song, Frasco had some jokes for the crowd and then they went into a cover of Sublime’s “Caress Me Down.” They played “Make It Work” and then he said they wanted to play some older songs since this was the first time they played in the area, The band proceeded to go through “Good Man,” “Kind of Crazy” and “It’s Been a Struggle.” Afterwards, they went into a classic rock cover of Foghat’s “Slow Ride” and Frasco said they were going to improvise and play more random songs and then went into “Sunny Day Soldier.”
Next, they had a singing contest, and every member had their chance. Frasco said that Chang never sings in these, but even he participated this time around. The night was also filled with references to the Buffalo Bills, getting the crowd pumped at every mention of Josh Allen and aspirations for a Super Bowl. Frasco will surely be a favorite in New York when the band returns for their NYE show in December.
Photo by Carla R. Coots
They then went into “Smoking Dope N Rock & Roll” and if things weren’t already turned up, the band heated it up even more with a “Blame It On The Pussy” that got everyone back in full rage mode. Frasco then played the fan favorite “What More Can I Say” as the crowd sang all the lyrics along with him. He then got into the crowd to kick off the Shabbat with a Hora as the band played “Hava Nagila” as the crowd went left and right according to Frasco’s instructions.
The band closed the set with “Dream” and came back out for an encore starting with “Change Of Pace.” Frasco had a heart-to-heart with the crowd and sent us off with his positive song “Keep On Keepin’ On.” But before things were over, he sent everyone back into full rage mode with a cover of Rage Against The Machine’s “Killing In The Name Of.” The crowd knew what they were in for as a circle opened up and it turned into a hardcore show for the last few minutes.
Organ Fairchild opened the show and Andy Frasco’s main bassist Supa Man was not at the show, with Chris Lorentz filling in.
Andy Frasco & The UN Lincoln Hill Farms – Canandaigua, NY Aug. 19, 2022
Setlist: Find A Way, Blame It On Me, I Miss Getting High – (First Time Played), High On Our Own Supply (First Time Played), Love, Come Down, Slam Piece, Running With The Devil (Van Halen cover), Pay To See You Smile, Better Day, Baby, Take The Day Off, Caress Me Down (Sublime cover), Make It Work, Good Man, Kind Of Crazy, Make It Work, It’s Been a Struggle, Slow Ride (Foghat cover), Sunny Day Soldier, *Singing contest*, Smoking Dope N Rock & Roll, Blame it on the Pussy, What More Can I Say?, Hava Nagila, Dancing Around My Grave, Dream
Encore: Change of Pace, Keep On Keepin’ On, Killing In The Name Of – (Rage Against the Machine cover)
The legendary alt-rock act Ween has announced two upcoming shows at New York City’s Beacon Theatre, including one on Halloween. The band is set to play four shows in the Northeast at the end of October and early November with the first two at Boston’s Roadrunner and shows on Halloween and November 1 at the Beacon.
The New Hope rockers have certainly been keeping busy lately, with recent shows in the Pacific Northwest and others lined up in the Southeast for mid-September. And Ween was also featured in the recent South Park 25th Anniversary Special, sharing the stage with Les Claypool as well as Geddy Lee and Alex Lifeson, the remaining members of Rush.
Tickets for the two-show Ween run at The Beacon go on sale Friday, August 19 at 10am through Ticketmaster and there is also a pre-sale registration that goes into effect Thursday, August 18 at 10am as well.
WEEN – 2022 TOUR DATES September 15 – Rabbit Rabbit – Asheville, NC September 16 – The Eastern – Atlanta, GA September 17 – The Eastern – Atlanta, GA October 28 – Roadrunner – Boston, MA October 29 – Roadrunner – Boston, MA October 31 – Beacon Theatre – New York, NY November 1 – Beacon Theatre – New York, NY
Twiddle has announced that their annual Frendsgiving concerts will return to the Capitol Theatre on Nov. 25 and 26. The jam band’s Thanksgiving tradition continues into its fifth year, and this time will feature support from Dogs in a Pile on night one and Neighbor on night two.
Photo Credit: Filip Zalewski
Vermont-based Twiddle began the tradition in Port Chester at the Capitol Theatre in 2017. The band is comprised of Zdenek Gubb on bass and vocals, Ryan Dempsey on keyboards and vocals, Mihali Savoulidis on guitar and lead vocals, and Brook Jordan on percussion and vocals. Since then, the tradition has lasted bringing great sets from the jam band known for their jaw-dropping performances. The quartet is currently in the middle of a summer tour and the Thanksgiving show will bring them back to NY after other stops in Pennslyvania, Massachusetts, Ohio, Michigan, and Florida.
Twiddle recently released their fifth studio album, Every Last Leaf on Aug. 12. The 15-track album explores the “cyclical nature of life” and includes elements of funk, jazz, rock, and more. Listeners should expect songs that tackle all the aspects and emotions of the human condition.
Tickets for the Frendsgiving concerts are on sale now. To purchase tickets, and for more information, visit the Twiddle website.
After the first night of Phish’s three-night run in Atlantic City concluded, the line outside of The Bourbon Room (a former House of Blues) started forming, with fans eagerly waiting for Lotus. The show proved to be energetic and full of ridiculous jams, heavy bass lines, and non stop dancing. The band debuted a new song “Tar Pits” and encored with “Gilded Age.”
Set: Wax, Spaghetti, Sunrain, Greet The Mind, Wooly Mammoth, Tar Pits, Spiritualize, Automatic, Neon Tubes, Flower Sermon, Sunrain
Charismatic Connecticut improv rockers Eggy made a memorable debut in Woodstock on Friday, August 5th. Billed as the first ever ‘Midnight Scramble’ at the legendary Levon Helm Studios, the intimate and acoustically ideal venue provided the perfect space to serve up a verified barn burner. Featuring both an acoustic set and an electric set and surrounded by relatives and longtime friends, the entire evening had a true family affair feel and surprises no one saw coming.
Eggy kicked off their inaugural ‘Midnight Scramble’ with an acoustic set at Levon Helm Studios (8/5/22)
Eggy, comprised of guitarist and vocalist Jake Brownstein, keyboardist Dani Battat, bassist Michael Goodman and drummer Alex Bailey, take their name in loving memory of their late friend, Edward “Eggy” Torrence. Always in their thoughts, the emotional evening in Woodstock took place the same weekend as the five year anniversary of his passing. The significance not lost on the band, prior to the show members of Eggy let it be known via social media just how much playing the historic venue means to them. ‘The Midnight Scramble’ of course, is their way of paying homage to the legendary ‘Midnight Ramble” events that have taken place on the same property since even before Levon Helm‘s passing in 2012. Widely considered sacred musical ground, Brownstein revealed his first road trip after getting his driver’s license was to “The Barn” and the opportunity to grace the same stage was undoubtedly a milestone for the band.
Eggy’s Jake Brownstein and Alex Bailey sing their hearts out at The Barn (8/5/22)
Opting to play the show using Levon’s beautiful red drum kit, the acoustic portion of the evening began with “All The Way Down (Shadow Pt. 2)” and the momentum would continue to build through “Zugzwang” before entering the centerpiece of the set; “Finding and Losing.” From there fans were treated to the first cover of the night, the Jackson Browne penned “These Days,” which flowed directly into the song “Fragments.”
Keeping with the sentimental vibe, “Island Afterlife” was played next before keyboardist Dani Battat candidly addressed the audience. Showing his genuine appreciation for everyone who came out to the first ever ‘Scramble, Battat acknowledged the significance of this venue, the weekend as a whole and the somber anniversary of Edward “Eggy” Torrance’s passing. A heartfelt rendition of “Watercolor Days” was then played in his honor and brought the potent opening set to a proper close.
Scramble on: A surprise sit-in from Rusted Root’s Michael Glabicki and Ben Atkind of Goose was the highlight of the night (8/5/22)
After a brief intermission, Battat would do his part to wrangle in the stragglers still socializing outside with an extended keyboard solo dubbed “The Genetic Method” which segued beautifully into the intro of our second cover of the night, The Band’s “Chest Fever” which would also be teased throughout the rest of the set. Just down the road from Bearsville, a newer Americana-tinged tune called “Backyard Bear” came next and was followed by a spirited version of the song “Shadow.”
From there came the biggest surprise of the night when Eggy invited a few friends to join them; Michael Glabicki (guitar/vocals) of Rusted Root and Ben Atkind (drums) of Goose. Launching into a cover of Rusted Root’s 1994 smash hit “Send Me On My Way,” the excitement in the room was palpable. The look on each member of Eggy’s face radiating with pure joy, contagious and exhilarating to everyone on stage and in the crowd, if this musical moment didn’t give you chills you may need to consult a doctor.
Striking while the audience was hot, Eggy then rolled out their hardest rocking song of the night, a rare bowling themed tune called “12 Pounds of Pain.” With its infectious and easily identifiable riffage, the band not only took it for a funked-out walk, but also managed to weave in reprise teases of “Chest Fever” and “Send Me On My Way” to bring the exhilarating electric set full circle and leave the audience howling for encore. Happy to scramble on a little longer Eggy invited members of the opening act, the sensational Brad Goodall Trio, along with Goose drummer Ben Atkind, back out for an absolutely joyous cover-of-a-cover of “Don’t Do It.” Originally performed by Marvin Gaye and later made famous by Levon and The Band, the song served as both a fitting tribute and a perfect way to bring the inaugural “Midnight Scramble” to a close.
Check out pro-shot video of Eggy performing “Send Me On My Way” with Rusted Root’s Michael Glabicki and Goose’s Ben Atkind
Feeling inspired and riding the wave momentum, the band plans to enter a recording studio later this week. Along with major festivals like Resonance and Hulaween on their horizon, Eggy have also announced their first ever full headlining tour this Fall. With dates that include stops in Brooklyn, Albany, Syracuse and Buffalo, New Yorkers will soon have plenty of chances to see why this Connecticut quartet is rapidly becoming one of improv music’s most impressive and talked about acts.
For a full list of upcoming Eggy tour dates, see below. For ticketing details, head to the band’s website.
Eggy – “The Midnight Scramble” – Levon Helm Studios — Woodstock – August 5th, 2022
Set 1: All The Way Down (Shadow Pt. 2), Zugzwang, Finding and Losing, These Days[1] > Fragments, Island Afterlife, Watercolor Days[2]
Set 2: The Genetic Method[3] -> Chest Fever[4] > Backyard Bear, Shadow[5] , Send Me On My Way[6] , 12 Pounds of Pain[7] -> Send Me On My Way[8] -> 12 Pounds of Pain
Encore: Don’t Do It[9]
[1] Jackson Browne cover [2] Dedicated to Edward “Eggy” Torrence [3] FTP, The Band, Dani only. The rest of the band joined after for Chest Fever. [4] FTP, The Band cover [5] With Chest Fever (The Band) teases [6] FTP, Rusted Root cover, with Michael Glabicki on guitar and lead vocals, and Ben Atkind on percussion [7] With Finding and Losing teases [8] Rusted Root cover, With Chest Fever (The Band) teases [9] With Brad Goodall on piano, Rodney Elkins on drums and lead vocals, Craig Burletic on vocals, and Ben Atkind on cowbell. Alex on tambourine and vocals
For more photos from Eggy’s inaugural Midnight Scramble, check out the gallery below courtesy of NYS Music Photographer Zak Radick.
New York is already experiencing record breaking temps this summer, but that didn’t stop Gov’t Mule from bringing more heat by playing two fire sets at The Paramount in Huntington, Long Island on Sunday, August 7th. The band, led by guitar legend Warren Haynes, is currently in the middle of a tour that will conclude in January of 2023 with Island Exodus 13 in Jamaica. They will also be doing their New Years run at the Beacon Theatre in New York City on December 30th and 31st.
The August 7th show at The Paramount also paid tribute in the form of covers to greats such as Tom Waits, Elton John and of course The Allman Brothers Band. Set one started with “Traveling Tune” as well as other Mule classics such as “Game Face” with an added “Mountain Jam” interlude, and and a cover of Tom Waits “Make it Rain.” The quartet which also features Jorgen Carlsson on bass, Danny Louis on keys and Matt Abts on drums sounded phenomenal as they ended set one with another Allman Brothers cover “Kind of Bird.”
After a short break, the boys returned to the stage to start the second set with an Elmore James cover of “Blues Before Sunrise” which is also featured on their latest album Heavy Load Blues. Other highlights of set two included an Elton John cover of “Have Mercy on the Criminal” and “Birth of the Mule” which is off of their 1998 album Dose. They also snuck in a little Jimi Hendrix “If 6 Was 9” in the middle of “Larger Than Life” which was also on the 1998 album Dose. They concluded the second set with “Thorazine Shuffle”, yet another song of of their second album Dose.
The encore paid tribute to Jerry Garcia and The Grateful Dead by interjecting “The Other One Jam” in the middle of “Fallen Down” from their 2000 album Life Before Insanity. You can see all of the remaining Gov’t Mule tour dates here.
Setlist: Traveling Tune, Blind Man in the Dark, Steppin’ Lightly, Game Face / Mountain Jam / Game Face, Make It Rain (Tom Waits cover), Come and Go Blues (Allman Brothers cover), Which Way Do We Run, Kind of Bird (Allman Brother Band cover), Blues Before Sunrise (Elmore James cover), I Asked For Water, (She Gave Me Gasoline)(Howlin Wolf Cover), Have Mercy on the Criminal (Elton John cover), Birth of the Mule, Monkey Hill, Stone Cold Rage, Larger Than Life / If 6 Was 9 / Larger Than Life, Thorazine Shuffle
Encore: Fallen Down / The Other One Jam / Fallen Down
After three successful shows here last year, Phish and its summer tour returned to Atlantic City over the weekend of August 5-7. Night one of the three-show run went off without a hitch, with a setlist full of classic tunes mixed with newer jam vehicles. With the stage set up right between the legendary Atlantic City Boardwalk and the ocean itself, each set, and even the encore, had some decidedly shore-like vibes.
The night began with the venerable “Chalkdust Torture” in the opening spot, with its customary high-energy thrust to get things started. A sudden shift to “Wilson” followed, eliciting cries of the same from beach folk throughout. Things then got decidedly funky with the next clean segue into the all-too-appropriate “Sand,” with Mike Gordon leading the rhythmic charge on bass. The opening set also featured a moody “Theme From The Bottom” with its aquatic undertones only adding to an already picturesque setting.
The first set’s closing sequence was one to behold, starting with a “Sigma Oasis” that yielded a mesmerizing jam that saw the song get stretched out further than it ever has before. Eventually, the familiar opening chords to “Cities” took form and Phish launched into this always welcome cover song. The set then came to a close with a brief but euphoric “More.”
The second set saw the jam button still very much in the “on” position, with stalwarts like “Soul Planet,” with its ocean-filled lyrics, and “Down With Disease” prominently involved. And nestled in between the start and finish of “Disease” was the aptly-titled “Ruby Waves.” This newer addition to the Phish catalog, pulled from guitarist’s Trey Anastasio’s ever-expanding solo material, continues to explore new roads and push boundaries of live improvisation.
The second set came to a close with a pairing of Phish heavy hitters. “Story Of The Ghost” featured its traditional roundhouse punch of rock, this time with some serious “No Quarter” teases thrown in for good measure. “Harry Hood” then tied a bow on the set, with a brilliant jam that patiently built to an especially joyous peak. A “Sleeping Monkey” that certainly “took it on down the shore” served as a more than fitting encore selection before a surprising, but explosive, “Free” served as one last final jam to whet the collective appetite for what’s sure to be another two nights of incredible music.
Phish Atlantic City Beach – Atlantic City, NJ 8/5/22
Set 1: Chalkdust Torture->Wilson > Sand > Plasma, Theme From The Bottom > Back On The Train, Sigma Oasis->Cities > More
Set 2: Axilla (Part II) > Soul Planet >Down With Disease > Ruby Waves > Down With Disease> Ghost> Harry Hood
Encore: Sleeping Monkey > Free
Soul Planet contained a tease of Dave’s Energy Guide from Trey and a tease of Dog Log from Mike. Trey teased Midnight Rider in the first Down with Disease and No Quarter in Ghost. Shipwreck was quoted in Sleeping Monkey. Mike teased Dave’s Energy Guide in Free.
Saturday night’s show in Atlantic City may not have had as many aquatic themes as its predecessor, but the jams continued to be rich and plentiful. The opening set began in fairly tame fashion with a straightforward “46 Days” that steered right into “The Moma Dance” in its familiar two-spot in the lineup. “Olivia’s Pool,” aka “Shafty” before “Shafty,” then made another rare appearance, only the third one since being revived at Alpine Valley in 2019 after a near 22-year shelving.
A first set “Bathtub Gin” finally offered some of the first real intensive jams of the evening, with Page McConnell throwing down vigorously on both the baby grand and electric pianos. Fittingly, Phish then dusted off another number, this time it was Page’s “Heavy Rotation” from his self-titled 2007 album. It was the first one performed in more than seven years and only the second one ever. And instead of ending the first set in typical fashion, Phish tacked on a rip roaring cover of David Bowie’s “Moonage Daydream,” with Trey Anastasio unleashing a bevvy of musical peaks with his soloing efforts.
Saturday’s second set started with some Atlantic City fireworks in the background and maintained that explosive demeanor throughout, starting with a set opening “No Men In No Man’s Land.” The ensuing jam then progressed into a “Tweezer” that almost felt expected at that point, with the second set staple offering another ample platform for improv. Another second set favorite in “Simple” was played to perfection and later transitioned into a “Backwards Down The Number Line” that had the entire beach kicking up sand in various directions.
The set then closed with another pairing of Phish classics. “Golgi Apparatus” featured a stretched out and somewhat different ending, showing the band continue to rework songs that have long been established. “Slave To The Traffic Light” then brought another complete second set to an end before an encore of “A Life Beyond The Dream” > “Tweezer Reprise,” ironically the same exact encore of last year’s middle night, sent everyone on their way along the Atlantic City Boardwalk.
Phish Atlantic City Beach – Atlantic City, NJ 8/6/22
Set 1: 46 Days > The Moma Dance, Olivia’s Pool > My Soul, 555 > NICU > Bathtub Gin, Heavy Rotation > Character Zero, Moonage Daydream
Set 2: No Men In No Man’s Land > Tweezer, Set Your Soul Free > Simple > Backwards Down The Number Line > Golgi Apparatus > Slave To The Traffic Light
Encore: A Life Beyond The Dream, Tweezer Reprise
Trey teased Norwegian Wood in 555. Heavy Rotation was performed for the first time since July 22, 2015 (253 shows). Trey teased Under Pressure in Simple. During the soundcheck, Beth was briefly sung by Trey and Knuckle Bone Broth Avenue contained Shipwreck quotes as well as If I Only Had A Brain teases from Trey and Mike.
With one night left to play, Phish treated Atlantic City to a customarily thorough and enjoyable Sunday show. “Wolfman’s Brother” kicked things off, the first time its done so for a show since 2016, and the band instantly got locked back in with another groove-centric jam. This carried right over in the “Tube” that followed and wasted no time finding a path all its own courtesy of a jam that changed both keys and moods. An opening set “Fluffhead” was well received as Phish navigated their way through this vintage tune with relative ease. “Gumbo” found a nice home towards the end of the set which came to a rousing finish thanks to “Carini” and another breakneck jam created in its wake.
The band found no reason to stray far from the classics in the second set, made evident with a traditional “Mike’s Groove” sequence that got everything started. A breath of “new” air was inserted with “A Wave Of New Hope” with this addition continuing to impress by producing one monstrous jam after another. A flawless “You Enjoy Myself” then followed, with yet another “second” jam following the vocal one, another sign of Phish continuing to tinker with the classics. An encore pairing of “Wading In the Velvet Sea” and “First Tube,” replete with Anastasio guitar theatrics, then closed out the second, and hopefully not the last, run for Phish on the beach of Atlantic City.
Phish Atlantic City Beach – Atlantic City, NJ 8/7/22
Set 1: Wolfman’s Brother, Tube, Mountains In The Mist, Ocelot > Fluffhead, Mecury > Gumbo > Carini
Set 2: Mike’s Song > I Am Hydrogen > Weekapaug Groove, A Wave Of New Hope > You Enjoy Myself > Suzy Greenbeg
