Show Review

At a loosely attended 1983 University of Vermont Christmas Semi-Formal, a college band named Blackwood Convention, rummaged through classic rock staples –" In The Midnight Hour," "Proud Mary," and "Long Cool Woman in a Black Dress." Equipment was scarce, the PA played Michael Jackson, and the audience was less than captivated by the band's performance. A typical night in any college dorm. But little did anyone know, twenty years later, that particular show would be celebrated at a major concert arena, filled to capacity, with hundreds left stranded in the frigid cold, begging to get in. Twenty years later, that little band grew up to be Phish.

The now rock legend four-piece from Burlington, Vermont had subtly hyped their 12/02/03 performance at the FleetCenter as their "20th Anniversary show." What an anniversary of that magnitude would exactly mean or one would anticipate from such billing is entirely up to imagination, especially from a band readily known for well-over-the-top-extravaganzas. Balloons, special guests, a surprise set, cover songs, pyrotechnics, even a flying hot dog wasn't out of the question...or maybe it would just be a good Phish show. The prior night in Albany, NY featured a strong opening set, followed by a complete goldmine of a second, with original guitarist Jeff Holdsworth (from those semi-formal days) playing on a number of rare and beloved tunes he penned himself, namely "Camel Walk" and "Possum." What will ultimately go down as a night of nights for those who feverously study and dissect the band's well documented history, in the shadow of Boston, "the Holdsworth show" created yet another "you snooze, you lose" statement from the band who wrote the book on fan hi-jinx.

Opening the show late in order to compensate for fans stuck in the massive, bottlenecked lines the Fleet has become famous for, the first set featured some minor musical fireworks, with a number of songs failing to build any sense of cohesiveness or highly anticipated drama. Lacking any explosive segues, a quick run of catchy numbers created a lackluster mix tape, only to be solidified in anti-climatic territory with the "Anything But Me," "Water in the Sky" pairing. And a mediocre "Down With Disease," a notable repeat from earlier in the four-show tour, closed the first chapter of the night. But as the band left the stage, video screens rolled down from above, and a 20 minute plus retrospective of the band’s long, colorful history began.

Providing many moments only heard of through parking lot lore, or others only previously listened to on well-worn out Maxells, the large collection of visuals provided fans a funny, captivating and sincerely intimate way of re-visiting each year of the band’s history. And at the same time, it proved to be a scattered documentary of many of their own lives, and the unique, coming-of-age societal role that Phish touring has become.

For a detailed recap of the retrospective, see below.

With an unmemorable first set wiped clean by the film, the second set garnered some serious expectations. With the opening, scratchy chords of the Velvet Underground’s "Rock and Roll," the band launched themselves into the most exciting portion of the night, rolling into "Weekapaug Groove," rarely, if ever, played without it’s predecessor, "Mike’s Song." Throwing a "Weekapaug" out of nowhere was more than enough to make sitting skeptics believers, only to be cemented with an always powerful, "Tweezer Reprise," this version featuring the first verse lyrics to the absent "Mike’s Song." Barely out of the gates, and the "now we're getting somewhere" chills were quickly beginning to circulate the building.

The "Frankenstein">"Kung">"Frankenstein" combo, highlighted by Chris Kuroda's piercing strobe work set a dramatic tone, as Trey Anastasio used his larger than life voice effects to make the "Kung" a true spectacle of performance art. A seemingly misplaced ballad, "All of These Dreams" had the crowd sitting once again, and easily killed whatever momentum had developed, only slightly revived by the cheerful "The Wedge." Ironically, a song often compared to a Grateful Dead number, the overall selections have become somewhat reflective of a Dead set pace, mimicking it's typical build-up, ballad, build-up, ballad cycle - one that Phish is beginning to adopt as the band tickles at the elusive forty threshold. Two more cover songs, "Boogie On Reggae Woman" and "Cities," both of which are highly regarded as some of the band's strongest jam vehicles, suffered early conclusions, only reaching a combined ten minutes between them.

With the mountain of original material Phish has amassed over the last twenty years, it’s hard to understand why they chose to perform such a large number of covers at their own anniversary show, especially when it took a glorious journey through their own "Maze" to save the somewhat faltering set. But the "Waste" that followed, regardless of how beautiful a song, was just that. And an encore which showcases a refrain, "it doesn't matter," proved that perhaps this was a rehearsal for Anastasio’s upcoming solo tour with Dave Matthews, whose popular five-piece band covers "Waste."

For many new fans eager to create their own Phish legacy, the Boston show may be deemed spectacular. But for many older fans, who have been following the band for the better part of their young adult lives, aside from a detailed video documentary that brought back floods of dear memories, the anniversary show itself righteously failed to meet its lofty expectations.

In another twenty years, clips of Holdsworth will surely get a rousing cheer, while this show won't even make the highlight reel.

Photos by Chad Anderson

A Rough Video Recap

The band playing first three minutes or so of "Fluffhead" via mid-80's in a rehearsal / dorm room. Full-on 80s rocker hair.

Children recording the chorus to "Contact"

"Asse festival" being rehearsed in a practice room. Jon Fishman missing, later drops in front of the camera, upside down.

Mike's Song played 7/21/91 with tramps and horns

Giant Country Horns shows from ’91 with Dave "The Truth " Grippo taking a rock star sax solo. Trey wearing bright blue cutoff sweat-pant shorts.

Brother played live on 4/17/92 when a tub was wheeled on stage and a bunch of people jump into it.

A number of shots from club gigs via 1991-1993

Trey introducing the Secret "Simpsons" language during the 1992 winter tour.

Shots of the Dude of Life on Stage

Recording with Alison Krauss in the studio on "If I Could" for Hoist

"Nitrous" from 7/8/94 at Great Woods show

Fishman "If you become naked" part from "Revolution 9" from Halloween ’94. Brad Sands receiving a birthday cake in Fishman’s dress from same show

Phish being introduced by David Letterman during an appearance on the Late Show. Taped on the afternoon of 12/30/94, prior to the band's first MSG show that evening.

Trey and Fishman destroying their instruments during the encore of "My Generation" in respect to The Who, whose Quadrophenia they covered in its entirety

Page McConnell singing Blackbird during Halloween ’94 in which they covered the Beatles’ White Album

The band rehearsing "Blue and Lonesome" with Rev. Jeff Mosier on the tour bus from 1994

The band riding the famous hotdog during New Years 1994/1995 at "the old" Boston Garden

The first chess move with white rabbit fall '95, move made by Page getting up on a ladder, with play by play announcement by Trey

"Keyboard Calvary" and "Acoustic Army" shots from 1995

Multi-instrumental jam with Leroi Moore from the Dave Matthews Band

Fishman dedicating "Wind Beneath My Wings" to Col. Bruce Hampton, on stage reading a newspaper from 11/28/95.

"Dog Log" show, 12/11/95 with audience "booing" participation.

Fishman ascending at Madison Square Garden to become the New Years Eve Baby during New Years Eve 1995/1996

Recording "Free" in the studio for Billy Breathes

Band performing "Waste" on the acoustic mini-stage from summer ’96

Clifford Ball flatbed jam

Trey speaking about the "Vibration of Life"

Shots of the band playing at Red Rocks –summer ’96.

Dancing Elvis’ on stage during Las Vegas ’96 with a quick glimpse of Les Claypool, who joined the band on stage.

The band playing Amazing Grace with a full choir during the Fleetcenter New Years Eve show '96

Art being burned at the Great Went

A snippet of the band playing "Fast Enough for You" at the Gorge.

"Long Cool Woman" and 15th anniversary intro from Vegas’ 98.

Fuji Rock Festival from Summer 1999, with a pan shot of the Japanese audience.

The band going into "1999" which opened the 1998/1999 New Years Eve show at Madison Square Garden, with elaborate dancers.

Tom Marshall singing with Trey on the Who’s "We're not gonna take it" (Tommy) 10/8/99

"Farmhouse" played from inside the barn,

View from inside the hot dog/fan boat Big Cypress,

The band playing "After Midnight" reprise during Big Cypress -midnight to sunrise New Years Eve performance.

Fishman asking "are we at a concert?" before singing "Love You" from Big Cypress - midnight to sunrise

Wynona Judd performing "Free Bird" with band – 6/22/00

Kid Rock at Vegas ’00 doing "Rappers Delight," with Fishman getting down and dancing around him.

The band leaving the stage following the "You Enjoy Myself" vocal jam during the encore of 10/7/00 at Shoreline Ampitheatre, before leaving on hiatus.

Live Shot of New Years 02/03 from "Seven Below" and dancing fairies – first show post hiatus.

Live Shots of the Control Tower Jam from last summer’s IT Festival in Limestone, Maine