Phish Plays Longest ‘Mike’s Song’ At Penultimate Show Of Madison Square Garden Residency

Last night was the 78th time Phish has played Madison Square Garden. They have now surpassed Elton John as the artists who have played the second most times at the storied venue (second only to Billy Joel).

Leading up to this historic seven-night run at Madison Square Garden there was much discussion of whether or not there would be a theme and multiple rumors ran rampant online. As night six came to a close last night there was no denying that Phish didn’t need a theme or a gimmick to make this run a success. The strength of their playing, the extensiveness of their catalog, and a few thoughtful nods back to their history were enough to carry them through and impress their critical fanbase and then some.

After a well-deserved and well-needed day off (for the fans mostly), Phish took to the stage with the classic opener, “Buried Alive.” Despite seeing this band for 29 years, I had never heard this song live. Only for a band with this deep of a catalog would this be possible! Before last night it had been played 165 times and was my second most commonly played but not seen song. I had just over a 5% probability of seeing it, and last night I hit the jackpot.

This song immediately sends you into a Phish show and has the lore of being the harbinger of a good show. As the night went on, I felt that the lore held.

Wasting no time the band launched into “The Moma Dance,” a great early set one choice that gets the crowd grooving. This version barreled along, had a more driven feeling than usual, and a blistering little peak at the end. The feeling that this band is on a mission has been prevalent throughout this run.

Their mission last night led them next to “46 Days.” The rocker wasted no time and by three minutes in, the band was playing a contemplative and interesting jam. Guitarist Trey Anastasio’s butter-rich tone came soaring out of the darker themes as he played melodic riffs that keyboardist Page McConnell echoed. Anastasio danced along making slight variations on the melodies until he found a glorious high note and held that sustain while the crowd roared. McConnell played with soul underneath and drummer Jon Fishman crashed the peak to shore. Anastasio found the song’s riff and brought the band back to conclude the over 12-minute version of the song. The set was on fire only three songs in.

Next up was the debut of “Back in the Bubble.” A song written by bassist Mike Gordon, this was the 10th original debut from the band on this tour. Anastasio turned to face Gordon as he played the song, providing some nice harmonies.

The slower new tune affected the flow of the set and the band countered with the 33-year-old classic, “Bouncing Around the Room.” This song was on regular rotation in the early to mid ‘90s and I always appreciate hearing the throwback. “Birds Of A Feather” roared out the gate next and was a perfect energy lifter. Anastasio led the jam again with clear melodic playing as he has been doing throughout the summer. After an eight-minute journey soaring above the clouds, Anastasio found the riff back into the song and slowly but energetically let it bounce back to the song like a plane hitting some turbulence.

The danceable, joyful “Halley’s Comet” is always welcome and had some extra fun with Anastasio changing the lyrics, singing, “I’m going down to the central part of New York City, right here!” After the song proper, Trey put his effect pedals to good use, dropping some dark notes to make a sharp turn out of the buoyant tune. The jam may have been short but the interplay and listening between the band members was notable and had some of us hoping for a longer, jammed-out “Halley’s” as we have seen a few, memorable times over the past few years especially.

Alas, it did not go deep, but Trey found the riff to “Roggae” and it was a nice segue out of “Halley’s” with Fishman’s fills dropping out at the perfect moment to let the song begin in earnest. The band’s ability to segue between songs has been impressive this tour. “Roggae” allowed the band to get quiet and Anastasio sounded playful, teasing “We’re Off to See the Wizard” and continuing to dance along, trilling above the delicate rhythm section led with ease by Fishman.

“Run Like an Antelope” closed set one with that wild energy only Phish can create at Madison Square Garden. I was sitting in section 111 behind the stage last night and that viewpoint must be experienced. Missing only the tremendous light show from lighting extraordinaire Chris Kuroda (see the recent write-up in The New York Times), what you gain is the ability to see what the band sees and watch the crowd dance in glee and explode in joy. And this “Antelope” gave ample opportunity for both.

The speed and intensity of the peak of this song are hard to overstate. Anastasio showed that even though they have been playing this song for 38 years, it still inspires him to new heights. You could hear the playfulness as he said the line, “Been you to have any spike, man?” and echoed the “man, man, man.” It’s Trey’s world and we are all just living in it.

“Antelope” was also the first opportunity to feel the floor bounce, something that frequently happens in this elevated round room. The first sets on this run have been well above standard. Thinking especially of nights one, three, four and five. Those sets flowed with perfection, had some incredible, deep jams, and showed inspired setlist construction. It’s a tall order to deliver first sets at that level every night and last night they came close. But set two was where the real magic took place.

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

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On Wednesday night, the band opened set two with “Cavern” and played it in a slowed-down funk style, something they had only done once before to close the final set on the famed Island Tour in April 1998. This nod back to a massive moment in the band’s history was an acknowledgment of past achievements and something some fans never thought they would see live again. Last night’s second set opener also nodded back to a show eight years ago.

On August 4, 2015, the band played a “Mike’s Song” that contained a “second jam” for the first time in over 15 years and was influenced by Anastasio’s rehearsing for playing with members of the Grateful Dead for “Fare Thee Well.”

Last night, the band sounded inspired and cohesive during the first jam building to the monster peak with authority. Hearing the band launch into the “second jam” on the anniversary of that famous version was thrilling, to say the least. McConnell added depth on the organ and Anastasio played discordant notes above it, switching deftly to his effect pedal to add crunch and bite to his playing. Gordon maintained the groove with Fishman always pushing forward and the crowd roared as we realized this was going the distance.

A distorted, textured funk groove felt right in the pocket and I reflected on how much this band had locked into melody and groove on this tour. It has felt so effortless for them and this has made the shows so danceable and lighthearted at times. Trey again found those soaring notes and built a super high, sparkly peak but let it meander its way to the conclusion. When it arrived it was meatier and juicier and Anastasio finished it off like the rock star that he is, playing high and tight.

The jam landed perfectly chewing up the scenery. Wow. Last night was the longest-ever “Mike’s Song” clocking in at 23 minutes and 47 seconds, and just like the show prior’s “Cavern,” it gave fans an excuse to cue up an old show the next day and remember where they were when they heard the “Island Tour Cavern” or the long-awaited return of the second jam in “Mike’s Song.”

Forgoing the usual “I Am Hydrogen” and showing this wasn’t going to be an everyday “Mike’s Grove,” “Sand” followed “Mike’s Song” for the first time. This song is a lyrical triumph and gets gritty and funky, benefiting from the bassline written by the beloved and well-missed Trey Anastasio Band bassist, Tony Markellis. Barely three minutes in, the band sounded ready to jump into the deep end with Anastasio playing with an almost plinko feel and using a delay to create a cool, looping shooting star effect. The jam got quiet and pretty, finding that effervescence that seems so readily available to them these days.

They reentered crunchy territory again and seamlessly segued into the cover of the Talking Heads’ “Crosseyed & Painless.” The band held the crowd in the palm of their collective hand and the floor bounced again as the dancing rocked Madison Square Garden. A small lyric flub didn’t diminish the power of this crowd favorite. The song is like an adrenaline shot and never fails to take a set soaring.

Fishman kept the jam moving along at the relentless pace of the song and Anastasio went looking for the light again. The whole band moved as one, galloping like a horse through an endless pasture. The song briefly returned to its theme and then the pasture led to an open field where we came upon an old home with two lovers amid the hardest thing one can do while in love.

The song “A Life Beyond the Dream” was played for the 24th time and I hope I am in the building for every single one of its performances moving forward. The gorgeous, sad love song is one of Anastasio’s most successful songs in recent years. His guitar playing is filled with soul and packs an emotional punch at the end that is Broadway-worthy.

Having earned this moment to catch your breath, the band was ready to please the crowd with “The Lizards.” A classic from the Gamehendge saga, Anastasio played with tempo slightly while singing, leading to a small flub. Despite debuting in 1988, I have only heard this song five times, so this song feels special when it is played. A reminder of a time when the band told more stories and jokes, it always makes me feel nostalgic. The gorgeous instrumental section let McConnell shine on the piano and Trey played the solo with emotion and precision.

On Tuesday at MSG, the band closed set one with the rarely played cover of The Beatles’ “I Am the Walrus” and made the monster decision last night to close set two with another Beatles’ cover, “While My Guitar Gently Weeps.” It was my first time hearing them play this classic song and hearing Anastasio rip the guitar solo was worth the cost of admission. I am loving the band’s choice to end some sets by covering another four-piece classic rock band during their seven-night residency at The Garden. The crowd roared after this song for well over two minutes.

Encores have also been incredibly inspired on this tour and last night’s did not disappoint. Closing the loop on “Mike’s Grove” was “Weekapaug Groove.” A feel-good dance number that always peaks in the best way possible. I was watching Trey at the end of “Weekapaug Groove” as he turned to Fishman and nodded with a maniacal grin as if to indicate, “That’s right, we’re doing this” and launched into “Fluffhead.”

Pleasing himself and the crowd, Anastasio and the entire band delivered a flawless performance of the incredibly complex, composed song which provides many opportunities for the audience to sing along and jump up and down. The song is almost as old as the band but has only been played in the encore slot eight times. It’s a tremendous way to send the fans out on a high note before their final MSG show tonight.

The band continues to show us they don’t need a thematic element, a spelled-out setlist, or a giant whale to prove they deserve to play seven nights in the world’s most famous arena. They have earned it through 40 years of innovation, songwriting, improvised and inspired playing, and deep friendship. Whether you are in the building during this run or watching the stream at home, Madison Square Garden is Phish’s home court and we’re lucky to have courtside seats. Tonight will be big, and I’ll be there cheering, “Let’s go Phish!”

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Phish’s seven-show MSG residency concludes with a final show tonight, Saturday, August 5. Watch that show and the rest of Summer Tour 2023 via LivePhish.com.

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