Trey Anastasio Fits Acoustic Debut & Bust Out Into 1st Delaware Performance Since 1994


Trey Anastasio continued his solo acoustic tour last night at the recently renovated Grand Opera House in Wilmington, Delaware. Anastasio hadn’t performed with Phish, TAB or any of his projects in Delaware since April 18, 1994 – a span of 8,253 days. The Phish guitarist mixed songs from Phish and TAB with stories over the course of the evening.

Anastasio kicked off the show with tour debuts of “Gumbo” and “Cayman Review.” The latter was performed acoustic for the first time since 2002. He then admitted he was a Jets fan and that the only joy he’s gotten out of his fandom for the team was when the Patriots lose. Trey went on to tell the story of the night Phish was booed off the stage while opening for Santana in Deauville, France on July 9, 1996. He explained the crowds in France show their displeasure by whistling and most in the audience started whistling as soon as Phish took the stage. Bassist Mike Gordon didn’t realize the whistling meant “boo” until Trey filled him in. “Brian & Robert” followed the story.

Trey then dusted off “Mountains In The Mist” for its tour debut and “Mercury” for its first ever solo acoustic performance. Another surprise came next with the return of “Black,” a tune from Anastasio’s 2005 Shine LP that was last performed acoustic in 2011 and electric in 2014. He admitted he hadn’t played “Black” in a long time that it was a breakup song about another couple. Trey shared an update and said things didn’t end well for the pair. “Cavern” then saw action for the first time this tour and was followed by the instrumental “The Inlaw Josie Wales,” the tour debut of “Winterqueen” and Joy favorite “Light.” The former was dedicated to Abbi Jacobson and Ilana Glazer of Broad City fame. (Watch Abbi & Ilana’s reaction below)

Anastasio took a moment to say it takes little talk of other peoples’ political views to turn his stomach, “I really couldn’t give a fuck,” the guitarist said in frustration to all of the turmoil that goes with politics these days. He revealed Phish’s drummer Jon Fishman tried to get him and Phish keyboardist Page McConnell to go public with their political views to which Trey responded, “No! No! No!” The concert rolled on with “The Wedge” and Anastasio’s newly-penned instrumental he wrote during his friend Chris “CCott” Cottrell’s final days, “Till We Meet Again.” Another story followed, as Trey talked about growing up on a block in a New Jersey suburb and working enough as a 15-year-old to buy a moped. “I felt like I was in The Wild Ones smoking a cigarette, riding my moped,” Anastasio recalled and talked about how he hooked up a tape deck to the moped and would often play “A Whiter Shade Of Pale” by Procol Harum. Trey then recalled how he had a friend jump on the back of the moped and Anastasio kidded him that the brakes didn’t work. His friend hopped off the moped in horror and needed to be bandaged up, something Anastasio said he’s felt bad about ever since. The guitarist then played “Waste.”

For the final portion of Tuesday’s main set, Anastasio strung together a run of “Farmhouse,” “Theme From The Bottom,” “Fuego,” “The Horse,” “Silent In The Morning” and “Backwards Down The Number Line.” Trey then returned to the stage to end the evening with an encore of “Strange Design” and “The Lizards.”

Watch full show video thanks to noochnooch:

Here’s Abbi & Ilana’s reaction to Trey’s dedication:

Listen to a recording of the entire show starting with “Cayman Review”:

Setlist (via

Set: Gumbo [1] > Cayman Review[1], Brian and Robert[1], Mountains in the Mist[1], Mercury[2], Black[1], Cavern[1], The Inlaw Josie Wales[1], Winterqueen[1] > Light[1], The Wedge[1], Till We Meet Again[1], Waste[1], Farmhouse[1], Theme From the Bottom[1], Fuego[1] -> The Horse[1] > Silent in the Morning[1] > Backwards Down the Number Line[1]

Encore: Strange Design[1], The Lizards[1]

  • [1] Trey solo acoustic.
  • [2] Trey solo acoustic debut.

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Trey Anastasio