Random Phish Show: 12/31/2003 American Airlines Arena — Miami, FL
New Year’s Eve shows can sometimes be a mixed bag to listen to, tape-wise. For starters, the experience of being at Phish, partying with your friends, listening to great music, and jus celebrating outweighs the diagnostic appetence to listen to NYE closely. Sure, it’s great music, but you’re not really looking for gems, or amazing playing for that matter, simply because it’s New Years Eve, let’s have some fun. It’s either going to be absolutely amazing music (see 99, 95, and 91 respectively) or we’re going to bask in the greatness of Phish experience, and not really analyze the music, just rejoice in the moment.
Another situation is that New Year’s Eve shows follow an astounding previous night, so the band simply is on cruise control so they can enjoy the New Year, as well. 12/30/97 contained some remarkable jamming; even 12/30/93 brought the house down. I feel that 12/31/03 could fall in that category; I mean 12/30, with that BOAF,>LA Woman, then bringing out George Clinton. I was sitting behind the stage, and toward the end of the first set, George was watching the band play from stage left, just jamming out — I had a sneaking suspicion he would come out, but he could’ve just been there partying with the boys. I did not expect a jubilant funk fest like that! Even so, the 12/31 show does have some memorable moments, however the memories are for those that were present, rather than the jams.
Phish 2.0 carries a heavier bag as well. From my personal experience — listening to tapes and going to shows, it was beautiful chaos. I was raised on late 90’s Phish, so I was fortunate enough to see some shows, and gravitate toward some epic performances. Phish 2.0, from my standpoint, was more chaotic, being that the band were stretching their limits in a more coercive way. The dynamics were more portentous, each member was going in their own direction, and the synchronicity that founded the bands success was now 4 antithetical entities not searching for “collective” energy, but rather individualistic momentum. Summer 03 had some amazing moments, but very strange ones. Going into 2.0, there was this synergy, but the simulacrum became providential for the fans, rather than the authenticity, which resided in heavy drugs, combative management issues, and an overcrowded backstage. The band combusted in 2004, unfortunately, then resurrected in 2009, with Phish refreshed and invigorated. The reason I write this is: well, the following show was the Vegas 2004 show, and we all know what happened there. 12/31 was the last real show where we believed Phish could do no wrong. Their infallibility mesmerized us, and came crashing down in a catastrophic maelstrom. No open wounds today, let’s just look at the good times — like this show (check out the photos from KR Frechette.)
Set one brought its crafty demeanor by finishing off unfinished tunes from the previous night. Opening with the conclusion of Wilson, energy was brought (there is always talk about unfinished tunes, that Trey-DD kicks in, however I enjoy when he wants to change direction. Is the art more important than the groove? There’s a debate.) The Mike’s Groove is typical, and not connoting negatively, typical in terms of standard, hard-pressed channeling — Trey’s craftiness seamlessly inserts Aud Lang Syne teases throughout the entire set. Great opener.
The second set opens with Stash, which, for me, was the jam of the ENTIRE NYE run! Why? There was a Boogie>Ghost on 12/29, as well as that Piper opener. There was the BOAF>LA Woman, and George Clinton came out, however this Stash epitomizes where Phish’s range has developed, completely stratified jamming, elevating to that major E chord mid jam, and just floating on it. Mike rises low as usual, but Trey teeters with the bliss so intensely. It’s no raging Stash, it’s introspective, intricate. It then goes to -7: A perfect choice — the contemplative Phish, my favorite kind. Bringing back the energy, we’re in the thick of things. Trey tremolo’s at the 6:40 mark, creating that minimalist feel. Tension/release in a -7: always a treat, we have a momentous second set. After this, we amble back to Lawn Boy — one more considerable fact from set 2: The Chalkdust->Slave->Chalkdust. Craftiness still ensues.
Set 3: All energy. All fun. A Jungle Boogie opener, one of my favorite funk jams. I’m torn here at this point, do I just sit here and re-write what you can read on Phish.net? I feel if you’ve made it with me this far, you want to read some of my personal thoughts on the show I was at — I mean, it was New Years. I was celebrating with my friends the new year, everything was good, but what was ironic was 2004 was one of the worst years of my life, not just because of Phish breaking up, but because of personal issues for which I won’t get into online. Sorry. Although, it did get better — thank goodness. I remember 12/31 being one of the last happy memories I had before the shitstorm of 2004 — I saw Brooklyn and Coventry in a theatre, I saw Alpine live — all uncharacteristic Phish, in my opinion. Enjoyable, yes. Distant, detached, and desolate — yes, that too, at times. Sorry, just reminiscing — one day I’m just going to write about the dark side of Phish, it’s definitely frowned upon, but it is a part of the community because it happened. We survived it, and we’re better for it. A poignant essay on 2004 was written by Matt Burnham on Coventry and how it resonates.
Back to the show — We had a band, and the most impressive part was Fish singing “FEEEEEEEEELLL THE HEEEEEAT” — Random, off-guard Phish gets me every time. I remember laughing as I heard this song — it was perfect timing. After the show was over I went back to my hotel, stayed up the rest of the night just thinking about how glorious the New Years’ run was — I saw a couple shows in 03, and remember thinking: “they’re totally going in a new direction and I love it.” New Years solidified the new direction — a balanced energy; an elasticity to their jams. It was a run to remember.
