For a majority of their 21 year career, Phish continued to reinvent themselves, push boundaries and further develop as a band. In the fall of ’97, that forward progression manifested itself into a stripped down funk that dominated jams and engulfed full sets. Long, drawn out spacey improvs were replaced with steady beats and tightly structured grooves – and most fans loved it.
As the story goes, sometime thereafter, Phish was preparing to record their next album – Story of the Ghost – and they gathered alone for pre-production recording and practice sessions in a rented farmhouse in rural Moscow, Vermont. After working out many new songs, most of which incorporated this new stylistic approach, they decided to try them out in their more comfortable live setting. An overnight ticket announcement sent the faithful flurrying, and the first “U.S.” spring tour since 1994 was set. Well, a tour of only four shows, but what fans got in that short time was a pinnacle of that Phish progression – the funk wave cresting, the band more relaxed than ever, and the first inklings that the old maniacal precision was gone for good.
The two night run in Nassau kicks off with an electric funk “Tube” opener that crashes its way into an epic nineteen-minute plus version of “Stash,” and the tour is off and running. But it’s the second set that will be remembered for the debut of two new songs, “Birds of a Feather” and “Frankie Says,” with the former eventually becoming the band’s trademark song of ’98. The “Wolfman’s Brother” >”Sneaking Salley Through the Alley” is a gold mine for funk lovers with it’s deep bass/drums, while a thick “Twist” emerges even though it’s still in infant stage. Although moments of 4/2 can be misconstrued as rusty, its more an indication of the band’s unique approach captured here forever. Building on the fall ’97 funk, the “Island Tour” is that funk, but much more patient, relaxed and laid back. Each song is allowed to breathe slowly, and this show set the precedent for the rest of the run.
The following night gets off to an equally favorable start with a “Mike’s Song” opener, leading to “Crosseyed and Painless” teases during “Weekapaug Groove.” “Roses Are Free” is truly opened up for the first time as a jam vehicle, leading into a pinpoint “Piper” which was garnering itself as a solid post jam reprise. The “Roses” and “Piper” segments are set defining versions that make owning night two essential. But this night belongs to drum tech, Pete Carini, as the band notes “Carini’s gonna get you” in the intro to “Run Like an Antelope,” and follow with more Carini teases before playing his then infrequently played namesake song as an encore. Of course this all happens following an animated fan chase onstage after “Loving Cup.”
Though it’s the bonus soundchecks included as filler that gives you a special invite to the band’s now legendary “pregame” material. A loose version of “Funky Bitch” was played with a very mellow vibe that sounds like a Phish version of “garage days revisited” and would satisfy any blues purist, coupled with the extended “Nassau Jam.” The “Providence Soundcheck Jam” is a nine minute opus that rekindles a late 90’s “Tweezer” jam, while the “Shafty” ventures into dark territory where Anastasio leads the way into some unprecedented guitar adventures. And a soundcheck version of “Roggae” has the band shouting out the song title in sloppy fashion, unheard in any previous live versions, probably for the better, but certainly worth hearing.
The next island on the tour, Rhode Island, follows suit with yet another monster opener. “Tweezer” – a song already known for monstrous capabilities, but invincable once the funk took it over – roars out of the gate and lays it on thick before subsiding into an unusually strong “Taste.” Though again, it’s the second set that attains the heightened levels of necessary relaxation and launches the band past previous benchmarks. “Birds of a Feather” begins its heavy rotation status before it inevitably signs over to the mother of funk, “2001,” and the rare “Brother.” It too fits the style so well, the band calls for it twice, playing a quick “Brother” snippet in coy celebration of a stellar version. Aborting of course, they opt to dive into another title synonymous with funk, “Ghost,” followed by “Lizards” and an always rousing “Bowie.” If that’s not enough, the encore is “Harry Hood.” But it’s all dwarfed in the shadow of the next night…
The final night of the run proves to be the culmination of them all, with the band bringing their new slowed, patient approach to everything they touch, and obviously pleased with the results. If the previous openers were pace setters, “Oh Kee Pah” into “You Enjoy Myself” is the victory lap. A surprising couple, it signified to most fans this would be no ordinary night, and a rare “McGrupp” shows up to drive the point home. All of this before the band slides into a hell of a first set tirade including “Bathtub Gin,” “Cities,” “Sparkle” and “Split Open.” It would take an even more impressive closing to the second set to outdo it, and they see the bet, raise it, and deliver a coveted must hear. Following a heated “Maze,” the band debuts “Shafty” which quietly makes its way in and settles the band down enough that they don’t want to quit the jam, not to mention the show, or even the tour for that matter. A highly funked out “Possum” emerges from the smoke, and as it develops into something entirely new, eventually becoming a funk jam loosely based on the “Cavern” structure, Trey notes if people want to take off, they can, but for those that want to dance to the funk, they can stick around. Needless to say, no one leaves.
If any four night run is a moment in time for Phish, the Island Tour epitomizes the power of a snapshot. It’s one of the last high peaks before hitting some low valleys ahead.
