Summers of 1994, 2004 and 2014

They sound like a band on a mission, crossing the country with a new album in tow and a sense of purpose. They hit the new songs hard, and long before the tour even ends the new tunes are instant classics - jam vehicles that soar, pop numbers that swing, funk that shakes. Everyone leaves the shows feeling good about what they experienced, and the hardcore fans are excited to hear what comes next. 

That description applies equally to Phish in the summers of 1994 and 2014. 

Of course, in 1994 they played a heck of a lot more shows. They were in the process of conquering the country, making sure every college kid got a taste of this new thing they were offering. Summer tour that year was an extension of the spring tour, as they promoted 'Hoist' while perfecting and stretching the songs of the first Phish decade. I defy you to find one "Tweezer" that was not phenomenal; a "David Bowie" that did not destroy everyone by the time of its frenzied ending; or a "You Enjoy Myself" that did not serve its multiple purposes of booty-shaking, nirvana-reaching and vocal weirdness. 

While each show was stunning in its own right, there is an amazing arc that can be heard when listening to all of it straight through. The band is still improving and the audience is still learning what these guys are all about. Audiences were being encouraged to follow along on these strange musical journeys - the Gamehendge story was told in its entirety for the last two times. Musical teases and references were being carried over from one show to the next. A connection developed between band and audience, linking show to show. 

The jams were wild and experimental, the solos were raging and peaking, the bluegrass was fast and energetic. However, Phish had not quite learned how to reach the depths of dirty funk yet. A friend of mine once differentiated music that sounded vertical vs. horizontal. I can not explain it, but I totally got it. Phish was very vertical at the time; it would be a few years before they got horizontal. 

Twenty years later, Phish has lost the youthful energy that sent every "Split Open and Melt" wailing into the stratosphere, made every "Run Like an Antelope" a thorough workout, and made every "Sparkle" end with such frenetic speed that it was difficult to even find the downbeat. But experience, patience and practice has breathed new life into the oldest songs and given the new tracks the meat on which to gnaw. 

"Everybody gets a 'Fuego'" was a meme on Twitter as Phish broke its old rule about playing any songs two nights in a row. And why not? "Fuego" is such a fantastic new song that to deprive a one-show venue of it just because it was played at the previous one is ridiculous. 

Phish made its own rules and broke them as summer 2014 got underway. It continued the no-cover-songs edict that began when they broke that other rule last Halloween about covering another artist's album. Then the band broke that rule, too, as covers started creeping back in. 30 years into their career together, these four guys still know how to keep us guessing. 

While "Tweezer" took a backseat as the major powerhouse, other classics like "Chalk Dust Torture" and "Bathtub Gin" kept the jam juices flowing. Elsewhere, the funk of "Sand", the bright positivity of "Light", and the accelerating tension of "Piper" provided forums for the kinds of improvisation that could not have been achieved 20 years ago. The 1994 Phish certainly did not have the greasy groove of "555" or effortlessly silly syncopation of "Wombat". 

Plus, what Phish lacked in amount of shows this summer, it made up for in length of each. The average 1994 show was around two and a half hours. The average 2014 show exceeded three, with one show in Maryland (the wackiest show of the tour, with crazy song segues and a hilarious Jon Fishman vocal/vacuum turn) clocking in at three and a half. I can run a marathon to that show. 

And then there is the summer of 2004. Coming halfway between a summer of growth and a summer of rebirth, it was a summer of finality. The announcement came in May that the June and August shows would be the last. My tour buddy for the first leg, Jesse Jarnow, said at the time that he wanted it to be like a Viking funeral. 

At first, I thought he might have gotten his wish for a two month ending that sent the whole thing off in a glorious blaze. The first few shows were surprisingly good, with killer jams, tight execution and a surprise visit from Jay-Z. But the ship started sinking prematurely when it became obvious that Trey Anastasio had such a hard time playing the parts he had written. 

The plus side was that for every flubbed composed part, there was a jam around the corner that went places the band had never gone before and would only occasionally visit since. Every jam was long and weird. It was not unusual for a set to have only five or six songs, for jams to go on for 20 minutes. For that alone, 2004 holds a special place for me. 

Still, the final weekend in Coventry was a mess. I shudder to think of the difficulties getting there - sitting still on a highway for 36 hours, waiting for something to happen; getting out and walking when they said the mud was too thick to let any more cars in; being driven closer to the venue by locals for five bucks. And I cringe when I listen to how poorly almost every song was played (though there were some good bits). Instead of a fantastical, fiery send-off, it all landed with a thud. 

The "4" summers are all important parts of the 30-year Phish story. 1994 saw the band reaching new heights in an arc that would continue for another five years. 2004 brought the band's second era to a disappointing and confusing close. And 2014 echoed 1994 as the trajectory of musical growth that began anew five years ago continues to rocket skyward.