phish fall tour 1996

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1996 Fall Tour (1996 Fall)

October, 1996, november, 1996, december, 1996.

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Phish Opens Fall Tour, Honors ‘Billy Breathes’ in Lake Placid: October 16, 1996

With the Clifford Ball and their first massive festival now in the rearview mirror, Phish began their fall tour just two months later in Lake Placid, NY. Conveniently, the tour opener was scheduled for the day after the release of Billy Breathes , their sixth studio album which was recorded in Bearsville, NY earlier in the year.

This show would seem to serve as a celebration of that, with a whopping nine songs pulled from it for duty this evening. Combined with the usual tour opening gaffs, it doesn’t make for the most free-flowing of shows in the world, but certainly offers more than a good glimpse of Phish at a time when they are skyrocketing in popularity while still trying to find ways to innovate and explore new musical paths. After two acclaimed shows at the Olympic Center last year, Phish would return for their third and final show at Lake Placid to date.

Accordingly, the show begins with the first of many selections from Billy Breathes in “Cars Trucks Buses.” A feisty Page McConnell piano solo highlights this one and gets a serious round of applause from the Lake Placid crowd. This immediately gives way to the familiar ambient noise and iconic bass lick opening of “Down With Disease.” Trey flubs a few of the early lyrics but still manages to nail his signature guitar riff before the band is off and running with a first set jam that stalls early before picking up speed instantly and coming to rousing climax.

After a standard run through of “Wilson,” Jon Fishman cranks up the percussive intro to “Buried Alive” which yields another hearty Anastasio guitar solo. The tempo goes up even another notch with the juiced up “Poor Heart” that follows and is played to perfection. Then it’s back to the Billy Breathes catalog with album’s title track, which was also played in soundcheck before the show. McConnell, Anastasio and bassist Mike Gordon nail the complex vocal harmonies before going into the instrumental section that doesn’t stray too far from the studio version.

“Mound” and “Sample In A Jar,” two traditional first set building blocks, are each played with precision, with the latter garnering another giant round of applause from the Lake Placid faithful. In addition to “Mound,” the rest of the first set is peppered with more cuts from Phish’s acclaimed Rift album like “It’s Ice,” which has a little trouble on the dismount, and the traditional “The Horse” and “Silent In The Morning” pairing. The “I think that this exact thing happened to me just last year” lyric in “Morning” is especially apt here, with two Phish shows occurring at this very same venue just eleven months ago, technically last year. And as it tends to do, “Character Zero” closes out the first set with its customary panache.

Tonight’s second set begins with “Wolfman’s Brother” which produces another mild jam that doesn’t veer too far. This is succeeded by “Taste,” another Billy Breathes tune that goes a little deeper and features some wonderfully dissonant guitar phrasing from Trey. Things then slow down tremendously as Mike Gordon leads the band through his contribution to the new album, “Train Song,” only the fifth one ever performed at this point.

Phish then revs the Lake Placid engine back up with the opening licks to “Simple.” This features, by far, the most exploratory improvisation of the night with another jam that has good intentions but never seems to really lift off the ground. An extended ambient-sounding section soon gives way to heavy drum and bass with Anastasio feverishly working his guitar’s funky “wah” tone. Meanwhile, Page is rotating between organ fills and pounding on the piano before Trey jumps on his percussion kit that was on stage these days. As the lone extended jam of the evening, it failed to strike a chord with at least one attendee this evening.

That Simple is by far the most interesting song of the night, foreshadowing that it will be one of the top-tier jam vehicles for the rest of the year. But a large span of its 16 minutes are spent with Trey on his percussion kit, with Page switching between organ and piano to try to keep it afloat, unconvincingly. It’s an example of the mini-kit as momentum-killer, and more broadly, of Trey’s well-meaning but wrong-footed attempt at forcing band democracy. Rob Mitchum

Phish then goes back to the Billy Breathes playbook in a big way with the three songs that follow, starting with the first ever performances of “Swept Away” and “Steep.” Both go off without a hitch and at the explosive end of “Steep,” the opening chords of “Prince Caspian” immediately begin. McConnell leads the way on this one with some thunderous play on piano early before it winds down. “Run Like An Antelope” then rears its head, much to the delight of the crowd, starting a vintage show-closing sequence. The band takes their time with this one and delivers a mesmerizingly dark jam that gradually gains intensity and a slew of audio effects before peaking.

“The Squirming Coil” has a few rough edges as well but is bailed out by its customary delightful piano solo ending from McConnell. And in a show full of original material, some of it brand new, Phish does throw one cover into the mix with a ferocious take on Chuck Berry’s “Johnny B. Goode.” This allows one last chance for Trey to lay down another few blistering runs on the fretboard and he takes full advantage. The encore for this evening should come as no surprise. It’s “Waste,” the ninth and final selection from Billy Breathes for the evening. With the tour opener now under their belt, Phish would then travel to Pennsylvania for two gigs before returning to Upstate New York in Buffalo for a show at Marine Midland Arena three days later.

You can listen to this 25th anniversary show at Relisten or Phishtracks .

Phish Olympic Center – Lake Placid, NY 10/16/96

Set 1: Cars Trucks Buses, Down With Disease, Wilson > Buried Alive > Poor Heart, Billy Breathes, Mound > Sample In A Jar, It’s Ice, The Horse > Silent In The Morning, Character Zero

Set 2: Wolfman’s Brother, Taste, Train Song, Simple > Swept Away > Steep > Prince Caspian, The Squirming Coil, Johnny B. Goode

Timothy “T-Bone” O’Shea currently resides in Denville, NJ. He attended St. Joseph’s High School in Metuchen before studying Broadcast Journalism at the S.I. Newhouse School of Public Communications of Syracuse University, where he graduated in 2002. During his college years, he attended and reviewed many live shows in the Syracuse area at such venues as the Landmark Theatre and Armory High (fka Styleen's).

He currently works at a large law firm in Morris County, NJ. Hobbies include reading, visiting the Jersey Shore and, of course, live music. A veteran of over 200 Phish shows, he also counts The Disco Biscuits, moe., Ween, Umphrey's McGee and Belle & Sebastian as his favorite acts to see live.

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Phish Releases Rowdy 11/30/96 Sacramento Show With Sax & Banjo Sit-Ins, James Brown Antics [Listen]

Phish has opened its archives to pull out a remarkable show from 11/30/96 in Sacramento, CA. Full audio from the band’s concert at the Arco Arena is now streaming on the band’s LivePhish service.

Recorded at the former home of the  NBA ‘s  Sacramento Kings —a venue immortalized by the  Cake song of the same name —this recording finds Phish amid its famed 1996 fall tour. While the pugnacious up-and-coming band certainly needed no outside help during this period of intensely inspired playing, Phish still took in assistance from banjo player John McEuen (Nitty Gritty Dirt Band) and saxophonist  Peter Apfelbaum (Giant Country Horns) throughout the show. The evening also hosts some prime tomfoolery by drummer Jon Fishman , who channeled the spirit of James Brown throughout the show by hollering out various lyrics during songs.

Phish lit the fuse from the very beginning with a “Runaway Jim” that ran straight into an energized “Punch You In The Eye” which heard the first of Fishman’s James Brown antics, yelling “Get up off of that thing,” throughout the intro and ensuing jam. With the gift of hindsight, it’s easy to draw a line from Fishman’s class disruptions at this Sacramento show to the sample pad (or “troll button” ) he has employed in the band’s 4.0 era .

Quick rips through the instrumental “All Things Reconsidered” and singalong entryway “Bouncing Around The Room” brought on a “Stash” that filled every moment of its modest 11:30-minute runtime with the ferociously intense, laser-focused playing that defined Phish in the mid-’90s.

It was during the following “Fluffhead”, however, that Phish made clear that this wasn’t going to be just any ordinary show. Technical precision defined the composed sections while Page McConnell ‘s Moog stylings added some new flavor to the fan-favorite, with the foursome powering through the closing “Arrival” section to finish strong as a team for this jam chart-worthy rendition on Phish.net . The show wasn’t even halfway over and there were still four more jam-charting songs to go (“It’s Ice”, “Also Sprach Zarathustra”, “Funky Bitch”, and “Possum”).

And don’t forget about the guests. McEuen is the first to join the band, coming out for an acoustic romp through “The Old Home Place” before Trey Anastasio plugged in for “Uncle Pen”. The band waved farewell to McEuen, though not for long, to then finish out the set with a rocking pairing of “Prince Caspian” > “Chalk Dust Torture”.

Returning to the stage, Phish took Sacramento a little further south by way of  ZZ Top ‘s “La Grange”, signaling the party had resumed. The following “It’s Ice” broke through the surface with a calamitous racket as the band members embraced their inner noise rock, rescued by Trey’s crystalline execution of “Glide”. A rare “Brother” made only its fourth appearance of the year, followed by a “Contact” breather which bled into the “2001” where the proverbial rubber met the road.

What this show lacks in any monumental jams of gargantuan length it more than makes up for in tight, focused playing that epitomizes Phish’s pre-1997 “Cow Funk” tenacity. This “Also Sprach Zarathustra” has all that and more in a concise eight-minute runtime, with Fishman getting down with his bad self by way of more James Brown impressions and Trey encouraging him with “Super Bad” riffs.

The intergalactic voyage of “2001” led the band to “Timber (Jerry the Mule)” and summoned saxophonist Peter Apfelbaum to the stage, where he would remain for much of the remainder of the show. Apfelbaum became familiar to Phish fans across the country the year prior with the seismic release of A Live One , Phish’s first proper live album. In the years since he’s recorded with everyone from Jon Batiste to Lee “Scratch” Perry .

After dominating “Timber”, Apfelbaum found a natural, cohesive place for his horn “Taste” and ultimately cemented his place in the mix on Son Seals ‘ “Funky Bitch”. The Phish of 1996 was a band of limitless possibilities, which includes jamming out an a cappella “Amazing Grace” to close the set. For the encore, it was all hands on deck as Apfelbaum and McEuen (now donning a lap slide guitar) joined in to close the show with a raucous “Possom”.

Listen to the 11/30/96 Phish show from Sacramento on LivePhish or via taper audio below.

Setlist [ via phish.net ]: Phish | Arco Arena | Sacramento, CA | 11/30/96

Soundcheck: Dog Log > Melissa, The New Teller (incomplete), Trey percussion jam, The Old Home Place, work on Uncle Pen, Uncle Pen, Taste

SET 1: Runaway Jim > Punch You in the Eye[1], All Things Reconsidered, Bouncing Around the Room, Stash, Fluffhead, The Old Home Place[2], Uncle Pen[2], Prince Caspian > Chalk Dust Torture

SET 2: La Grange, It’s Ice > Glide, Brother[3], Contact > Also Sprach Zarathustra[1] > Timber (Jerry the Mule)[4] > Taste[5], Funky Bitch[4], Amazing Grace, Amazing Grace Jam[6]

ENCORE: Possum[6] [1] James Brown antics from Fish. [2] John McEuen on banjo. [3] Lyrics included reference to Steve McConnell. [4] Peter Apfelbaum on tenor saxophone. [5] Peter Apfelbaum on tenor saxophone, slowed down intro [6] Peter Apfelbaum on tenor saxophone and John McEuen on lap slide guitar.

The Old Home Place and Uncle Pen featured John McEuen on banjo. Timber through Funky Bitch featured Peter Apfelbaum on tenor saxophone. Taste included an intro jam that was basically a slowed-down version of the song. The Amazing Grace Jam and Possum featured Apfelbaum on tenor saxophone and McEuen on lap slide guitar. Punch You in the Eye and 2001 featured Get Up Offa That Thing quotes and James Brown antics from Fish. 2001 also contained Super Bad teases from Trey. The lyrics to Brother included a reference to Steve McConnell.

How Phish is reimagining Las Vegas’ Sphere

C oncerts by Phish, the beloved Vermont jam band, have become known among fans as unique, once-in-a-lifetime events filled with striking visuals and spontaneous sonic explorations.

Over the decades the band has performed more than 2,000 shows and are famous for never repeating setlists — drawing deeply from their extensive canon of more than 300 original songs plus countless covers.

That hasn’t changed. But now, 41 years into their journey, the band has conceived yet another new way to experience their music live: four concerts at Sphere , the $2.3 billion venue in Las Vegas that was christened last fall with a series of shows by U2 . The Phish shows kicked off Thursday and run through Sunday night.

“It’s a paradigm shift in live music and visual (presentation),” Trey Anastasio, Phish’s bandleader and creative force, told CNN in an interview last week about the Sphere dates. “It’s … an exciting new canvas.”

Phish is just the second band to play Sphere, after U2. The state-of-the-art, spherical venue is dominated by a giant LED screen some 250 feet high that wraps above and around the audience. That vast screen, along with 167,000 speakers that ensure pristine sound, make for an immersive concertgoing experience.

But while U2 played mostly the same set list and paired songs with pre-made videos that repeated each night, Phish is taking their usual freewheeling approach.

The band is not repeating any songs over their four-night run, and each show’s visuals are different and even improvised in the moment, similar to what fans have become accustomed to from Phish’s long-time lighting designer, Chris “CK5” Kuroda.

“All of our visuals can be executed, modified, and manipulated in real time,” the band’s creative director for the shows at Sphere, Abigail Rosen Holmes , told CNN. “They will follow the band’s musical performance, rather than being locked in, allowing Phish to play as freely as they would at any other show.”

Sure enough, on Thursday’s opening night the psychedelic animations and graphics appeared to soar and glide to the music, creating 3D effects on Sphere’s huge screen. Each song featured distinct visual eye candy, from layered abstract tapestries to breathtaking scenic imagery — both earthly and otherworldly.

Daniel Jean of Moment Factory, the Montreal-based multimedia studio that produced and co-directed the visuals, told CNN that working on Sphere’s immersive’s screen “has opened the door to creativity in ways we haven’t been able to explore before. The emotions of the music, mixed cohesively with the visuals on the screen, create an emphatic moment only truly felt by those in the venue.”

Members of Phish say they studied U2’s 40-concert Sphere residency to prepare for playing the venue. Phish’s audio engineer even re-created a miniature version of Sphere’s production setup at a practice studio in Pennsylvania last summer so the band could fine-tune the shows’ look and sound.

Last week, Anastasio said it would be a challenge to use Sphere’s massive space in a way that still felt organic.

“When you see a large-scale production — you know, Beyoncé or U2 or anything that’s really a big, major pop act — the production and the music are on a click. So it makes it easier to have everything happen at the proper time,” he said. “And we don’t do that.”

But after Thursday night’s show he sounded pleased with the venue, saying he felt “an intimacy” at Sphere despite its cavernous size.

“I could see the audience so clearly, which has such a huge effect on the music. When I can look directly at people dancing, I play so much better. I can react to their energy. I did not expect that,” he told CNN via email. “It’s a huge blessing. It felt very comfortable.”

From the start Phish cultivated a profound bond with its audience

Phish’s signature sound centers around progressive rock arrangements infused with a variety of musical genres, including jazz, funk and blues and beyond.

The band formed in 1983 while its members were attending college in Vermont, where Anastasio met drummer Jon Fishman and bassist Mike Gordon. Keyboardist Page McConnell joined the group about two years later.

“We started out as a group of friends, in a room with our friends,” Anastasio said. “We would play until 1:30 in the morning, and then we would all go out to Howard Johnson’s for eggs and French toast.  Literally, like the band and the audience. And in some respects, that never changed. It still feels like that.”

In their infancy the band started playing residencies at Nectars, then a Burlington restaurant and bar with a small stage in the corner. From the beginning they practiced their complex arrangements religiously, often following Anastasio’s daily schedule detailing which times they would flesh out specific sections of each tune.

Gradually Phish built a fan base, mostly through relentless touring across the US.

“We built up this following just by playing,” Gordon says in “Bittersweet Motel,” director Todd Phillips’ 2000 documentary about the band. “It was never really records or radio or videos or anything like that that boosted our career. It was all this word-of-mouth thing.”

The fans come to shows “because they don’t know what’s going to happen,” Gordon added, “just like we don’t know what’s going to happen” — a sentiment that both band members and fans say hasn’t changed.

“We were never really in the public eye,” Anastasio told CNN last week.  “We don’t have hits, or go the Grammys, or anything like that. It’s a community, is what it is. And it really, truly is. And it still feels that way. I think that’s pretty much a big part of what makes us different.”

Anastasio says he can feel the “energy” from the crowd during each show, and that informs his decisions on what the band plays in real time — an approach Phish has taken its entire existence.

“It has a mind of its own. Everything’s fair game,” Anastasio said. “It’s like a combination of discipline and complete abandon. I don’t think you can have one without the other.”

The band’s concerts have included covers of other groups’ classic albums — and donuts

Anastasio says he enjoys spearheading the complicated logistics required to pull off their elaborate productions. His focus is making sure his bandmates stay in the moment on stage.

“If Mike Gordon is totally not thinking, he plays the sickest bass of anybody who has ever lived,” he said. “As soon as you get him thinking, he’s not playing well anymore.”

Anastasio says his most exhilarating live moments are when the band goes “completely off the map” into uncharted musical territory.

“And there are many of them … where I don’t know where the downbeat is, and I don’t know what key we’re in anymore. And my head is exploding about what Mike is playing or what Fish is playing or what Page is playing,” he said. “And … it feels like being in a tiny, tiny rowboat in the middle of a storm in the ocean.”

The band has played more concerts at New York’s fabled Madison Square Garden than any act except Billy Joel. On New Year’s Eve in 2022, Phish turned the arena into a giant undersea visual spectacle, complete with flying dolphins. A year later they created an almost fully realized Broadway show at MSG from their beloved “Gamehendge” suite, a fantasy rock opera last played in its entirety in 1994.

“People will ask us … a normal band would build something like that and then take it on tour for four years. Why do you just do these things once?” Anastasio said. “And my response would be that most of the people in the room have been seeing us for so long, we feel like we owe them a new, fresh experience.”

The band also has become well known for staging elaborate events. For Halloween, they sometimes adopt “musical costumes” and perform other artists’ classic albums, a tradition they started in 1994 with a surprise cover of the Beatles’ White Album in its entirety.

On New Year’s Eve 1999 they hosted The Big Cypress festival in the Florida Everglades, where they played from midnight to sunrise before tens of thousands of fans to usher in the new millennium.

And in 2017 they famously played a string of themed shows over 13 nights at Madison Square Garden — an event nicknamed the “Baker’s Dozen” — which included a different donut served to the audience each night.

In an era of tightly scripted concerts, this playful, unpredictable approach has endeared them to fans.

“Every single show is different, and they keep challenging themselves to be better,” said longtime Phish fan Andy Bernstein, who authored the first edition of The Pharmer’s Almanac, an encyclopedia that compiles the band’s history and statistics.

“They built an incredible bond with fans by super serving their audience,” said Ari Fink, senior director of music programming at SiriusXM Radio, where he worked with the band to create a Phish radio channel.

Fink says he understands the band’s non-traditional music may not be accessible to casual listeners.

“I can totally understand the barrier of entry that some music fans might experience when they give Phish a shot, but the playfulness and the commitment to their craft are the two benchmarks they bring to the table,” he told CNN.

The band’s members have been through a lot together

After their sold-out shows at Sphere, where top seats are commanding more than $2,000 on the secondary market, the quartet plans to go back on the road for another summer tour this July. The same month they also plan to release “Evolve,” their 16th studio album.

In August Phish are scheduled to host the Mondegreen festival in Delaware, their 11th self-produced large festival, a tradition the band started in 1996 by taking over a decommissioned Air Force Base in upstate New York.

No band endures for four decades without some turbulence, and Phish is no different. Anastasio battled drug and alcohol abuse before getting clean in the mid-2000s. The band took several hiatuses, and its future once was unclear.

But the four musicians have persevered, and they say their brotherhood has deepened over the years. Anastasio says his level of awe for his bandmates has grown consistently since they met as teenagers, and they all feel immense gratitude that they still get to create magic together onstage.

“The amount of material and the amount of shared history is just incomprehensible at this point in time. I’m trying to find some wood to knock on, but it doesn’t seem to be slowing down at all,” he said.

“Walking on stage has become consistently more emotional as the years have gone by, like we look at each other before we go on,” he said. “I can’t believe I have another chance to play with these guys, wherever we are.”

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• November 19, 1996 Setlist

Phish Setlist at Municipal Auditorium, Kansas City, MO, USA

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Tour: Fall Tour 1996 Tour statistics Add setlist

• Ya Mar ( Cyril Ferguson  cover) Play Video
• AC/DC Bag Play Video
• Foam Play Video
• Theme From the Bottom Play Video
• Mound Play Video
• Stash Play Video
• Fee Play Video
• Taste Play Video
• Loving Cup ( The Rolling Stones  cover) Play Video
• David Bowie Play Video
• A Day in the Life ( The Beatles  cover) Play Video
• Bathtub Gin Play Video
• Vibration of Life Play Video
• You Enjoy Myself Play Video
• The Star-Spangled Banner ( John Stafford Smith & Francis Scott Key  cover) Play Video
• Fire ( The Jimi Hendrix Experience  cover) Play Video
• The Squirming Coil Play Video

Edits and Comments

7 activities (last edit by pomes27 , 25 Feb 2019, 17:29 Etc/UTC )

Songs on Albums

• A Day in the Life by The Beatles
• Fire by The Jimi Hendrix Experience
• Loving Cup by The Rolling Stones
• The Star-Spangled Banner by John Stafford Smith & Francis Scott Key
• Ya Mar by Cyril Ferguson
• David Bowie
• You Enjoy Myself
• Theme From the Bottom
• Bathtub Gin
• The Squirming Coil
• Vibration of Life

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Phish gig timeline.

• Nov 16 1996 Omaha Civic Auditorium Omaha, NE, USA Add time Add time
• Nov 18 1996 Mid-South Coliseum Memphis, TN, USA Add time Add time
• Nov 19 1996 Municipal Auditorium This Setlist Kansas City, MO, USA Add time Add time
• Nov 22 1996 Spokane Arena Spokane, WA, USA Add time Add time
• Nov 23 1996 Pacific Coliseum Vancouver, BC, Canada Add time Add time

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