Phish Dials Up Historic Jams To Wrap 2025 Spring Tour At Hollywood Bowl

Phish returned to the Hollywood Bowl to wrap a three night run at the historic Los Angeles amphitheatre as well as their 2025 Spring Tour. The band delivered a first set highlighted by classics and newer tunes while the second set was full of fantastic soundscapes and historic jams.

Phish kicked off set one with “The Landlady,” having just played the song it is now contained in, “Punch You in the Eye,” in San Francisco on Wednesday. As a standalone, “The Landlady” was a 110 show bust out, last played on August 14, 2022.

“Cavern” bounced into the Bowl in the second song slot. The faithful rendering of the A Picture of Nectar favorite gave way to “Llama,” anchored by drummer Jon Fishman’s galloping beat and carrying the customary organ rave up from keyboardist Page McConnell. Trey Anastasio’s run swerved into a buoyant sequence with the guitarist working the backward effect before diving back into the minor and the song’s conclusion.

An L.A. “Sand” followed. Trey got to the swampy stuff to start off the jam with bassist Mike Gordon providing some squishy bass to foil. The “Sand” jam too toggled major with Anastasio circling a peak accentuated by rolling fills from Fish, a sequence that spilled back over into the swamp before landing back on the “Sand” riff.

It was then time for a trip to Gamehenge with “The Lizards.” Next, Phish jumped into “Hey Stranger,” the opener on their 2024 studio album, Evolve. The song has a sinister slant melded to crunchy clavinet from McConnell. Trey began the improv with a gravelly auto-wah romp. Anastasio then tore into some rocking riffage with Page manning both the Moog and piano signaling a return to the tune.

“Timber (Jerry the Mule)” came next. The jam began with Trey looping up a soundscape and Page serving up shooting stars on the Wurlitzer electric piano in a very vibey sequence as lighting designer Chris Kuroda laced the bandshell with purples and blues. The band slowly swam from the bottom of the ocean into shallower seas where the ecosystem is more frenzied and finally back to the forest where Jerry resides.

“Joy” was next on the agenda, a rusty rendition with the best of intentions. Trey found a firm grasp on the song during his rolling riffage during the coda. Page then brought his “Most Events Aren’t Planned” in a double attack of Moog and rock ‘n’ roll Wurli. A raucous rave ensued with Page pummeling the piano amid howling guitar from Anastasio and glue guy drumming from Fish. A solid ending to the first set.

Read on after The Skinny for the rest of the recap and more.

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“More” launched the second set before the quartet dipped into “You Enjoy Myself.” Peaks and valleys were navigated, notes were sustained and trampolines were bounced upon. Trey almost said “shit” when he should have said “god” but caught himself. A good time was had by all. Page proffered excellent synth stylings during the “wash uffizi” breakdowns.

Anastasio slow-boiled the funk jam through tiered peaks ahead of Mike washing the Bowl in percolating bass. A quick vocal jam saw Fish firing up the kit before the rest of the band landed back in a darker funk jam that coalesced downward, uncannily linked by swirling notes from all four members. A blissful motif emerged from the madness, which brought “You Enjoy Myself” into a spreading soundscape laced with swirling synthesizer from McConnell.

A short, jazz-inflected sequence brought the band round to “Twist.” A velvety soundscape oozed like molasses from the first chorus of the Farmhouse cut, expert level dynamics. Trey worked in riffs that Fish draped intricate fills around. The jam gained momentum as Anastasio and McConnell danced around each other, sometimes coming together, sometimes playing counterpoint to one another. “Twist” swooped out of the mist for a final appearance.

“Kill Devil Falls” rocked into the amphitheatre next. Trey laughed off a flub during the song’s main riff ahead of Gordon wheeling the band into the improv with a rolling bassline. Anastasio dialed up some wild rising swells on his pedal board then conjured howls from the Languedoc with Page weaving Moog lines around as things got spooky and blended like a DJ working the faders back into “Kill Devil Falls.”

Next, the opening strains of “Lifeboy” lit around the open space in the heart of Hollywood. The band delivered the ballad with precision and grace. Feels. “Also Sprach Zarathustra” inserted movement into the situation. The “2001” dance party in Los Angeles featured some outstanding interplay between Trey and Page. A spirited “Say It To Me S.A.N.T.O.S” brought the second set to raccoons close.

“Fuego” rolled into the Hollywood Bowl as what presumably might be the first of a two-song encore. Mike delivered a furious bass barrage to kick off the middle breakdown. Nasty stuff. A falling leaf jam descended, adding to the soundscape motif of the second half of the show. The leaf finally found its way to a scurrying forest floor, alive with shuffling snares, earthy bass and shimmering synthesizer, all rolled together in repeating guitar riffs. The band looped back in a rolling pulsating final salvo to bring “Fuego” and Spring Tour 2025 to a close.

Phish.net’s Scott Marks noted the historical significance of both “You Enjoy Myself” and “Fuego.”

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The Skinny for Phish Spring Tour 2025 has been sponsored by tryply.

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Phish kicks off their 2025 Summer Tour on June 20 in Manchester, New Hampshire.