Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $2 million to support music education for children – hundreds of grants in all 50 states, with more on the way.
Review by IntergalacticPeaceJelly
That second set, though, was something else. Once they got going on NMINML, it felt like they were gonna go the whole set with it. Instead of the semi-usual tension and release jams they are prone to lock into these days, they went ultra-psychedelic. Page made extremely liberal use of his synths, and there were a few points where Fishman sounded like he had six hands. When they finally dropped into Carini, it almost felt awkward. They had been going so hard for so long that to be back in the middle of an actual song just kind of felt wrong. But then they were immediately back in the jam and it was like No Men's had never ended. I felt the same way when they dropped into ghost, but then they were right back in the jam once again. It wasn't until Hood kicked in that the jam felt like it had naturally landed itself on something composed. And we got a patient Hood intro, which is always nice.
Definitely a show worth a relisten. I've heard the second set a few times now and it hasn't come close to getting old. And the first set might just make you care a little more for a song or two you previously weren't a fan of.