Phish Unfurls 30-Minute ‘Ruby Waves’ For Austin Finale

Phish wrapped up their two-night stand at the Moody Center in Austin, Texas on Saturday. The finale of the band’s first return to the area in seven years and first in Austin proper in 15 years saw the quartet offering a host of one-hitters during the first set and unfurling a 30-minute “Ruby Waves” during the second.

Phish launched night two on the University of Texas campus with “Punch You in the Eye.” The Gamehendge adjacent tune saw guitarist Trey Anastasio leaning into some warbling sustain and effects out of the gate along with keyboardist Page McConnell working some synth wizardry, continuing a more experimental approach to the “PYITE” intro the band utilized on spring tour.

The quartet then jumped right into a snappy “Free,” driven by the ride cymbal of drummer Jon Fishman and the steady thump of bassist Mike Gordon along with his customary funk explorations on the five-string. Anastasio elegantly boiled the build up back into the conclusion of the Billy Breathes opener. The bluesy shuffle of “My Soul” came next, a well-rolled rendition of the Clifton Chenier rocker with some spirited piano from McConnell and a wailer from Trey.

Gordon and Fish then led the band through Mike’s “555.” Anastasio slapped some swamp on the song’s ominous outro before he and Page paired up on some brighter licks ahead of a swerve back into the “555″ coda, which wasn’t wrapped together in the neatest of bows.

No matter, Phish swung into the favorite “Reba,” which, it must not be forgotten, features the expert woodblock work of Jonathan Fishman. “Reba” is indeed a masterclass in the technical prowess of each member, including lighting designer Chris Kuroda, who set frenetic zigzags to chasing each other during the edgy build-up. The song ended in a white light moment with Trey soaring, but went sans whistling.

Instead, the band somersaulted into “Hey Stranger,” the opening salvo off their most recent studio album, 2024’s Evolve. Anastasio delved into some growling, auto-wah-inflected work during the instrumental foray, with bubbling bass from Gordon underneath and quacking clavinet from McConnell. Trey cycled through multiple peaks and valleys during the transposed section.

Next, Fish ushered the band into “Plasma” with some nifty snare work. The quartet dropped into a vibey shuffle with Page on his Wurlitzer electric piano. A flurry of flighty licks from Anastasio lit the band into a bubbly major section, a nice juxtaposition to the angst of the previous sequence, which the band smoothly slid back into as Trey worked the “Plasma” theme back in to conclude the song.

The reggae-tinged “Guelah Papyrus” was next on the agenda, another technically tricky tune which was executed well right down to the choreography. David Bowie’s Ziggy Stardust anthem “Moonage Daydream” brought the first set to a rollicking close, punctuated by a soaring solo from Trey.

“Chalk Dust Torture” got the second set off and running. The improvisation began with a lock steady groove from Fishman over which the rest of the band draped mellow musings. Things began to gain steam when Fish went to the fills, inspiring higher energies from the melodic players, which just as quickly dissolved into “Twist.” The torqued out Farmhouse cut contained a saucy romp that rambled into high gear with some fretboard fireworks from Anastasio. “Ruby Waves” rolled into Moody next.

To begin the improv, another shuffling snare led the band into a serene sequence that saw Trey and Page linking up on a pretty line. Anastasio then gave the jam a bit of a bite with some right hand work as McConnell unfurled cascading electric piano and Mike dive bombed on the bass. Trey then began looping some peacock call-like notes as the improv took on a controlled chaos which spread out into a sci-fi soundscape with eerie synth stabs from McConnell.

A bounding groove emerged, laced with tom fills from Fish and percolations from Gordon. The band recaptured the serenity of the first jam section, almost “Hood”-like. The music then became more boisterous led by Trey and rocking piano from Page, who then switched to clav as Anastasio turned back to rhythmic work in a funkier sequence. Mike threw on a growling bass effect, giving an edge to the jam over rolling fills from Fish. The improv then entered into a triumphant phase with Anastasio taking flight on some ridiculous runs.

The band then spiraled back down into a sinister soundscape and silky transition into Evolve cut “Monsters,” a tune that is just built for Trey to wail on. “Limb By Limb” swung into the Moody Center next. A jaunty jam ensued boasting bells and whistles aplenty from Trey and Page as Mike and Fish held down the groove.

“Split Open and Melt” materialized next. A rolling, repeating riff from Anastasio heralded the jam with Mike flipping around the Serek. Trey then put a screechy sheen over the music accompanied by shimmering, crashing cymbals from Fish and demented piano from McConnell before moving to the Moog. Full on freak out mode before bouncing back into the “SOAM” hits. McConnell then led the band through a rowdy rendition of The Velvet Underground’s “Rock and Roll” to seal the second set.

The quartet cooled things down with “Waste” to begin the encore. The funky Kasvot Växt number “Say It To Me S.A.N.T.O.S.,” complete with an Anastasio smoke show, brought Phish’s first trip back to Texas in seven years to a close.

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Livestreams for Phish’s remaining Summer Tour 2025 shows can be purchased at LivePhish.com.

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