Fluff Came to New York:

People who were walking in the vicinity of 34^th and 7^th in Midtown on Thursday, December 3, probably felt that they were at a jam band music festival, rather than the heart of Manhattan.

Instead of gazing up at the towering skyscrapers or jumbo-screen ads, one could have seen far more exciting imagery amongst the people aimlessly hovering around Madison Square Garden. The tie-dye colors of elaborate costumes, the wild hair, the vacant, distant eyes all indicate one thing: Phish returned to the Garden, along with a vast entourage of devoted ‘phans.’ It had been a long seven years since Phish had last performed at MSG and the anticipation and energy inside the venue was palpable immediately upon clearing the turnstile.

Since their reunion show in March 2009, Phish has undergone various critiques and criticisms from both music critics and phans alike. While some have applauded the band’s return to musical precision and accuracy, in stark contrast to the sloppier yet wilder playing of the 2003-2004 post-hiatus era, others have criticized the band for veering on the safe-side by not taking the added risk of venturing outside of a song’s structured parameters or standard improvisation frames.

However, as the 2009 Fall Tour progressed, these complaints diminished considerably as the band began to improvise more sincerely and explore jams more intensely. The band demonstrated increased comfort playing with each other and have succeeded in building more extravagant jams resembling those of the early days. Needless to say, as I trekked down to MSG on Thursday night, I was more than ecstatic to witness, first hand, how the band had evolved.

Phish, consisting of Trey Anastasio on guitar, Jon Fishman on drums, Mike Gordon on bass and Page McConnell on piano wasted no time by kicking into a forceful rendition of “Punch You in the Eye.” A perfect show opener, “Punch You” had  all 17,000 attendees shouting “Hey” – in precise timing with the band’s pauses – at the top of their lungs over an elaborate hypnotic rhythm, a truly incredible sight. The song was executed with absolute perfection featuring stunning piano and guitar solos, as well as a Latin shimmy-dance from Anastasio Gordon.

Phish maintained the intensity with the new “Backwards Down the Number Line” and a rare “Axilla I.” They were fully delivering with immaculate execution as MSG came to life with the crowd’s uncontrollable singing, dancing and grooving.

However, while the first set began with adrenaline-pumping powerhouses, it abruptly slowed down with the ensuing performances of “Taste” and “Boogie on Reggae Woman,” the latter being a cover of the popular Stevie Wonder tune.

While these songs were played nicely, especially Gordon’s bass playing in “Boogie,” there was still a feeling that placing these songs in the first set put the brakes on a train that was just beginning to gain speed. Sadly, this did not only pertain to these songs alone but was also seen with “Lawn Boy,” “Back on the Train,” and most notably, or perhaps notoriously, “Time Turns Elastic.”

A new addition to Phish’s repertoire, “Time Turns Elastic” is an adaptation of Trey Anastasio’s single orchestral work arranged and released with Don Hart and the Orchestra Nashville in 2008. Since it has found its way into the newly released Joy album (September 8, 2009) as well their live repertoire, “Time Turns Elastic” has been welcomed by some, but disliked by most.

Having heard the song played in its original compositional form by Trey Anastasio with the New York Philharmonic at Carnegie Hall in September 2009, I find the song moving.  It features a rich, mature chromatic progression teetering on the edge of atonality. The song is true testament to Anastasio’s ever-progressive songwriting talents and genre crossing ventures.

That being said, I must agree that this show’s rendition did nothing to gain any new admirers. This intricate composition demands time and patience in order to fully develop, a luxury that is not necessarily available at live concerts, including Phish ones where fans are accustomed to long compositions and sometimes even longer jams. Until Phish finds a better way of translating this orchestral piece into a rock concert setting, “Time Turns Elastic” will continue to stand out as a hindrance to the fluidity within their set.

The first set came to an end with a fierce “Julius” that showcased Anastasio’s skill as a virtuosic guitar player. However, despite this last effort, there seemed to be something missing. Although the songs were performed precisely, there was a lingering feeling that something was missing. With the exception of the mind-blowing “Stash,” the first set was almost entirely devoid of true unbridled and boundless jamming. The band veered on the safe-side and delivered an accurate, yet unremarkable first set that was, in the end, was a little disappointing.

 However, while the first set left the crowd wanting more, the second set delivered with such an onslaught of Phish favorites that it left most in an utter daze. It was as if the band reemerged on the stage with a new focus in mind: to dispel any rumors belittling their jamming capabilities.

The set opened with one of the greatest “Down With Disease” in recent memory. Lasting nearly 20 minutes, “Disease” featured the entire Phish quartet playing at their absolute best. From Gordon’s intricate bass bombs, to Anastasio’s screaming guitar arpeggios and the light theatrics from Chris Kuroda, the crowd was completely immersed in the improvised style playing that makes Phish among the best jam bands in the world.

            As the jam began to climb down from the incredible apex that it had reached, it became apparent that the show was just getting underway. In fact, the most impressive aspect of the second set was the fluidity present throughout its entirety.

As opposed to each song being a singular unit separated from one another with openings and closings, each song was extended and inverted to flow endlessly into the next with the creativity and skill that we have come to expect from this masterful group of musicians. “Disease” bled into “Piper” which then segued into “Fluffhead” with ease and precision. Each song in this trio was performed superbly and witnessed the emergence of the type of intense energy that the first set had lacked.

In addition to this energy, Phish developed the growing connection between band and fan by maneuvers such as the lyrical change from “Fluff went to the store” to “Fluff went to New York”.

Segues from the funk filled Talking Heads cover, “Cities,” into the rock anthem “Free” were darkly twisted and well received. “2001,” an adaptation of the theme song from Stanley Kubrik’s 1972 film 2001: A Space Odyssey, saw some of the best works by light engineer Chris Kuroda, commonly known as CK5, a nod to his status as honorary fifth member of the band.

Kuroda was outstanding the entire performance, but specifically was able to work his magic throughout this spacey jam. Using the crowd and stage as his canvas, Kuroda splashed and mixed various colors, patterns, and shapes to create what can only be described as transient, living art. Concluding the set with a truly masterful “David Bowie” with each member playing their very finest, the crowd was left awestruck and demanding more, which was delivered with a frantic and over the top “Character Zero” encore.

            As a whole, the concert was an incredible performance. Phish is certainly back with daring material that pushes each musician to a new level of virtuosity. However, there is a clear difference in the music they are playing now as opposed to before the 2004 breakup. Some call this new era – often dubbed as 3.0 – as “safe” or “uninspired” compared to the band’s earlier playing, yet this  may be the result of witnessing the evolution of a once wild rock show into a more mature and refined musical experience. Some forget that, when comparing 1994 Phish to 2009 Phish, they are comparing the music of twenty-somethings to that of forty-somethings. Obviously the music of the former will be more wild and exploratory while the latter’s will be more contained; but, with that containment there also comes a sense of maturity.

This can be, perhaps, compared to the musical evolution of Eric Clapton after his days with Cream. In his early career, Clapton was known as one of rock’s wildest and fastest blues guitarists. With high distortion and roaring feedback, Clapton made a name for himself by dazzling fans with uproarious solos that displayed his own talents. However, as time passed, Clapton honed his skills and began playing a refined style of blues that combined more elements than his own speedy riff playing. His music took on a more mature texture that earned him the respect and admiration that he holds today.

            The same can be said for this new era of Phish. After creating a name for themselves and cementing their place in the jam band community, it appears that the band has collectively matured and refined their skills. With less superfluous notes more directed jams, the band has a much tighter, precise approach and, consequently, execution.

This maturity exemplifies these musicians’ collective and individual advancements and translates beautifully in the concert experience. Withstanding the tests and vicissitudes of time, Phish has proven, time and again, that they are first-rate musicians and, considering their performance at MSG, it is clear that the passage of time has produced a more solid, mature and refocused group of musicians.