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Review by fhqwhgads
The second set opens with Fish playing keys, eventually resolving into Timber (Jerry.) This Timber is a great example of how 8 minutes or so can pack a real wallop; it gets spacey without losing focus, and wraps up with characteristic panache. Bathtub Gin sees the first long jam of the set, and wades into some pretty interesting territory even with Mike probably thinking at the time that Trey was "play(ing) too many notes." In other words, it's a rocking, powerful Gin. Segue into Cities, and oh, what a Cities! It's extremely multifaceted in much a similar character to a Fall '94 or Summer '95 Tweezer, but with textures that integrate the cowfunk and synthwork from MC Neon Cell Gap before almost moving into Limb by Limb again (again, to my ears) though they decide to settle into Stone(s): Loving Cup. Slave is the set closer, and I have a dirty little secret: Slave to the Traffic Light is probably my least favorite of Phish's "big guns." I can enjoy one, no problemo Bartdude, but I'd rather hear Harry Hood in the set closer slot or at all in a show. Needless to say, I don't have much to say about this Slave. When the Circus Comes closes the show, and I feel like this a lot about ballady type (read: slower, more traditionally emotive) songs, but Trey's vocals could almost bring me to bittersweet tears depending upon the circumstances.
I've rated this show 5 stars, because of all the noteworthy jams but also for the sheer exuberance on display, particularly in the Wormier segments of the show. Must-listen quality Phish.