2/17/97

An especially extraordinary show, 2/17/97 is the first of three from the Paradiso that comprise the Amsterdam box set. This show is absolutely killer top to bottom, produces exemplary versions of nearly all songs, includes a couple of stellar debuts, and features the type of long-form, experimental band-based jamming that Phish really refined in Europe ‘97. By all means an archetypical example of what makes a fantastic fucking Phish show, this concert deserves to be revisited on its 25th anniversary (as well as on pretty much any other day of the year).

Setlist Thoughts
⁃ As a huge Bob Marley fan, I love the Soul Shakedown Party debut to get this show on the road. The vocals are spot on here, and the laidback reggae groove loosens up the band for a phenomenal Divided Sky. The quiet section is serenely delicate, especially during Trey’s pause, but Jesus Christ does this take off. Though ‘97 is arguably beyond this song’s prime, this version is one of the GOATs in my opinion.
⁃ Right into Wilson, we get some fun audience participation that fees especially communal surrounded by the walls of the smaller Paradiso. The band drags out a cacophonous, lingering moment before Trey’s vocal drum fill takes us to a quick outro and > My Soul.
⁃ One of many ‘97 tunes that worked its way into the wheelhouse, this second-ever My Soul lends way for Trey and Page to really shine.
⁃ Guyute carries the torch and keeps Set I nice and fiery. Trey and Fishman are really on one here.
⁃ Amsterdam features two Timbers, and while this one is less of a highlight than that from 7/1/97, we still get some awesome mule here. I particularly love the short-lived play in major territory.
⁃ Billy Breathes gives us the first real breather since the middle of Divided Sky. Though it’s notoriously difficult to find a live version of this tune that lives up to the sheer emotional grip displayed in the studio, the band plays it out nicely and Trey gets a well phrased solo in.
⁃ Llama picks things right back up for a bit more spice and then heads into Bathtub Gin. Like Timber, this Gin lives in the shadow of its 7/1 cousin IMO. Nevertheless, we still get some nice meat out of this tune before wrapping up Set 1 with a popping Golgi Apparatus.
⁃ Squirming Coil comes out to open Set 2, and Page does a fantastic job on the outro. The band lets this bit flood over into the pre-DwD slop.
⁃ Down With Disease kicks off a crazy jam session with some juiced up Type I energy. A drawn out simmer down brings us into halftime with a lot of band interplay. Fishman fills are especially tight.
- Trey leads the charge and takes the band right into their greatest debut of all time: Carini. This one starts out nice and slow, featuring the original "piece of ass" lyrics. Pretty immediately after the lyrics end, we enter a wild stallion Type II jam that grows continuously in uncontrollable energy until almost the 11-minute mark when Fishman switches up the beat. With Trey's effects swirling in the background, Page starts some eighth-note descension that becomes the backbone of the jam for a bit. Perhaps my favorite part of the night, the band syncs up for some awesome start/stop hits that become unpredictable to the blind listener. From here, the band melts into an ethereal space. Page's organ sounds sort of like End of Session until Fishman brings in the YEM hi hats to let Page piano solo for a moment. Finally, the band comes together for a beautiful, half-light half-dark outro jam that bleeds into Taste. One of the most iconic jams in all of Phishtory.
- Though this Taste is (in my opinion) not the greatest that some people claim it to be, it is definitely well played by everyone in the band. Probably the best part though is Trey's signal to segue back to the unfinished DwD. The rest of the guys quickly pick up on the cue and come back in ablaze to bring this behemoth jam to a close.
- Suzy Greenberg features some amazing Page work and a lot of funky wah riffing on Trey's end. The dissonant build into the final verse is awesome.
- Set II wraps up with a powerful Type I Prince Caspian. The fakeout fadeaway finish into the final segment of the song hits especially hard after everything the band has left on the stage thus far.
- Sleeping Monkey and Rocky Top make up a gripping encore that sort of defines these two as encore songs in my mind. The emotional->ripping finishing touch is a perfect way to cap off this absolute gem of a show.