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Trey Anastasio Announces Classic TAB 2024 North American Tour

The post Trey Anastasio Announces Classic TAB 2024 North American Tour appeared first on Consequence .

Trey Anastasio will be bring his Classic TAB on a brief North American tour this spring.

Kicking off with an appearance at the 2024 BeachLife Festival in Redondo Beach, California, the 11-date run includes shows in Chicago, Cleveland, Toronto, and Montreal. The tour concludes with three back-to-back at Brooklyn Steel in New York and an appearance at Boston Calling .

An artist-led pre-sale begins on Tuesday, February 6th at 12:00 p.m. ET. Fans can sign-up for the artist pre-sale here . A  Live Nation ticket pre-sale is set for Thursday, February 8th at 10:00 a.m. local time (use access code ENERGY ), with a public ticket on-sale following on Friday, February 9th at 10:00 a.m. local time via Ticketmaster .

Once tickets are on-sale, fans can Fans can look for deals and tickets to Trey Anastasio and Classic TAB’s shows via StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

Get Trey Anastasio and Classic TAB Tickets Here

In addition to the spring trek alongside TAB members Russ Lawson, Ray Paczkowski, and Dezron Douglas, Trey Anastasio will also be bringing his band Phish to Las Vegas for a four night residency at The Sphere . Phish are also reprising their beloved Phish Festival in Dover, Delaware this August. Get tickets to Phish’s upcoming tour dates here , and see below for the full list of Trey Anastasio and Classic TAB’s tour dates.

Trey Anastasio and Classic TAB’s 2024 Tour Dates: 5/5 — Redondo Beach, CA @ BeachLife Festival 5/9 — Chicago, IL @ The Salt Shed 5/10 — St. Paul, MN @ Palace Theatre 5/11 — Madison, WI @ The Sylvee 5/14 — Royal Oak, MI @ Royal Oak Music Theatre 5/15 — Cleveland, OH @ The Agora Ballroom 5/17 — Lafayette, NY @ Wonderland Forest 5/18 — Toronto, ON @ History 5/19 — Montreal, QC @ MTELUS 5/21 — Brooklyn, NY @ Brooklyn Steel 5/22 — Brooklyn, NY @ Brooklyn Steel 5/23 — Brooklyn, NY @ Brooklyn Steel 5/25 — Boston, MA @ Boston Calling

Trey Anastasio Announces Classic TAB 2024 North American Tour Paolo Ragusa

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• Consequence

Trey Anastasio Announces Classic TAB 2024 North American Tour

The short spring trek includes appearances at BeachLife Festival and Boston Calling

Trey Anastasio will be bring his Classic TAB on a brief North American tour this spring.

Kicking off with an appearance at the 2024 BeachLife Festival in Redondo Beach, California, the 11-date run includes shows in Chicago, Cleveland, Toronto, and Montreal. The tour concludes with three back-to-back at Brooklyn Steel in New York and an appearance at Boston Calling .

Fans can look for deals and tickets to Trey Anastasio and Classic TAB’s shows via StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

Get Trey Anastasio and Classic TAB Tickets Here

In addition to the spring trek alongside TAB members Russ Lawson, Ray Paczkowski, and Dezron Douglas, Trey Anastasio will also be bringing his band Phish to Las Vegas for a four night residency at The Sphere . Phish are also reprising their beloved Phish Festival in Dover, Delaware this August. Get tickets to Phish’s upcoming tour dates here , and see below for the full list of Trey Anastasio and Classic TAB’s tour dates.

Trey Anastasio and Classic TAB’s 2024 Tour Dates: 5/5 — Redondo Beach, CA @ BeachLife Festival 5/9 — Chicago, IL @ The Salt Shed 5/10 — St. Paul, MN @ Palace Theatre 5/11 — Madison, WI @ The Sylvee 5/14 — Royal Oak, MI @ Royal Oak Music Theatre 5/15 — Cleveland, OH @ The Agora Ballroom 5/17 — Lafayette, NY @ Wonderland Forest 5/18 — Toronto, ON @ History 5/19 — Montreal, QC @ MTELUS 5/21 — Brooklyn, NY @ Brooklyn Steel 5/22 — Brooklyn, NY @ Brooklyn Steel 5/23 — Brooklyn, NY @ Brooklyn Steel 5/25 — Boston, MA @ Boston Calling

View this post on Instagram A post shared by Trey Anastasio (@treyanastasio)

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Published: 2024/05/10

Trey Anastasio and Classic TAB Kick-off 2024 Tour with Three Debuts

Photo Credit: Bill Kelly

On Thursday, May 9, Trey Anastasio and Classic TAB touched down in Chicago for a thrilling tour opener at The Salt Shed. After the last-minute cancellation of its performance during BeachLife Festival ’s Sunday program, the quartet marked its first live showing of 2024 and its first Windy City set since 2022 with a tight, funky, and exploratory engagement lined with stripped-back Phish classics and Anastasio originals. To set off its 15-stop summer run in style, the band debuted three new songs, treating the Chicago crowd to a taste of good things to come.

Classic TAB–which sets Anastasio alongside bassist Dezron Douglas, drummer Russ Lawton and keyboardist Ray Paczkowski–is renowned for its inspired reworks of Phish standards, bringing a brightly harmonic, deep-pocketed, and high-spirited air to the legendary ensemble’s classic melodies. Thursday’s tour opener offered a wealth of this sort of reframing as the band opened with the rootsy, progressive “Back on The Train.” The first set also included “The Moma Dance,” “Ocelot” and TAB staple “Sand,” alongside the rarer “Wolfman’s Brother” and Anastasio’s quarantined solo standout “A Wave of Hope.”

Trey brought on more of his solo work in the evening’s second act, opening set two with the 2023 offering “Oblivion,” which notably opened the second set of Phish’s final performance at Las Vegas’ Sphere (for now). Following a revival of Phish’s 2016 cut “No Men in No Man’s Land,” the band entered a staggering run of new material, beginning with the debut of “What’s Going Through Your Mind,” which Anastasio introduced as “Your Mind.” After the yet-unreleased solo entry “Outside the Lines,” which proved a staple selection in Classic TAB’s 2023 run, the band issued two more brand-new tracks, titled “Poppy It” and “Demons.” The group brought this untenable energy to an all-encompassing ease with the feel-good “Everything’s Right” before finally closing its second set with Farmhouse ’s “First Tube,” which coincidentally (or otherwise) closed out its last Sphere set.

After a beat away, the group presented an encore of Anastasio’s “Cayman Review” and Phish’s “Ghost,” then sent the audience off into the night wanting more. Fans who were unable to attend the astounding performance in person can download and stream audio via Live Phish . Anastasio and Classic TAB will return to the stage tonight, May 10, for a show at St. Paul, Minn.’s Palace Theatre. For tickets and further details on the band’s summer tour, visit trey.com/tour/ . 

Read on for the complete setlist from May 9.

Trey and Classic TAB's show from Chicago, IL on 5/9/24 is available now for download and streaming via the LivePhish App: https://t.co/n7W9tog6vo pic.twitter.com/koXr8ANG1W — Trey Anastasio (@treyanastasio) May 10, 2024

Trey Anastasio and Classic TAB The Salt Shed – Chicago 5/10/24

Set I: Back on the Train, The Moma Dance, A Wave of Hope, Ocelot, 46 Days, Wolfman’s Brother, Sand Set II: Oblivion, No Men In No Man’s Land, What’s Going Through Your Mind+, Outside the Lines, Poppyhead+, Demons+, Everything’s Right > First Tube Encore: Cayman Review, Ghost

Notes: + Debut

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Trey Anastasio & Classic TAB Debut 3 New Songs At Spring 2024 Tour Opener [Videos]

Trey Anastasio & Classic TAB , the slimmed-down, four-piece version of  Trey Anastasio Band featuring Anastasio (guitar),  Russ Lawton (drums),  Ray Paczkowski (keys), and  Dezron Douglas (bass), launched their 2024 spring tour on Thursday night with a sold-out performance at Chicago, IL’s  The Salt Shed featuring the debuts of three new songs: “What’s Going Through Your Mind”, “Outside The Lines”, and “Poppyhead”.

While the tour was initially due to kick off at last weekend’s  BeachLife Festival in Redondo Beach, CA, Trey Anastasio & Classic TAB’s Sunday evening set was called off at the eleventh hour due to high winds. Anastasio and company brought that pent-up energy to Chicago on Thursday, where they finally dug in with a first set featuring renditions of TAB/ Phish crossover favorites “The Moma Dance”, “A Wave of Hope”, “Ocelot”, “46 Days”, “Wolfman’s Brother”, and “Sand”.

After launching set two with a patient, funky “Oblivion” and a nimble, extended “No Men In No Man’s Land”, Anastasio led the quartet through a run of three debuts in four songs. First up was “What’s Going Through Your Mind”, a lyrically dense, electric piano-driven tune that presents a surrealistic narrative featuring various “characters” (Jennifer, Mikey, Penny, Ken, Chester, etc.) and a moody chorus motif (“If looks could kill, we’d both be broken”). Those high notes may have given Trey some trouble, but the song seems to have potential (see: the shuffling blues-rock groove that grew out of the composition’s tail end).

A watery Douglas bassline ushered in 2023 TAB debut “Outside The Lines”, which began in sonic territory similar to “The Moma Dance” before taking the title literally and floating out into abstract, dissonant space. Anastasio, Douglas, Lawton, and Paczkowski added the second of three new tunes to the evening’s setlist, the reggae-seasoned “ Poppyhead “.

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“Thanks, everybody, we’re having such a good time up here,” Anastasio noted after the song. “Thank you so much for inviting us here, letting us be here, being here with us. We’re all here. Everybody’s here. … We’re gonna do a song now that’s a true story. True story. It’s called ‘Demons’. Thank you, thank you. I hope you enjoy it as much as we do.” With that, the band began the upbeat song with a bouncy step and characteristically quirky lyrics (who else but Trey Anastasio rhymes “couldn’t spot her” with “medulla oblongata?”). This rendition was rough around the edges, to be sure—Trey spent most of the song laughing with Dezron—but its sound fits quite nicely with the love-and-light fare of recent years, and its “already too late, now / ready too late, now” refrain is destined to be stuck in my head all week.

With that, Trey Anastasio & Classic TAB served up an extended “Everything’s Right” and an emphatic “First Tube” ahead of a “Cayman Review”/”Ghost” encore to cap their first spring 2024 performance.

Subscribe to LivePhish+ to listen to a full soundboard recording of the Trey Anastasio & Classic TAB spring 2024 tour opener at Chicago, IL’s The Salt Shed featuring the debuts of “What’s Going Through Your Mind”, “Poppyhead”, and “Demons”. In addition to this show and the rest of the upcoming Classic TAB tour, a LivePhish+ subscription gets you streaming access to every Phish show since 2003 and much more. For more information, head here . [ Editor’s Note: Live For Live Music is a  LivePhish affiliate. Ordering your  LivePhish+ subscription  via the  links on this page helps support our coverage of Trey, Phish, and the world of live music as a whole. Thank you for reading! ]

Click below to view a full list of upcoming Trey Anastasio & Classic TAB tour dates. For ticketing details and more information, head here . Scroll down to view the Chicago setlist and check out a few video clips from the tour-opening performance.

Trey Anastasio & Classic TAB Spring 2024 Tour Dates

May 10 Palace Theatre – St. Paul, MN *SOLD OUT* May 11 The Sylvee – Madison, WI *SOLD OUT* May 14 Royal Oak Music Theatre – Royal Oak, MI *LOW TICKET WARNING* May 15 The Agora Theatre – Cleveland, OH *SOLD OUT* May 17 Wonderland Forest – Lafayette, NY May 18 History – Toronto, ON *SOLD OUT* May 19 MTELUS – Montreal, QC May 21 Brooklyn Steel – Brooklyn, NY May 22 Brooklyn Steel – Brooklyn, NY May 23 Brooklyn Steel – Brooklyn, NY *SOLD OUT* May 25 Boston Calling – Boston, MA

Setlist [via Phish.net ]: Trey Anastasio & Classic TAB | The Salt Shed | Chicago, IL | 5/9/24 Set One : Back on the Train, The Moma Dance, A Wave of Hope, Ocelot, 46 Days, Wolfman’s Brother, Sand Set Two : Oblivion, No Men In No Man’s Land, What’s Going Through Your Mind [1], Outside the Lines, Poppyhead[1], Demons[1], Everything’s Right > First Tube Encore : Cayman Review, Ghost Notes : [1] Debut.

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Trey Anastasio and Classic TAB Announce May 2024 Tour Dates

• Frank Cavone
• February 6, 2024

Photo: Frankie Cavone

Trey Anastasio has announced a run of shows for the month of May breaking out the “classic TAB” lineup. Aside from Anastasio, the classic lineup includes Dezron Douglas, Russ Lawton, Ray Paczkowski.

The May tour dates kick off at Wonderland Forest in Lafayette, NY on May 9th and close out with a three night run at Brooklyn Steel in Brooklyn, NY May 21st-23rd. Trey Anastasio and Classic TAB will be be playing an additional New York date at Wonderland Forest in Lafayette, NY on May 17th.

Tickets go on sale to the general public beginning Friday, February 9th at 10am local time. Click here for more information and see below for a full list of tour dates:

Tour Dates:

May 09: The Salt Shed – Chicago, IL May 10: Palace Theatre – St. Paul, MN May 11: The Sylvee – Madison, WI May 14: Royal Oak Music Theatre – Royal Oak, MI May 15: The Agora Ballroom – Cleveland, OH May 17: Wonderland Forest – Lafayette, NY May 18: History – Toronto, ON May 19: MTELUS – Montreal, QC May 21: Brooklyn Steel – Brooklyn, NY May 22: Brooklyn Steel – Brooklyn, NY May 23: Brooklyn Steel – Brooklyn, NY

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Setlists Matching Artist: Trey Anastasio

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This performance was the finale to The Beacon Jams series and featured the debut of Just a Touch and the full TAB debuts of Carini, Fast Enough for You, and Slave to the Traffic Light. Just A Touch began with Trey on acoustic guitar accompanied by James, Jennifer, and Natalie on vocals in a stairwell in the Beacon and finished with them all on stage. Pebbles and Marbles, Slave to the Traffic Light, and First Tube featured The Rescue Squad Strings (Katie Kresek and Maxim Moston on violin, Rachel Golub on viola, and Anja Wood on cello) with Pebbles and Slave beginning with just Trey on acoustic guitar with The Rescue Squad Strings and the TAB horns before Trey switched to electric guitar and the rest of the band joined in. Liquid Time was stopped (for Trey to talk) and restarted. Trey briefly sang Moby Dick before Shine. Trey quoted Baby Blue after Shine. After First Tube, Trey walked through the Beacon into the lobby (where there were dancers), giving facemasks out to people before exiting the Beacon with the music still playing.

This performance was part of The Beacon Jams series and featured the debut of Heather McDougal Song and the full TAB debuts of Harry Hood, Let Me Lie, Chalk Dust Torture Reprise, and Death Don't Hurt Very Long. Alive Again's lyrics were changed to "winter's coming and I'd like a review." Petrichor, Harry Hood, Lifeboy through Let Me Lie, and Goodbye Head featured The Rescue Squad Strings (Katie Kresek and Maxim Moston on violin, Rachel Golub on viola, and Anja Wood on cello) with Petrichor featuring just Trey, Jeff Tanski on piano, and the TAB horns, Harry Hood beginning with just Trey on acoustic guitar with the rest of the band joining later, and Lifeboy with Trey on acoustic guitar and Jen Hartswick and Natalie Cressman adding vocals. Trey teased Manteca in Curlew's Call. Trey teased and quoted Heather McDougal Song after Let Me Lie. Chalk Dust Torture Reprise was sung as "Heather McDougal Song." James quoted No Woman No Cry and Trey quoted Welcome to the Jungle after Goodbye Head.

This performance was part of The Beacon Jams series and featured the debuts of Mercy and Are You There Colleen?, the TAB debuts of Moma Dance and A Song I Heard the Ocean Sing, and the full TAB debuts of You Enjoy Myself, Kill Devil Falls, Twenty Years Later, Joy, Tube, Billy Breathes, Bouncing Around the Room, and Wading in the Velvet Sea. You Enjoy Myself began with just Trey with The Rescue Squad Strings and Jeff Tanski on piano with the rest of the band and Jennifer Hartswick, Celisse Henderson, Jo Lampert joining in on vocals later. the lyrics in You Enjoy Myself were changed to "boy, woman, god, shit." Winterqueen featured Trey on acoustic guitar with the full band and singers. Trey teased No Men In No Man's Land in Moma Dance. mercy through Joy featured The Rescue Squad Strings. mercy also featured Jeff Tanski on piano. Summer of '89 featured just Trey on acoustic guitar with the Strings. Trey quoted On the Road Again after Summer of '89. Trey quoted She Blinded Me with Science in Tube.

This performance was part of The Beacon Jams series and featured the Ghosts of the Forest setlist from the band's 2019 tour played in its entirety. Friend, In Long Lines, There's a Path Above, Beneath a Sea of Stars Parts 1 & 2, Mint Siren Dream, Shadows Thrown By Fire, A Life Beyond The Dream, and Brief Time featured The Rescue Squad Strings (Katie Kresek, Maxim Moston, Phil Payton, and Mary Jo Stilp on violin, Monica Davis and Rachel Golub on viola, and Eleanor Norton and Anja Wood on cello). Trey teased No Men In No Man's Land in Sightless Escape. Pigtail was quoted before Stumble Into Flight.

This performance was part of The Beacon Jams series and began with a video of Trey finally escaping from his riser from Phish's December 31, 2019 concert at Madison Square Garden and making it to the Beacon Theater to watch the himself and his band playing the TAB debut of In the House - In a Heartbeat before they segued into Say It To Me SA.N.T.O.S. This show marked the full TAB debuts of Say It To Me S.A.N.T.O.S., Breath and Burning, and Gumbo and the debut of Lonely Trip. Ray teased Happy Birthday after wishing his mother a happy birthday. Quantegy was performed for the first time since May 3, 2005. Trey performed Snowflakes in the Sand and Mountains in the Mist solo acoustic. The lyrics of Breath and Burning were changed to "rage on the Beacon stage." Trey quoted If I Had A Hammer (The Hammer Song) after Pigtail. Til We Meet Again through Frost were performed with The Rescue Squad Strings (Katie Kresek and Maxim Moston on violin, Rachel Golub on viola, and Anja Wood on cello) and with Til We Meet Again and More featuring just Trey on acoustic guitar and My Friend My Friend and Guyute just Trey on acoustic guitar and Jeff Tanski on piano. My Friend My Friend did not contain the "MYFE" ending. Guyute included Trey quoting some of Vincent Price's narration from Thriller.

This performance was part of The Beacon Jams series and featured the debut of Shaking Someone's Outstretched Hand, the first Trey solo acoustic performance of Rescue Squad, the TAB debut of Leaves, and the full TAB debut of The Lizards. Trey quoted Manhattan after Shaking Someone's Outstretched Hand. Andre the Giant was performed for the first time since May 26, 2002. Turtle in the Clouds was performed by Trey solo acoustic. What's the Use? through If I Could and Leaves through The Lizards featured The Rescue Squad Strings (Katie Kresek and Maxim Moston on violin, Rachel Golub on viola, and Anja Wood on cello) with What's the Use? featuring only Trey and Jeff Tanski on piano and Brian and Robert and If I Could only Trey on acoustic guitar. Leaves also featured Trey on acoustic guitar with TAB returning to the stage. Windora Bug had Corona references. Prior to this performance, the only other time Possum had been played as "TAB" was at the first TAB performance on February 15, 1999 as Trey, Tony Markellis, and Russ Lawton. Twist was introduced as "Folding The Laundry" and "When Your Dryer's Broke."

This performance was part of The Beacon Jams series and featured the debuts of Evolve and The Greater Good and the TAB debut of I Never Needed You Like This Before. Divided Sky was only Trey accompanied by Jeff Tanski on piano, Trey teased No Men In No Man's Land in Back On The Train. Trey teased Back in Black before Strange Design. Strange Design through Wolfman's Brother featured The Rescue Squad Strings (Katie Kresek and Maxim Moston on violin, Rachel Golub on viola, and Anja Wood on cello), with Strange Design and Water in the Sky featuring just Trey on acoustic guitar, The Greater Good with Trey only on vocals (no guitar), Greyhound Rising and Wolfman's Brother with the full band, and Wolfman's Brother with Trey on acoustic guitar. Trey quoted Rescue Squad when introducing The Rescue Squad Strings at the end of Wolfman's Brother. Trey teased Let It Grow in No Men In No Man's Land. Trey quoted a line from Poltergeist before and during Ghost's intro.

This performance was part of The Beacon Jams series and featured the debuts of I Never Left Home, A Wave of Hope, If I Could See the World, When the Words Go Away, and ...And Flew Away. Trey quoted Windora Bug after Soul Planet. Shade featured Jeff Tanski on piano. Stash was performed by Trey, Jeff on piano, and Cyro clapping. When the Words Go Away and Sunset Days were performed by Trey solo acoustic. The Inlaw Josie Wales was performed by just Trey on acoustic and Jeff Tanski on piano.

This solo acoustic performance was previously recorded and was part of the SummerStage Jubilee, which was a free benefit digital concert supporting the foundation's programs in parks.

Trey was the first in-studio guest on  The Tonight Show in five months (due to the COVID-19 pandemic) for the debut of I Never Needed You Like This Before with The Roots as his backing band.

This performance was canceled as a result of the coronavirus COVID-19 outbreak.

This performance was canceled as a result of the coronavirus COVID-19 outbreak and rescheduled for June 16, 2021.

This performance was canceled as a result of the coronavirus COVID-19 outbreak and rescheduled for June 18, 2021 before being cancelled altogether.

This performance was canceled as a result of the coronavirus COVID-19 outbreak and rescheduled for June 23, 2021 before being cancelled altogether.

This performance was canceled as a result of the coronavirus COVID-19 outbreak and rescheduled for April 17, 2021 before being cancelled altogether.

This entire show was performed by Trey solo acoustic and featured the first Trey acoustic performance of If Again. Trey preceded Snowflakes in the Sand by mentioning how it had debuted in this room and had returned after a long absence because Scott Marks had requested it be brought back. Trey teased Big Black Furry Creature from Mars and sang part of the theme from Sanford and Son after If Again.

This entire show was performed by Trey solo acoustic and featured the first acoustic performances of Wingsuit, Fee, Breath and Burning, 46 Days, American Tune, Sleeping Monkey, and Maze. American Tune had not been performed by any member of Phish since Trey's performance with Dave Matthews & Friends on January 16, 2004.

Trey sat in with The Roots on the songs listed above. Pigtail also featured Grace Potter.  Dancing in the Street, The Thrill is Gone, and Whipping Post featured Grace Potter, Bob Weir, Warren Haynes and Bobby Keys. Whipping Post contained My Favorite Things teases. This performance was a benefit for  HeadCount .

This performance featured Trey on acoustic guitar and grand piano, with the Scorchio Quintet : Gregor Kitzis (violin),  Maxim Moston (violin),  Martha Mooke (viola),  Leah Coloff (cello) and  Kris Saebo (bass). After Summer of '89, Trey related how he had so many memories from this room, and that the first time he was here was in April 1970, when his parents took him to an anti- Vietnam War rally, his first concert ever, at six-years-old, and the band was, ironically,  Country Joe and the Fish . Before Divided Sky, Trey noted that "one part of this song, the lyrics, were written in a field, right over there." Trey played grand piano on Bar 17, Gone, and Wolfman's Brother." Leah Coloff added additional vocals on Flock of Words. After Flock of Words, Trey acknowledged local resident and co-author Tom Marshall; he then noted that many of their songs had been written very close to the venue, including Glide. Tom provided additional vocals on Strange Design. Trey introduced the person responsible for many of his orchestral arrangements, Don Hart . Julie was a debut. Free MP3s of this performance are available at LivePhish.com  (excepting Love Is Freedom, Water in the Sky, Brian and Robert, and Julie). 

Benevento/Russo Duo opened. Trey teased San-Ho-Zay in Mud City. The G.R.A.B. debut of Billie Jean ( Michael Jackson ) was performed instrumental. You’ve Got Me Floating, On the Road Again, and Wilson were performed by Trey on acoustic guitar and Mike on banjo. Wilson was played in part in a bluegrass style with alternate lyrics "Cactus" instead of "Wilson" and was followed by a “we’re still having fun” jam. Who Are You featured Mike on acoustic guitar. This show was the only G.R.A.B. performance released as a LivePhish download . 

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Trey Anastasio Band

Trey anastasio band concert setlists & tour dates, trey anastasio and classic tab 2024 tour, upcoming shows.

• Date and Venue Doors Scheduled
• Oct 05 2024 Mempho Music Festival 2024 Memphis, TN, USA Add time Add time Add times

Trey Anastasio Band at Sea.Hear.Now Festival 2024

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Trey Anastasio Band at Boston Calling 2024

• Back on the Train
• The Moma Dance
• A Wave of Hope
• Everything's Right
• Wolfman's Brother

Trey Anastasio Band at Brooklyn Steel, Brooklyn, NY, USA

• All Pretending
• Gotta Jibboo
• Stealing Time From the Faulty Plan
• Where They'll Find Us
• About to Run
• Shaking Someone's Outstretched Hand
• The Way I Feel
• Cayman Review
• The Endless Dream
• Mists of the Past
• Hey Stranger
• What's Going Through Your Mind
• Prince Caspian
• Dark and Down
• Outside the Lines
• Pillow Jets
• No Men in No Man's Land
• ...And Flew Away
• The Kid in the Sky

Trey Anastasio Band at MTELUS, Montreal, QC, Canada

• It's Happening Again
• The Greater Good

Trey Anastasio Band at History, Toronto, ON, Canada

• Water in the Sky
• Sweet Dreams Melinda

Trey Anastasio Band at Wonderland Forest, LaFayette, NY, USA

• Heavy Things
• Windora Bug
• I Never Left Home
• I Never Needed You Like This Before

Trey Anastasio Band at Agora, Cleveland, OH, USA

Trey anastasio band at royal oak music theatre, royal oak, mi, usa.

More from this Artist

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Most played songs

• Push On 'Til the Day ( 272 )
• First Tube ( 270 )
• Sand ( 257 )
• Cayman Review ( 240 )
• Money, Love and Change ( 229 )

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Artists covered

[traditional] The Allman Brothers Band Amfibian Trey Anastasio Trey Anastasio & Tom Marshall Harold Arlen Bad Company The Band Cyro Baptista Bruce "Sunpie" Barnes Beastie Boys The Beatles Chuck Berry Bobby “Blue” Bland David Bowie Broken Social Scene James Brown Robert Burns J.J. Cale Chris Ardoin and Double Clutchin' Chumbawamba Jimmy Cliff Crosby, Stills & Nash The Charlie Daniels Band Derek and the Dominos Dire Straits The Dirty Dozen Brass Band Willie Dixon Lee Dorsey Tommy Dorsey and His Orchestra Bob Dylan Earth, Wind & Fire Duke Ellington and His Orchestra Five Stairsteps Lester Flatt & Earl Scruggs Peter Gabriel Jerry Garcia Band Marvin Gaye & Tammi Terrell Gorillaz Grateful Dead Col. Bruce Hampton George Harrison Heart Bobby Hebb The Jimi Hendrix Experience Mildred J. Hill & Patty Hill Jake Holmes Hozier The J.B.’s Michael Jackson

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2,185 people have seen Trey Anastasio Band live.

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Trey's Guitar Rig

Trey anastasio's guitar equipment, tour-by-tour..

Trey Anastasio Band

2017 Fall TAB

Trey brought out a substantial revision to the rig on the last night of TAB’s 2017 fall tour, including re-introduction of the Envelope Filter, removal of a Tube Screamer, and a return to using both Komets, one for Fender-style tones, and one for a more aggressive, Marshall-style sound.  Details below.

Amplification :  Trainwreck Komet 60  (x2) — 1 of these amps is labeled “Main” and “6L6” and the other is labeled “Marsh,” “Spare,” and “EL-34.”  The second amp appears to be no longer treated as a pure backup, but instead brings different tones into the mix, as was the case when Trey first introduced the Komets at 2016 NYE .

Cabinets :  2 Komet  Ambikabs .  Each Komet has its own dedicated Ambikab, and each Ambikab has its own Supa Puss and Eventide Space Reverb effects loop.

Guitars :  Koa #1.  Koa 2 is on stage as backup.

Floor Pedals: Boomerang ,  Whammy II ,  CAE RS-10 Audio Switcher  (see  here  for signal chain),  Crybaby Wah ,  Ernie Ball Volume , Boss FS-5 switches (see breakdown below).

Rack Pedals : 1 x  TS-808 ;  Shin-ei Uni-Vibe ; Beigel Tru-Tron3x Envelope Filter; Klon Centaur; Moog Moogerfooger MF-104M Analog Delay.  Atop the Ambikabs are 2 x  Eventide Space Reverbs and 2 x Way Huge Supa Puss delays.

Rack  (from top):  Furman Power Conditioner, Korg DTR-2 Tuner, Ibanez DM-2000,  3 x CAE 4×4 .

Mics : Trey’s rig is mic’d by a  Shure SM-57  and a  Royer SF-12 .  Trey also uses SE  GuitarF  Reflexion Filters to isolate these mics.

Below, you can see the newly updated rack pedals.  Note that Trey is down to a single Tube Screamer for the first time since early 1.0.   The Klon Centaur is back, as is the Tru-Tron 3x Envelope Filter. You can also see in this show the markings on each Komet amp.

Below, you get a detailed look at the Boss FS-5 footswitches and CAE controller.  Note the new signal chain .  Also note that there are two switches labeled “KILL” and two switches labeled “PUSS TAP,” as there are now separate, fully independent effects loops for each Komet/Ambikab.  Above and to the right of the CAE is an FS-5 labeled BYPASS DM-2000, which is necessary because the DM-2000 shares a loop with the Boomerang.

Below is the rest of the floor array, including Wah, Whammy II, and Boomerang.

As you can see below, each Komet/Ambikab has a separate and fully independent effects loop.  Each Ambikab also is double-mic’d, one for the dry signal and one for the wet, and each mic has an SE Electronics GuitaRF Reflection Filter.  Note the Ambikab on the right is labeled “MAIN 6L6.”  Finally, to the left of the guitar (Koa 1), you can see a footswitch labeled “TALK TO BAND.”  It attaches to a microphone that allows Trey to silently communicate with his band.

Below is the full rig from front:

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17 thoughts on “ 2017 fall tab ”.

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That Tru-Tron is new! This one says Mu-Tron, when the old one from GD50 says Tru-Tron. I have one that says Mu-Tron too! I called Mu-Fx when I received mine to inquire about the Mu-Tron label. They said I bought one of the last 30 or so Tru-Tron’s and they only had units they made for the European/international market left. In those markets they were allowed to use the Mu-Tron name but in the States they couldn’t. I wonder if Mu-Fx had a few left in a seceret stash? Or, maybe Trey paid some of the crazy prices I’ve seen out there? I think there is a Mu-Tron labeled one on ebay for $1400 or some shit! Crazy! Love this site!! Keep up the great work! Us Trey suckers will keep reading!!

Interesting. Hadn’t noticed that!

Quick question: does Trey not have the pedal enabling speed control for the Univibe connected? Did he ever use it? Also, when did he stop using the Leslie?

I haven’t seen the speed control in quite some time. He doesn’t use the Leslie on TAB tour these days — just with Phish.

Thanks for the update!

Any insight into why he dropped the second tubescreamer and how he’s using the Klon?

Is the Klon more for low gain and TS for higher? Or perhaps the TS for “less” and then stacked with the Klon for more?

Univibe still after drives even after the Symphony Chain where it was before? Any reason?

As far as the ts808 it’s prob cause komet amps are very responsive to the volume pot on guitars much like a Trainwreck. So for clean trey probably rolls the volume back to clean up the tone however the volume stays relatively consistent. So the feel of the two ts9s is not ocomplished by a dirty amp tone with the gtr volume full out and the 808. May be wrong but i think the mark3 or two was set cleaner and then you needed the stacked ts9s for the same effect. Also the komet prob compresses way nicer than the others and two would be a bit of overkill and take away some of the amps dynamics.

I assume one of your descriptions of the gain structure is correct; not sure which, but looking in to it. Re: Univibe: unclear why he switched back.

Hi – I’m wondering what he’s using the Volume Pedal for. I haven’t seen him actually use it in the 2000s and it’s always set way over to the side. Maybe it’s for an acoustic?

My guess would be fore swells when making loops but I’ve seen him use the volume on his gtr too.

I’m curious how he’s controlling the main Eventide on his rack. I didn’t see any aux or midi pedals that he is using to turn it on/off or change presents. Did he not use it but leave it there because he’s experimenting with the rig again and might end up using it again? I ask because he removed the TS he wasn’t using to make room for the Tron, and if he wasn’t using the Eventide, the Klon would fit right there. This is one of the weirdest changes I’ve seen. Only one TS?!

I agree, it’s unique. He had midi controllers for the Eventides early on, but now I believe he controls it by hand.

Any insight as to how he sets the Supa puss and Space Reverb (plate it seems?) in the Wet section? Any audio/video examples where the ambience from the Wet AmbiKab can be heard clearly? Would love to know more about this and hear it more clearly. Thanks!

I’d love to hear it clearly, too. I think it’d be very hard to isolate unless you heard Trey playing by himself.

Any idea why there’s pieces of wood attached to the midi controller? Is that because he doesn’t use presets?

Yes. Those are for banks and presets. Trey uses it more like a True Bypass looper where each unit (or sometimes more than 1 unit) is in its own loop.

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“Why wouldn’t you stay in the Sphere and make a lot of money? Because it’s not as much fun. It doesn’t last forever. Look at how many musicians have passed away. What are you going to do with what you have?” Trey Anastasio explains Phish’s joyful rebirth

In this epic cover interview, Anastasio goes deep into his musical rebirth, creative process and the intense practice regimen pushing against the limits of his playing

Most bands that survive for four decades enter into a nostalgic phase of their career. But Phish is on fire in year 41. The quartet, which formed in 1983 in Burlington, Vermont, released Evolve , their 16th studio album, in July.

Their 26-date summer tour includes Mondegreen, a four-day gathering in Dover, Delaware, that is their 11th festival and first since 2015. And they launched the year with a New Year’s Eve performance of Gamehenge , a song suite they hadn’t played since 1994, and which had taken on almost mythical status amongst fans. The two-hour performance included a cast and a production team that rivaled a Broadway show.

Other highlights of Phish’s year include a run at the Sphere in Las Vegas that featured 68 different songs across four nights with each song having original visuals – and their annual Mexican retreat.

“This feels like a renaissance period for Phish,” says guitarist/singer/chief songwriter Trey Anastasio. “We don’t feel stagnant at all. This is a very vibrant period in our band’s life.”

As vibrant as Phish is right now, it is hardly Anastasio’s sole creative project. He is a man in constant motion, displaying boundless creative enthusiasm and energy. In addition to Phish, he tours regularly with the Trey Anastasio Band (TAB), a hard-charging outfit that includes a horn section. Additionally, New Yorkers have gotten used to Anastasio popping up on stages around the city, sitting in with the likes of Billy Strings, Goose, Tedeschi Trucks Band and even Billy Joel.

At 59, Anastasio says, he “feels like a kid again,” secure in his relationship with the three other members of Phish – drummer Jon Fishman, bassist Mike Gordon and keyboardist Page McConnell – and his 30-year marriage to his wife, Sue, and he’s happy that his daughters have launched into adulthood.

“It’s a new era in my life, and I’m loving it,” Anastasio says over a Zoom call from his New York City apartment, cradling one of his trusty Languedoc guitars.

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Let’s be real – I’m lucky to still be here

Anastasio, one of the greatest and most influential guitarists of his generation, was particularly fruitful during the pandemic, when so much of the music world shut down.

He recorded and released four very different studio albums: December (2020), featuring duet versions of Phish songs recorded with McConnell; Lonely Trip (2020), which he calls a “demo album” on which he played all the instruments except some drums laid down by Fishman; the solo acoustic Mercy (2022); and January (2023), featuring new originals performed with McConnell.

Additionally, he put out the live TAB albums Burn It Down and The Beacon Jams , which was garnered from eight consecutive weekly shows played in an empty Beacon Theatre and broadcast on Twitch. Those free shows raised more than $1 million in donations to launch the Divided Sky Foundation, a Vermont facility dedicated to helping people recover from addictions, which is now open.

Anastasio’s own life was turned around in 2007 after he pled guilty to a reduced felony drug charge after failing a field sobriety test following a traffic stop in upstate New York.

He spent 14 months performing community service and participating in daily meetings in a drug court program, which he has credited with saving his life. Divided Sky, he says, is his way of giving back.

“I’ve never been part of anything that was so heart-filling, because let’s be real – I’m lucky to still be here,” he says. “Everything started again at that moment. I got so much help and want to help provide that for others.”

You came out of the pandemic like a fireball of creativity. How did that happen?

“When I started my sobriety journey in 2007, there was this feeling of reconnecting with everything joyous that you loved as a child. The pandemic was the next chapter in a weird way. Sue and I stayed in New York, and as soon as we were locked down, there was this feeling of joy that’s going to be hard for people to understand.

“I started my music career with a four-track machine in my bedroom. There was this magical moment that happened in the late-’70s, when I was in 10th grade, where the battery-powered four-track machine appeared and you could do a multitrack recording without having to go to a studio.”

“It was the beginning of this new world and I jumped in. That’s still the way I like to write. I love songwriting and the simplicity of recording myself. I’m such a dork, but I want you to see my little area. [He gets up and carries his computer into the corner of a room.]

“Every morning, I have my coffee and sit down here and write and it’s like going to heaven. I have a little keyboard, a little headphone , an acoustic guitar and something on my phone that’s the equivalent of a four-track machine.

“So why did I write so many songs during Covid? Because the road shut down, and suddenly I was home with the cat and Sue. My kids are grown up now, so I’m at a different stage and it felt like being given permission to do what I truly love, which is being creative.

“I started taping the camera to the wall and making all those videos; everything was with these great limitations. If I needed something, I got it. Like, I bought a bass on Amazon because I wanted it on those Covid albums, Lonely Trip and Mercy .”

So the isolation allowed you to re-set?

“Yeah. I know in different places in the country the lockdown wasn’t so big, but here in Manhattan, we never left. I just dug in and wrote so many songs, and a bunch of them are on this album. Three songs from Lonely Trip , which I call the demo album, are on Evolve – A Wave of Hope , Evolve and Lonely Trip – along with two from the acoustic album, Mercy .

“They’ve all developed so much. It’s not that different from how I’ve always done things, except I released the demos in real time because of the pandemic, because you couldn’t do anything else.

“The album Trampled by Lambs and Pecked by the Dove is a collection of four-track demos that Tom [Marshall, songwriting partner] and I made, which ended up being the first big round of Phish songs, like Twist , Limb by Limb and Water in the Sky , but people heard those demos after they knew the fully formed songs. This was the equivalent of releasing that in real time.”

The path that some of these songs took to be on a Phish album is a little different from the past, right? For instance, Hey Stranger started on Mercy , then you started playing it with TAB, and then it was a Phish song.

“It’s not that different, but people didn’t hear the demos like they heard these, and there’s nothing that unusual about songs crossing bands. Bug , Sand , First Tube and Everything’s Right were all TAB songs. A good song can move around.

“Quincy Jones really hits the nail on the head in this documentary where they ask him what he learned being the greatest arranger and producer in music for 50 years, and he says the main thing is that you can’t polish a turd. It’s either a good song or it isn’t. And the way for me to find that out is to play it in a lot of different contexts.

“I’ve now done six or seven acoustic tours and have found out that a good song will work solo; if you can’t play it on a stool with an acoustic guitar, it’s probably not good. Like Quincy said, the greatest arranger in the world can’t make a bad song good, and the worst arranger can’t mess up Somewhere Over the Rainbow . For me, it has to pass the alone-on-a-stool test.”

But some of your most beloved songs are the product of collaboration. I’m thinking of Reba , which is based around parts you and Page play together.

“Except that it started 100 percent on the guitar! I have a demo of it. The entire form of Reba was demoed on the guitar. Same with Harry Hood , which was an acoustic song I played on the beach start to finish, including all the time changes. Online, you can find the acoustic demo of Time Turns Elastic , which is a 28-minute orchestral piece. It didn’t become that until I sketched the whole thing out.

“When I was 18, my composition teacher taught me that all the composers started off by writing piano pieces, then orchestrated out. That’s where I got that concept – studying greats like [Maurice] Ravel. Here’s a good example: Before It’s Ice ever existed as a Phish song, it was a solo acoustic song.

“I walked around my hotel room every morning for two years writing the song until I could play it from start to finish. Then I taught it to everyone at band practice. You’re really onto an interesting subject – at least to my geek brain! But this is Guitar World , and I think it might be of interest to other guitar players. Do you agree?”

Yes – it’s something we all struggle with. Keep going.

“I write a song on acoustic, then I do four-track demos playing everything and figuring out the form. Then I write the lyrics down in my notes and go over them again and again. I edit freely until I have it exactly where I want it. Then I teach people the songs.

“For these new ones, I booked a round of shows at the Mission Ballroom in Denver with one person from TAB [bassist Dezron Douglas] and one person from Phish [Fishman], and we played all these potential songs as a trio. We did 25 songs, which was my attempt to put them through the birth canal and see what they sounded like in front of people.

I walked around my hotel room every morning for two years writing the song until I could play it from start to finish

“Playing with one member of TAB and one member of Phish was a conscious choice. There wasn’t a band attached to this. Then I asked our manager to look online and see what fans liked and what they said about the songs that resonated.

“I then played them on both a TAB tour and on the summer Phish tour. Then we played them in Mexico in 2023. When I got home, I did the most important part of all; I tossed all the band versions in the garbage and recorded solo acoustic versions of every single song that’s on Evolve .”

Did you have a vision of this entire process right from the start?

“Yes! Because I’ve been developing a system for 40 years, and before the Evolve album, I said, ‘This time I’m not skipping any steps.’ So step number one is home recording. [Holds up his phone and shows a series of recordings.]

“Then I go to a space with a bunch of instruments with Ben Collette, our engineer, and re-record all the songs with me playing everything in rudimentary form – Rhodes, bass, whatever. I call those four-track versions. My phone has tons of these.

“Then I teach the band and play a run, and the ones that rise to the top get played with both TAB and Phish. Now you’re at the Quincy Jones point. Then I strip it back down to acoustic; I did the whole Evolve as a fully realized acoustic album. This is the step that most people skip, but when you play it solo acoustic, the warts reveal themselves. Like, it’s not really in the right key; I need to slide that capo up so I can sing it better and then it can all change!”

“Now this gets exciting… Hold on. Just give me two seconds. [Anastasio walks away, then returns with his Languedoc ‘Koa 1’ guitar.] Alright, check this out. There can be magic to the key you write in, but when I go to solo acoustic, I often find it’s not the perfect place for my voice. I wrote Oblivion in C#, but that key wasn’t in the meat part of my voice, and it also doesn’t have any open strings or lend itself to sounding great.

“On the acoustic, I realized it sings better in B, and with a guitar in my hand, I realized B minor has open strings, and this riff got so much more rockin’ with them ringing out. [Plays riff.] You hear that?”

I sure do. In my notes on Oblivion , I wrote ‘very riff driven’. I was going to ask you if it started with the riff.

“You’re on it now! If you want to help young songwriters, this is it. I didn’t go to the key because of the riff. I went there because I sat on the acoustic guitar and worked on my vocal, which led me to the riff, which changed the arrangement and made the whole song so much better. None of that happens if I don’t go down to solo acoustic.

“Several great producers tried to tell me this. The first day I worked with Brendan O’Brien [on 2005’s Shine ], he said, ‘Here’s a stool and an acoustic guitar. You’re not allowed into the studio until you can play me 12 songs fully formed in the right key. I’m not going to dork around until you have songs to work on.’ Steve Lillywhite told me something similar – and then it’s back to Quincy Jones: ‘It’s either a good song or it isn’t.’”

After you’ve gone through that whole process and you feel great about a song, does the band ever say it isn’t working?

“No, not really. [Laughs]”

Is there ever a disconnect – something you felt really strongly about but the audience didn’t seem to connect to?

“No. I’m now so enmeshed in the magic that our community has a lot more impact on where this band goes than they think. I find so much joy in writing that I’ve gotten comfortable accepting that if it doesn’t work, it doesn’t work. I can’t push an agenda. Let Me Lie is the big example. I really thought it was gonna be the best Phish song, but it wasn’t.

“I think it’s on three different albums, but it didn’t get legs, and when one does, you have a visceral, tangible feeling of communication when you play it live. Sometimes I get overruled, which happened on this album with Valdese , which I kept trying to cut because I don’t like long albums, and people kept saying it was their favorite song on the record, so I gave in to that.”

Since you’re so focused on composition, how do you look back at your ’90s self, guitar-playing wise? Was your approach similar? Because the general impression is that you were more focused on intricate guitar playing back then – and some of that stuff is awfully complex. Do you ever look at some of your old songs and say, ‘I can’t play this!’?

“I hope I don’t say I can’t play it, but there are definitely times where I wonder what the hell I was thinking. But my big secret is that the other thing that happened in this rebirth period is that I started practicing the guitar a lot more again. I have a pretty good practice routine now, and I’ve just found the joy in it all.”

I never used to practice singing, but anything you want to be good at requires practice and discipline, including singing.

In all playing?

“In all music, including practice. I never used to practice singing, but anything you want to be good at requires practice and discipline, including singing. I’ve been inspired by Jon, who does nothing but practice drums all day long on the road.

“A couple of tours ago, he reminded me of something I had shown him years ago, where Segovia said, ‘I practice two hours in the morning and two hours in the afternoon, no more, no less.’ It’s not an insane amount of practice, and I have a real system now, which Jon helped me with because he always knows what to do when he sits down, which is important.”

“On a good day, I have my technical hand practice, then my music practice. I do my finger exercises to music, usually dub reggae, Fela [Kuti] or King Sunny Adé, because there’s space and I try to always be playing music in lieu of a click. I’ll do them at the top of the neck and then the bottom. Then I play chords up and down, trying to connect the neck.

“Even though I’m not in the key that the song is playing, I still do it to music so that I’m jamming with somebody all the time. You’ve got to let go of the fact that the keys don’t always match or even embrace the question of how does this key relate to the wrong key I’m playing in? Then I go through the circle of fifths.

“Then I deal with ninth chords, or a circle of fifths where I walk up basslines in any position. Then I do another 1234. Then I do minor chords, like C minor up and down the neck. And I’m doing Hanon for guitar now, adapted from piano exercises.”

“This whole thing takes about an hour; I do it before every show now, and it’s just liberating. Then, most importantly, I do bends – all kinds, up and down the neck, always with the message that I learned from B.B. King. He said the worst thing that ever happened to guitar players is the electronic tuner because they don’t have to bend to pitch anymore. You have to practice bending to pitch, like a singer.

“I practice bending with my fourth finger, then my third. Then I practice vibrato. If you do all this to music, it’s not that disconnected from just having fun. I also do right-hand 1234s and then sometimes a little bit of chicken picking. If I had my way, I would do all this every day ’til I die.”

If life intervenes and you don’t do that for a day, what happens?

“It goes away really fast. After two days I feel terrible. Two days and it’s gone. Then you gotta get it back.”

Is it really gone, or is it psychological?

“I think it’s actually physical. Tension emerges. When I’m doing it every day on tour, everything feels so loose, and then you get in one of these jams and it just flows. I need to add the second part of practice I’ve had longer, it’s so simple: just listen to a song and play the melody. Any song. You think that’s easy? Try it.”

A reader told me that they had spent so much time trying to get Fly Famous Mockingbird perfect, only to realize that there were compromises in any position he played it in. He wanted to ask you if it just can’t be played at that original BPM.

“It can be played at that BPM, though I don’t know if I can play it the way I did when I was 25. [Laughs] That was before I had kids and I practiced guitar 10 hours a day. All I ever did was play the guitar.

“Then you have kids and it’s the greatest thing ever; you’re making breakfast, drying tears, walking to school and going to PTA meetings, and suddenly your 11 hours to practice are gone. And when the band starts taking off, you’re traveling so much… and all of that is why this is such an exciting period. I can pick up my guitar and play it all day, and it’s the best thing ever.

“But back to Fly Famous Mockingbird and your reader. If you’re not in the right position, you’re never gonna play it. It starts in second position, and then it slides up. Someday I should really do books about You Enjoy Myself , Fluffhead and Fly Famous Mockingbird and show the fingerings. I get asked to do it all the time but I’ve just been lazy.”

“But I’ve really always tried to find the easiest fingering. Joe Pass is the greatest jazz accompanist who ever lived. if you’re a guitarist who hasn’t listened to his work with Ella Fitzgerald, put this down and put that on right now, because that’s it! And his rule was ‘never play anything hard’ that something hard to finger leads to showing off, not playing music.

“His thing was figuring out what notes of this chord he can drop out so it can be easy and he can just react to something Ella sings. It’s the best advice. He didn’t mean, ‘don’t play a complex jazz song’; he meant ‘play it the easy way’ – and there are many ways to play a C9 chord; some of them a child could play.

“When I was writing all that complex stuff, I was obsessed with Joe Pass and asking if there is an easier way to finger this. But to get back to your actual question: no, I can’t play it anymore. [Laughs]”

As consistent as you’ve been with your guitar, you’ve messed with your guitar amp setup recently. Let’s discuss.

“I did a deep-dive amp study and I’m very happy with where I am. I played a Mesa Boogie Mark III for many years. This is gonna sound like an oversimplification, and I don’t want to start arguments in Guitar World , but the original Boogie was a souped-up Fender with an extra channel.

“It was basically a Fender Princeton custom-built for Carlos Santana, and a lot of people think the Princeton and Deluxes from 1965-67 were the high-water mark of Fender tone – and then the early Marshalls up to 1972 are the British tone.

“The Boogie I played was a slight variation away from a Fender, so in the Nineties, I went over to a Fender Deluxe. Starting on this last TAB tour, I’m playing through a Komet [60], which is like a hand-wired 6L6 Fender-y tone, and it sounds gorgeous. And then I’m very blessed to have a Ken Fischer Trainwreck for my lead tone.”

Is that the heart of your sound?

“Half my tone – the lead tone. I went on a crazy tone journey starting in about 2015. We were going to do this Bowie thing. I love Jimi Hendrix and I love the solo at the end of Kate Bush’s Wuthering Heights , which is the greatest tone. I wanted to try the soaring EL-34, British, Jimi Hendrix tone, which opened up this whole journey that I went on through about 2019.

Anyone who likes Layla knows the power of small amps, because that’s what they used. As did Jimmy Page in Led Zeppelin

“I started using these Komets, made by great guys who learned their craft from Ken Fischer, who built the Trainwrecks. And I got amps from Ken for my band in high school in New Jersey! Around 2019, I got this purple Komet, the same amp Mark Knopfler uses now. It’s essentially a really nice Fender.

“[Engineer] Vance Powell carries a vintage Princeton to every session, and he did Chris Stapleton, who also uses Princetons. Vance thinks it’s the only amp worth owning. Anyone who likes Layla knows the power of small amps, because that’s what they used. As did Jimmy Page in Led Zeppelin. On stage, he used all that shit, but in the studio he used a Telecaster and Princetons and other small amps. They sound the best.”

How did you go about playing without amps on stage at the Sphere?

“No one will ever have an amp on stage at the Sphere. They might have dummies, but they’re not on. The 52,000-speaker sound system comes down right behind your back. So there’s a slap back. That’s why anyone who will ever play there will have to have the drums wrapped in plexiglass.”

When you played the Sphere, you made the decision to do something different and special and take full advantage of the room. I understand you asked your tech people how many shows you could do where each one will be different. Is that accurate?

“One hundred percent accurate.”

U2 had a great one night. It’s just the Phish mentality that we didn’t want to repeat or have any cut-and-paste content. We wanted to use the thing, not just play another show in a new venue

You didn’t think that if you’re making all this effort, you should play 10 instead of four?

“We could have played 20 if we wanted to keep repeating. We had a lot more content than either of the other two bands that have played there. I think Dead & Co. mixed it up a little, but they were repeating by the second night. They probably have two and a half nights of content and they’ll just run it over and over again.

“U2 had a great one night. It’s just the Phish mentality that we didn’t want to repeat or have any cut-and-paste content. We wanted to use the thing, not just play another show in a new venue. We wanted it to be an art installation, and the best way to do that was to do the four.”

You have an amazing relationship with your fans. Often, when any artist has such a dedicated base, part of the tradeoff is that you have to give them what they want. But what your audience wants is for you to keep trying new things.

“It’s a give and take, which goes back to how, when and where we started, what Burlington was like in 1983. The drinking age was still 18, which was important not because of drinking, but because there were more bars per capita than anywhere else in the United States, and they all wanted bands.

“There wasn’t an emphasis on nostalgia and covers as much as on creating interesting and unique original music, which is what drew people through the door. So by 1984, we were playing songs like You Enjoy Myself and Maze . We were trying to find our place, and the crowd was smart and paying attention.

“We knew the original OG fans and what their favorite songs were, and it still feels like that. I just played eight brand-new songs over the course of 10 TAB shows, and there was this one dude standing in front of me the whole tour. I talked to him outside one night and thanked him, and when I got on stage I was thinking that I gotta honor this guy. He gave me the confidence to try a couple of new songs, which can still be scary.”

“It’s always been like that, which leads to the Sphere, where I wrote all this music for the atrium, so there was original music when you walked in the door and different walk-on music every night, Easter eggs that led you to the opening song. And we had special between-set music every night, and every single song had a visual that alludes to the narrative but was never literal.

“We had conversations about every one of these things, which I believe is honoring your fans’ commitment. Everybody wins, and hopefully it never feels like we’re just here making money, playing our hits repeatedly. Like, the Gamehendge thing was so much work for a solid year, so everybody goes, ‘Why don’t you just keep doing it after all that?’ Because we did it! [Laughs]”

I watched the video you put together of the rehearsals and realized that you worked up a Broadway show to do a single performance.

“Yes, and a lot of people thought this was insane, certainly those whose job is watching the books! I’m sure an outside person would wonder why anyone likes this. Well, I looked over and Page was crying because we did that at Nectar’s [the Burlington club that was their early home base], then a couple more times.

“It’s like, we’re still here, we’re alive, we love each other and we know who’s out there. We know what it means to them, too. Ninety-eight percent of humanity would see this craziness and ask, ‘What the hell is this shit?’ [Laughs] That’s what’s so great about it! It’s a strange band.”

And that long game is part of what keeps you so engaged. Are you excited about going back to having a festival this year?

“Oh, beyond excited. It’s bookends. The last three New Year’s things at the Garden were really fun – and building up to Gamehendge and the Sphere. The Mondegreen Festival is the bookend to this time period.

Our history with festivals is pretty deep, and it draws a straight line back to Bread and Puppets, a group of politically-minded hippies who had moved up to Vermont from New York in the Sixties and Seventies

“We love doing festivals, and we’ve been working for months with a really cool team. Our history with festivals is pretty deep, and it draws a straight line back to Bread and Puppets, a group of politically-minded hippies who had moved up to Vermont from New York in the Sixties and Seventies, some of whom have come on to work for us as art directors and other things.

“They made these giant puppets and they did these gorgeous fests, which inspired our first festivals, where we built in quiet time so that people could meet with their friends and experience the art. Modern festivals have a ‘more is more’ philosophy, with 110 bands and three playing at once, hitting you over the head. We’re going to try to bring back a little bit more pacing, and also the Phish weirdness.”

Let’s talk about Divided Sky, your residential drug treatment facility in Ludlow, Vermont, and what it means to you.

“It means so much. I had the idea for a while and the funding organically happened during the Beacon jams. I love those shows for so many reasons, mostly because it was free for people during that whole Covid craziness and it ended up being for a purpose. All these people in the community came forward and talked about their brother or sister or their best friend who struggled with addiction, and donated money, and we bought the place. It’s a 46-bed facility and we’re now open.

“On my last tour I met with John Curtiss, who started a program in Minnesota called The Retreat and has helped 30,000-plus people get sober. Our clinical director Melanie was my case manager in drug court when I got sober, and everybody who works there is sober.

Look at how many musicians we love who are passing away. It doesn’t last forever, so what are you going to do with what you have? 

“It’s this beautiful spot amidst the leaves, but the final part was the reality check: if you want to do this nice thing and offer it to people, you must raise money. It’s a nonprofit, but you have staff, and we’ve been trying to figure out how to make this work. And John has taken a mentorship position, and he is such a help.

“I’m going to cry talking about this, but we’ve assembled an amazing board, and we have a viable program that’s working. It’s been a joyous experience. It’s a lot of work, but the clouds are parting and there’s a light shining through. I think it’s going to work.”

This explosion of creativity you’ve had all grew out of your sobriety, right?

“No question. I’ve been sober since January 5, 2007, and I’m very lucky in that I haven’t had to pick up a drink or drug in that time, and I’m grateful for that. It was the beginning of a long, slow journey.

“You have to find a different mojo than ‘I’m going to do a shot of tequila and be the funniest guy at the party.’ And then realizing that you weren’t really the funniest guy at the party except in your own mind. [Laughs] It’s also reconnecting with your real self, which got me into all this in the first place.

“I’m 59 years old, and I’ve been with Sue for 35 years. My kids are grown up. I drive a 2010 Volvo. I have the same guitar. So, what’s the point of all this? The sheer joy of writing and the birth of a song and then seeing people dancing in the audience and being with my friends on stage. In a weird way that answers all the questions you asked me.”

“Like, why wouldn’t you stay in the Sphere and make a whole lot of money? Because it’s not as much fun and what’s the fucking point? Look at how many musicians we love who are passing away. It doesn’t last forever, so what are you going to do with what you have?

“Why work for a year on Gamehendge ? Because of the moment when Annie Golden [actress and performer known for the band the Shirts, the Broadway musical Hair and TV shows like Orange Is the New Black ] dropped the needle on that record. Annie Golden and Tina Weymouth were my high school crushes, the two hottest girls in the game, and on New Year’s Eve, there’s Annie Golden up there with me.

“ Gamehendge ! Then the place goes wild and it’s a magical moment. Everybody’s laughing and crying and their non-Phish friends are scratching their heads and going 'Why would you care about this?' I can’t explain why it’s magical, but it is.”

Just having an unchanged band lineup for 40 years is magical, and the relationships that develop and grow and how well you can know each other. Like you, Trey, I’ve been married for more than 30 years and I know that when you get to a certain point in that relationship, it provides a terrific sense of security and a freedom to be yourself. I feel like that’s what has happened with Phish.

At a certain point in a marriage, you don’t fight anymore, because it’s like… we had that fight 10 years ago, so what’s the point? It’s like that with the band right now

“Yes! It’s so similar. At a certain point in a marriage, you don’t fight anymore, because it’s like… we had that fight 10 years ago, so what’s the point? It’s like that with the band right now. We’re really also conscious of what a blessing it is for the four of us to all still be in good health and to like each other after 41 years.”

And you had the good sense to realize at what point you needed to take a break in 2004, rather than ride it until it fractured.

“That goes back to driving the old car and having the same guitar. Because a lot of times people will keep grinding it out for money, but it’ll kill you in the end. And, like, what’s the game here?”

• Evolve is out now via JEMP.

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Alan Paul is the author of three books, Texas Flood: The Inside Story of Stevie Ray Vaughan , One Way Way Out: The Inside Story of the Allman Brothers Band – which were both New  York Times bestsellers – and Big in China: My Unlikely Adventures Raising a Family, Playing the Blues and Becoming a Star in Beijing , a memoir about raising a family in Beijing and forming a Chinese blues band that toured the nation. He’s been associated with Guitar World for 30 years, serving as Managing Editor from 1991-96. He plays in two bands: Big in China and Friends of the Brothers, with Guitar World’s Andy Aledort.

“He taught me that it was OK to play the music you wanted to play. He was my mentor and a surrogate father, too”: Why John Mayall was the godfather of British blues guitar

“You could sing along to the songs – including the solos. You can really mess a song up by playing the wrong solo. You can put people off”: Phil Collen on Def Leppard x Tom Morello, his love of thick guitar necks – and why Pyromania still blows him away

“When Rihanna's team reached out to me, I said, ‘Why would you want to use me? Like, I do what I do’”: Nuno Bettencourt explains why he accepted the role of Rihanna's go-to guitarist

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TAB May Dates

Trey Anastasio Band returns in May with a pair of shows at Boston’s newest venue Roadrunner on May 7th and 8th. On May 21st, TAB heads west to play the Gerald R. Ford Amphitheater in Vail, CO before heading to Red Rocks Amphitheatre on May 22nd for their first performance at the legendary venue since 2017. Ticket presales begin Tue, Feb 8 at 12PM ET at:  http://treytickets.shop.ticketstoday.com . General on sales start Fri, Feb 11 at 10AM ET. Visit  trey.com  for all specific on sale times.

TREY ANASTASIO BAND SPRING 2022 May 7 Roadrunner – Boston, MA  May 8 Roadrunner – Boston, MA May 21 Gerald R. Ford Amphitheater – Vail, CO May 22 Red Rocks Amphitheatre – Morrison, CO

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Step Inside Jennifer Garner's Cozy California Home

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Of her new home, Jennifer Garner notes, “I wanted it to feel old and cool and historic, but I also wanted to make it work for a big family with a lot of things going on.” The actor, who reprised the role of Elektra in this past summer’s Deadpool & Wolverine, will start shooting the second season of the Apple TV+ series The Last Thing He Told Me later this year. Nestled in LA’s sun-dappled hills, the resulting retreat is a dexterous blend of farmhouse charm and contemporary comfort, one that prioritizes togetherness, usefulness, and down-to-earth living—the kind of place that can handle muddy feet and impromptu dance parties in the living room. It’s a thoughtfully designed haven that defies Hollywood stereotypes—just like Garner herself, who in addition to her acting work, serves on the board of Save the Children and is a cofounder of Once Upon a Farm , a company that makes organic, farm-fresh snacks and meals for babies and kids.

Garner, wearing a Brunello Cucinelli sweater, a Lafayette 148 skirt, and Gianvito Rossi sandals, in the kitchen with Moose, the family’s Siberian cat, and Birdie (sporting a Ralph Lauren Bandana). Pendant lights by Thomas O’Brien for Visual Comfort ; downlights by Long Made Co. ; counter stools by (Wh)ore Haüs Studios ; cabinet hardware by Classic Brass .

Garner’s search for the perfect place began more than five years ago. “I realized that I was going to need to move out of a dream house kind of scenario,” she says. “I looked and looked for a house to move into, but I needed privacy, and any house that had privacy was more grand than I felt comfortable in.” This challenge led her to consider crafting something from scratch. “I was frustrated, but finally said, Okay, I think I’m going to have to build and found this lot.” She then enlisted the now Tennessee-based husband-and-wife architect and interior designer duo Steve and Brooke Giannetti , with whom she had worked before on previous projects. (Designer Laura Putnam also collaborated on the project.)

Looking toward the house from the pool. The outdoor sconces are by McLean Lighting Works .

Jennifer Garner’s house is a dexterous blend of farmhouse charm and contemporary comfort.

This one, however, marked a significant personal milestone for Garner: the first time she was making design decisions on her own. As mom to three children, “she wanted a new, warm, family home,” Steve recalls. The architect drew inspiration from Garner’s childhood memories of life in West Virginia. “I had this idea of creating something that felt like a farmhouse and a barn,” Steve says. “We wanted natural wood, coziness—a kind of warm embrace of a house for her because she’s such a lovely person.” This vision quickly took shape, with Steve presenting an initial sketch showing a garden in the front and a walk through trees leading to the entrance, and a rear façade that felt airy and open to the outdoors. He found inspiration in old post-and-beam architecture with its exposed construction details, which served as a model. Garner immediately fell in love.

The result is a residence that eschews grandiosity in favor of understated elegance—a home that, while impressive, is always in awe of nature’s majesty. Enveloped in woods and orchards, the design pays homage to the great outdoors at every turn, whether through art, textiles, or architecture. (There’s even a screened-in porch on the second floor.)

BDDW sofas and repurposed chairs surround a custom cocktail table in the great room. 1950s Madsen and Schubell shearling stool. Artworks by Darren Almond above the mantel and Rainer Andreesen , at right.

The interior design process focused on creating a calm, neutral palette with an emphasis on natural textures. “Jen loves vintage pieces,” says Brooke, who acquired a French 1850s farmhouse table for the dining room, along with midcentury decorative items from Swedish and Danish designers. “There’s also something a bit whimsical about her. And she likes gentle shapes, curves. This place is kind of the house version of Jen’s personality.”

One of the most welcoming spaces is the kitchen, which features honed marble and soapstone countertops, rounded mohair-covered breakfast table chairs, and a fireplace. (It also opens directly onto the swimming pool.) “She responds to soft and cozy,” Steve says of his client. “She’s not trying to be showy or have huge pops of color or stuff like that. There’s a kind of natural quietness to the things that she likes.”

Garner also wanted to create spaces that support memory-making. “She had different ideas of what was important to her family and how she imagined using these different rooms,” Brooke explains. This led to unique features like a cozy blue study and an upstairs reading nook complete with a pair of stained-glass windows. The windows are the work of artist Reed Bradley and are inspired by the illustrations made by his mother, Marla Frazee, in the children’s book All the World, a family favorite. The work features owls representing Garner’s kids and their dog, Birdie.

A child’s study, with Sandberg Wallpaper ’s Starry Sky in Petrol. Soho Home brass pendant light; West Elm desk chair.

The children’s study features stained-glass windows inspired by illustrations from one of the family’s favorite books.

The outdoor areas, designed in collaboration with landscape designer Christine London, are meant to be heavily trafficked. A kitchen garden provides fresh fruits and vegetables, while a pool and firepit area are perfect for hangouts and low-key entertaining. Having produce right outside the door is reminiscent of Garner’s childhood home. She says of growing up in West Virginia, “Very early, I remember my mom saying, if you pick something right off a vine, you’re so much more likely to like it. It’s like you can taste the sunshine.”

Because Garner really lives in her home, Steve and Brooke knew that the spot would continue to evolve. “I don’t think homes are ever finished,” Brooke says. “This is one moment in time in their life. As the family grows and as her children get older, they are going to add a layer and change things around.” Still, for today, Garner says with contentment, “I am happy that I feel like we use the space really well, and that the kids are all over the house. They’re as comfortable sitting in the living room as they are doing homework in the dining room. And that’s the dream, right?”

Jennifer Garner, wearing a Lafayette 148 sweater over a CO dress with Tiffany & Co. earrings and a Cartier watch, plays ball with Bugsy, a yellow labrador, and Birdie, a golden retriever.

Fashion styling by Jordan Johnson Chung. Hair: Adir Abergel using Virtue Labs for A-Frame Agency; Makeup: Kara Yoshimoto Bua for A-Frame Agency; Manicure: Thuy Nguyen for A-Frame Agency.

Jennifer Garner’s house appears in AD’ s October issue. Never miss a story when you subscribe to AD . Read more about the designers’ approach to the project on AD PRO.

Moose on the path to the front door.

The front yard features a firepit and a clover garden created by landscape designer Christine London .

In the dining room, a Louis Poulsen Ring Crown light hangs above a mid-19th-century French farmhouse table, and artworks by Lara Porzak cover a wall.

In the breakfast area, an unlacquered brass Garrison chandelier by The Urban Electric Co . hangs above a Foley dining table from Lucca Antiques . The chairs wear a Rogers & Goffigon mohair.

The kitchen/breakfast room opens onto the pool. Side table by BDDW .

A powder room is swathed in Sandberg Wallpaper ’s Kvitten; RH mirror; Waterworks sink and fittings.

Farrow & Ball ’s Stiffkey Blue defines the library. A 1970s Pierre Chapo stool stands next to a shearling chair, both from Galerie Provenance . Hector Finch brass pendant; Workstead sconce; Custom BDDW sectional wearing a Holland & Sherry fabric; Leather and oak Albert coffee table from Lucca Antiques ; Wool rug from Marc Phillips .

Lewis & Wood ’s Bosky wallpaper envelops a child’s room. The custom bed is dressed with Libeco bedding and a Jenni Kayne throw. Ceiling fixture by Visual Comfort ; Sconce by Schoolhouse .

The primary bath features Waterworks ’ Margaux tub (in burnished nickel) and Julia filler. The Norwegian milking stool and round side table are both from Galerie Provenance ; Wood flooring by Exquisite Surfaces .

The primary bedroom features a BDDW bed upholstered in Loro Piana cashmere. An RW Guild lamp stands on a leather desk by BDDW . Chandelier by Currey & Co. ; Leather and brass bench from Lucca Antiques ; Artworks by Lara Porzak .

A child’s room features a custom bookcase designed by architect Steve Giannetti .

In the great room, a Louis Poulsen Ring Crown chandelier hangs above Tripod Wishbone dining table by BDDW surrounded by leather club chairs from Lucca Antiques . Swedish flat weave rug by Marc Phillips ; Outdoor furniture by Vincent Van Duysen for Sutherland .