Phish Dicks 2024 Night I Review

Night one of the annual Labor Day weekend run at Dick's Sporting Goods Park in Commerce City, Colorado kicked off with a strong first set.

Cities opened the show, surpassing expectations for a typical opener. The jam built in intensity throughout, rivaling the previous version from earlier in the summer tour.

Down with Disease kicked off with an unconventional intro, possibly due to some experimentation with Mike Gordon's new pedal setup. This unexpected start set the tone for a version that would defy expectations. The composed section was played with precision, with Trey Anastasio's guitar work particularly sharp.
The jam began in familiar territory, with Mike and Jon locking into the song's signature groove. Around the 8-minute mark, it seemed the band might be steering towards a concise version, with Trey hinting at the song's ending progression. However, Page McConnell introduced a series of atmospheric piano chords that caught the band's attention, leading them to explore further.
This second phase of the jam saw the band venture into more experimental waters. Trey began employing a range of effects, creating swirling, delay-laden textures that contrasted beautifully with Gordon's grounding bass lines. Jon's drumming became increasingly dynamic, moving from driving rhythms to more syncopated, almost jazz-like patterns.

A particularly noteworthy moment occurred around the 15-minute mark when the band hit upon a spacey, almost ambient section. Page's synthesizer work here was crucial, providing a bed of sound for Trey to weave melodic ideas through. This segment demonstrated the band's current willingness to embrace patience and allow ideas to develop fully.

The jam reached its peak with a series of ascending chord progressions led by Trey, with the rest of the band building in intensity behind him. Rather than returning to the Disease theme, they opted for a gentle fade-out that segued smoothly into the next song.

Ether Edge, despite being a relative newcomer to the Phish catalog, was handled with confidence. The composed section was tight, showcasing the band's quick mastery of their newer material. The subsequent jam was largely Trey-led, but far from a one-man show.

Trey began with a series of melodic ideas that referenced the song's main theme before gradually moving into more abstract territory. His use of loop pedals was particularly effective here, creating layers of sound for him to solo over. Around the 10-minute mark, Gordon began to push the jam with some aggressive, almost funk-like bass lines.

Page's contributions were subtle but crucial, providing textural elements that filled out the sound and responded to Anastasio's leads. Fishman demonstrated great sensitivity, his drumming evolving from a steady rock beat to a more fluid, jazzy feel as the jam progressed.

The peak of the Ether Edge jam came with a series of soaring guitar lines from Anastasio, backed by thunderous rolls from Fishman and swelling organ chords from McConnell. Just as it seemed the jam might wind down, Anastasio hit upon the opening riff of Llama, executing a seamless transition that caught both the audience and, seemingly, the rest of the band by surprise.

This sequence demonstrated Phish's current improvisational strengths: their willingness to explore deeply within even newer songs, their ability to change direction on a dime, and their skill at crafting seamless transitions between disparate pieces of music. The Disease > Ether Edge > Llama sequence will likely stand as one of the highlights of the show, showcasing both compositional prowess and improvisational daring.

Theme From the Bottom made another appearance, tying it for most-played song of the summer. Despite its frequency, the band delivered a solid rendition.
Sugar Shack saw Trey handling Scott Murawski's guitar parts competently, a marked improvement from some past performances.
Ocelot deviated from its usual structure, eschewing the typical build-and-crescendo for a more exploratory jam featuring contributions from all band members.

Guyute followed, initially feeling like a set-closer, but the band had more in store.
Blaze On closed the set with the kind of high-energy jam many expected from Ocelot, sending the crowd into setbreak on a high note.

Set two opened with a treat for the audience and livestream viewers alike: a Ghost featuring an impressive light show. The jam began with its characteristic funky groove, with Mike Gordon and Jon Fishman locking in tightly. Trey Anastasio's initial leads were restrained, allowing the tension to build gradually. Around the 8-minute mark, Page McConnell introduced some spacey synth textures, shifting the jam's direction. Anastasio responded with some delay-heavy licks, creating a swirling, psychedelic atmosphere. The jam peaked with a series of soaring guitar lines from Trey, backed by thunderous bass bombs from Gordon.

Wave of Hope continued the improvisational streak. The composed section was executed flawlessly before giving way to a patient, building jam. McConnell's piano work stood out here, providing a melodic foundation for Anastasio's more abstract guitar explorations. The jam reached a blissful peak around the 12-minute mark, with all four band members locked in and pushing the energy higher.

Sigma Oasis delivered one of the night's strongest jams. Gordon took the lead early, his bass lines driving the jam into unexplored territory. There was a noticeable shift around the 10-minute mark where the band seamlessly transitioned from Type I to Type II improvisation. Fishman's drumming became more intricate, providing a complex rhythmic backdrop for the others to play off. Anastasio and McConnell engaged in some beautiful interplay, trading melodic ideas back and forth while Gordon and Fishman held down a rock-solid groove.

Pillow Jets emerged as a highlight of the night, with Page McConnell steering the jam through various directions. The early stages of the jam saw McConnell experimenting with different keyboard sounds, creating an otherworldly atmosphere. Anastasio's guitar work, while occasionally overpowering, had its moments of brilliance, particularly during a sequence of crystalline arpeggios that seemed to float above the mix. The jam featured some unexpected sounds, possibly from Page's rig, that added an element of unpredictability and kept the audience on their toes. There was a particularly exciting moment around the 15-minute mark where the band hit upon a driving, almost Talking Heads-esque groove before dissolving into ambient territory.

A brief but energetic 2001 led into a patient, well-constructed Harry Hood. The Hood jam took its time developing, with each band member contributing meaningfully. Fishman's drumming was particularly noteworthy in the early stages of the jam, his subtle cymbal work and shifting rhythms providing a dynamic foundation. Gordon's bass playing was melodic yet anchoring, allowing Anastasio and McConnell the freedom to explore. The jam built slowly but surely, with Anastasio's guitar lines becoming increasingly passionate and McConnell's piano work adding layers of complexity. The peak, when it finally arrived, was cathartic, with Anastasio unleashing a series of soaring leads that brought the set to a triumphant close.

The encore of Say It To Me S.A.N.T.O.S. felt somewhat perfunctory after such a strong show, but did little to diminish the overall quality of the night's performance.

In summary, the first night at Dick's demonstrated the band's current strength, featuring exploratory jams in unexpected places (Ocelot, Pillow Jets) and consistently strong playing throughout. If this show is any indication, fans are in for a treat over the rest of the weekend.