Phish Celebrates America’s (And Their Own) Independence in Watkins Glen, New York
Photo by Dave Vann © Phish 2011
BY ALEXANDER RAUBICHECK
(Images by Dave Vann)
Flashes of artificial light reflect off the giant silver ball, which is cradled by a matching silver pedestal – also enlarged. Crowds of people gather near the sculpture under a dark sky, one that is illuminated by colorful streaks from the flurry of a special brand of an early morning bustle. These live music lovers are awaiting an unannounced, late night performance by the festival’s host band, something which has not occurred at one of these events in nearly a decade.
The speakers begin to play an array of psychedelic effects, and suddenly, four silhouettes appear in the front windows of a square shaped structure. A sign on its front reads “Self Storage USA,” though this is no ordinary shed: the house is a box of art – specially constructed just for this set – and the four men inside playing the ambient, improvisational rock music are the creative geniuses behind this unique get-together. On this occasion, tens of thousands of like-minded individuals have congregated in the picturesque, Finger Lake region of western New York. This is Phish: the world’s greatest living rock band, hosting their ninth music and camping festival, Super Ball IX, on July 4th weekend, 2011, at Watkins Glen International speedway.
****
We arrived circa 3 a.m. Friday morning, and upon entry to the grounds which would act as our weekend playground, the professionalism and efficiency of the production and staff immediately stood apart from other summer festivals. The wait in line took no more than an hour’s time, the vehicle search was quick and sensible, and the paid employees (as well as volunteers) were polite and engaging.
General camping was split into areas designated by states in which Phish has never performed (Wyoming, Hawaii etc.), which surrounded the racetrack itself. Inside the track’s perimeters loomed the main stage, noticeably taller and thinner than expected. In addition to the giant silver ball, several other sculptures and buildings were arranged just to the musical group’s liking, along with a Phish festival staple: a giant ferris wheel. Like a painter to a canvas, the Vermont quartet’s relationship with these grounds would parallel the band’s interaction with their large and beyond loyal fan base: perform music in such a way that fosters community, and the beautiful art that is Phish on top of its compositional and improvisational game will follow. This would prove to be a theme of this memorable Independence Day weekend.
There was so much to be seen, but a first night’s sleep took precedence. Our recreational vehicle parked on the track’s infield at turn number six, the location was prime and the table was set: a special weekend was in store, and for this first time Phish festival attendee, a unique aura loomed in the cool, crisp air of the mid summer’s dawn.
****
Photo by Dave Vann © Phish 2011
Friday morning brought sunshine to Watkins Glen while the day’s initial meal of fried egg, country ham and white cheddar breakfast sandwiches were accompanied by two unfamiliar surprises: a newspaper and The Bunny, Super Ball’s AM radio station. A stack of Ball Things Considered, the festival’s daily publication, had been delivered to our mobile home – a welcome addition to well rounded morning. This eleven page edition contained photos and news from the previous day, and its lead story described the site’s initial music festival: the racetrack hosted the legendary one day event, Summer Jam, in 1973, headlined by The Grateful Dead, The Band and The Allman Brothers. Hence, Watkins Glen International is no stranger to live rock ‘n’ roll.
We finished our delicious meal and sipped on freshly brewed coffee and tea, as the pleasant sounds of an early recording of the host band hummed from The Bunny. Having never attended a festival showcasing only one musical act, it was comforting to know that a full day of nothing but blue skies and good friends – old and new – lay ahead.
The grounds of this speedway were very green and to the north and east, rolling hilltops were dotted with dairy farms and vineyards. . A lengthy exploration walk featured the discovery of a local farmer’s market, and frequent photography stops revealed a nearly flawless physical layout, and a spacious one, to say the least. Super Ball IX was quite large, and also, somewhat vacant.
“It’s not like the 90s anymore, when Phish was throwing the only music and camping festival of the summer,” said Benjy Eisen, a long time fan and rock journalist. “Back then, in 1997, for example, The Great Went was the only festival that summer and tons of kids who weren’t fans of the band just tagged along with their friends who loved Phish, and thus, seventy thousand people showed up. Nowadays, festivals such as this have to compete with world renowned acts like Tiesto” (who performed at Electric Forest Festival in Michigan this same weekend).
With an estimated population of 30,000, Super Ball IX’s attendance was anything but stellar, especially considering the magnitude of the event – this was Phish’s first east coast festival since 2004. Nevertheless, sometimes life’s best things come in unanticipated forms, and while the organization and Red Light Management had undoubtedly hoped for a more substantial turn out, this weekend was to be about something much greater than commerce.
****
Photo by Dave Vann © Phish 2011
We passed through the gates for the first main event while the setting sun casted an orange hue upon the buzzing crowd. The center field was packed, and as a crew of friends assembled to the right of the Front of House, a loud roar arose. The quartet took the towering stage beaming, all four members grinning with delight. Even the infamously stoic bassist, Mike Gordon cracked a smile as he and Trey Anastasio (guitar, lead vocals) geared up, while Page McConnell (keys, vocals) and Jon Fishman (drums, percussion) assumed their positions at the flanks.
Phish opened Super Ball IX with a 3.0 (referring to the band’s current era) favorite, Possum, a fitting choice to initially adjust the levels of the live mix. As Gordon’s bass was augmented, a collective sigh of joy could be heard throughout the crowd. The volume was high, the balance sounded phenomenal and the four stringed bass guitar resonated throughout the main concert field with authority.
On deck was an unexpected treat, Frank Zappa’s Peaches en Regalia, marking only the third live performance of the song since 1999. Its short yet eloquent progressive composition went hand in hand with the colorful sky, as the setting sun began to fade into the horizon. In fact, this song would set the tone for this first set, which contained an unusually high number of cover songs: six. As perhaps a tribute to 2009’s Festival 8, Torn And Frayed (The Rolling Stones) was played mid-set, as well as David Bowie’s Life on Mars and Ween’s Roses Are Free.
Several tunes later the band ripped through the Son Seals’ fan favorite, Funky Bitch, in a particularly rowdy fashion. The pace then slowed, and this first set of music concluded with Mighty Quinn (Quinn The Eskimo), from Bob Dylan’s The Basement Tapes. Were these six covers an indirect nod to all of the legendary bands that had played at Watkins Glen in the summer of 1973? Or, perhaps, were they an indication that a surprise set of another artist’s music (a la a “costume set” on Halloween) was waiting in the wings?
Regardless, this set’s stand out was certainly The Moma Dance, marking one of 3.0’s best versions of the song. Topping eleven minutes, it featured a patient build to the piece’s climax, as Anastasio carefully worked his way towards the peak along side the other three members, ensuring not to “wail” above his fellow musicians. Following a satisfying, though not extraordinary, initial slice of music (fittingly, they were just warming up) we headed back to turn six to grab an extra layer of clothing before returning for the meat of any Phish show: set two.
Photo by Dave Vann © Phish 2011
After finding a spot on the opposite of the field (“Page side”) the house music ceased and four members returned for their second act. Soon they were playing, but what? A dark, psychedelic jam seeped from the giant speakers above, as lighting director Chris Kuroda toyed with his board, working the magic which his lights bring to every nightly Phish performance.
This Super Ball IX Jam #1 continued for several minutes, before Anastasio and Fishman locked rhythms, exploding with the opening phrase from The Talking Heads‘ Crosseyed And Painless, a summer tour ’11 (and personal) favorite. Hoards of freshly cracked glow sticks flew into the sky by the bag load as Fishman belted Byrne’s heavily induced lyrics with a fiery passion. The jam out of this roaring set two opener turned back to the realm of psychedelia, building off the opening improvisational section with a great deal more cohesive harmony this second go-around. Unbeknownst, this was Phish practicing for its secret, late night show which would take place the following night.
Space evolved into a recognizable riff - Chalkdust Torture. A textbook version of the song was followed by a brief stoppage in play, before Anastasio’s quiet, jazzy notes were met with force – Fishman’s snare coupled with Gordon’s thickly grooved phrasing: Sand. A tune undoubtedly about addiction, this late 90s Anastasio original has really taken flight in 2011. Though not quite as “out there” as the Portsmouth version, this one was smooth and purposeful – McConnell backs the lead guitar with intricate harmony leading to a swirling peak, before the band eases back into the song’s familiar, thumping bass line.
Soon after, the group slipped into familiar second set territory with Mike’s Song. A shortened version of the heavy-hitter quickly morphed into Simple, and musically, this is where things went from well-done to exceptional. Out of the piece’s beautiful instrumental section emerged a blissful, height of summer jam, harping back to the creative beauty of 1/1/11’s improvisational work. Several minutes of this recurred, before the theme of this set returned – psychedelia. McConnell’s effects rendered this atmospheric sound, and Anastasio’s guitar reached to meet his notes, the two joining together in a gorgeous section of harmony (and in this passage of time, when listening back on tape, one can almost hear an Amazing Grace tease around the twelve and a half minute mark of the tracking, before McConnell’s organ takes the reins, guiding the roaring, patriotic notes of the guitar into silence).
Phish’s most recent album’s self-titled track, Joy, was played near the set’s end, and the words “we want you to be happy, for this is your song too” seemed to make more sense than before. This was, above all else, a communal experience, personal tastes and choices aside. The band ended with Character Zero and returned for a short encore in Show of Life. Seven covers, some interesting improvisation, an unforgettable jam, and night one’s music had drawn to a close. The Bee Gee’s Night Fever blared as the lights went up, displaying thousands of fans dancing and disappearing to their respective campgrounds to rendezvous until the early hours of the morning.
****
Photo by Dave Vann © Phish 2011
Following a satisfying night of music, fun and friends, we awoke on Saturday to the cheers of hundreds of festival goers who had assembled along the track’s infield’s fence. They were here to root on their fellow festival attendees, who were running in the Runaway Jim 5K Marathon. Several thousand people participated in the race, even a man donning his birthday suit (police initially accosted the individual, who was permitted to complete the race as is, with the agreement that he would immediately dress once finished; the naked man complied, and the race went on).
After the marathon, a pace car along with several other vehicles could be seen continuously circling the track. At one point, four tour buses were spotted gunning around one of the turns. The band was doing its own victory lap, and getting ready to take the stage much earlier than on a typical day of show – Super Ball’s day set was slated for mid afternoon, at 3 p.m. The scents of lemon pepper-marinated chicken and creole sausage suddenly emerged from around the corner. An early afternoon meal was underway in order to provide the group with protein for the long day ahead – a most necessary act.
Another day of bright and sunny skies blessed this festival crowd, and despite a steady breeze, the air was hot and dry. Undoubtedly the warmest day of the weekend, hundreds of personal umbrellas were erected in order to spell some relief from the heat. The band took the stage and opened with a ripping Tube, as hundreds of beach balls floated and bobbed above the front of the crowd to the highly danceable, familiar jam. It was a sight to be had – a defining imprint into one’s memory of summer gatherings such as these. Bluegrass made a welcoming appearance in the short and sweet Poor Heart, and Gordon’s Suskind Hotel made its Phish debut, a song that has potential for some serious bass and drums interplay.
Photo by Dave Vann © Phish 2011
After the ballad When The Circus Comes To Town, Phish debuted a new cover – Monkey Man (The Rolling Stones, Let It Bleed), a dark and raging saloon-rock tune that should certainly stay in the repertoire’s current rotation. Following a fun-filled day set we headed back to our campsite to relax before the evening show, scheduled to begin only several hours later. Rumblings of a secret set had surrounded the weeks leading up to the festival, and via the confirmation of some friends working for Super Ball’s security team, it was now official: Phish would be playing an unannounced, late night performance in the main concert field following the scheduled two sets that night, an exact location to be determined.
Saturday’s second set began with Runaway Jim, as Anastasio announced the marathon’s winners and issued awards on stage to the athletically elite. Next up was a song from Gamehendge (the guitarist’s fictional setting that can be traced to his senior thesis while attending Goddard College in 1987) – McGrupp And The Watchful Hosemasters. Featuring a decorative McConnell piano solo, this version was most welcomed early in the set, most especially in the outdoor, mid-summer setting.
Other performances from this set two, of note, were the Birds of a Feather and Stash. The former displayed some of Trey’s fastest (and cohesive) playing to that point of the festival, and the latter possessed a steady journey of a jam that didn’t “over do it,” so to speak, directing its nose towards the song’s conclusion after several minutes of progressive, exploratory territory. Soon after we were treated with another rarity, Scents and Subtle Sounds, the first since December of 2009. The song featured a melodic jam that was played with a purpose, and was followed by the familiar set closer, Run Like An Antelope. From a set of six cover songs, to this hour of nothing but Phish originals, the host band from Vermont was making Watkins Glen their own.
Photo by Dave Vann © Phish 2011
Following a round of India pale ales and a quick walk around the nearby grounds, we re-situated ourselves in front of the soundboard and awaited Saturday’s third set (now of four). The band opened with a newer cover, TV On The Radio’s Golden Age. The festival crowd, primed to party, was treated to its delight with this highly danceable tune, one that Phish has done an excellent job of performing in both this and its previous (debut) version, from Darien Lakes Amphitheater in early June. Super Ball IX Jam # 2 was attached to the opening set’s song – a funk section was proceeded by an interesting break-down of rhythm, leading the foursome through a chromatic-heavy, organic jam that remains relevant upon several re-listens.
Soon after came Piper, a bit of an extended take that shied away from the short and sweet 3.0 versions of the song, featuring a free-form, jazzy part leading into Tweezer. This favorite showcased some patient takes on the instrumental composition, before breaking into a psychedelic funk section that would leave any fan live rock ‘n’ roll craving more. Coupled with Kuroda’s especially creative lighting design, this jam was a highlight of the festival’s second night.
Despite a solid Twist, the back half of this set seemed to lose its creative steam – the transition into Also sprach Zarathustra seemed rushed, while Fishman then proceeded to play the tune at an awkwardly quick pace, throwing the rest of the band off-kilt and resulting in one of the year’s poorer renditions of this classic Phish cover. Harry Hood followed, and was expected at some point in the weekend, though on this night, the band did not delve into the song’s mystique like they did earlier this summer at Bethel Woods, New York. The set concluded with The Beatles’ A Day In The Life, an interesting set two closer.
The band encored with Loving Cup, yet another Stones’ song, and rang in the night typically with Tweezer (reprise). Though not for long – the secret set was only an hour away, and a strange, intrigued anticipation hummed through the crowds of people, heading every which way to prepare for the night’s most coveted occurrence: Phish’s late night show, but in what form?
****
Photo by Dave Vann © Phish 2011
Thousands of excited (and somewhat confused) festival attendees packed inside the dimly lit “Ball Square,” the center area nestled between the storage shed, ferris wheel and silver ball. Strange sounds sporadically erupted from the recently erected stacks of speakers, as heads continued to turn in circles, searching for any sign of the band or its performance space. We settled near the front of the masses, about ten rows back from the front of the storage shed – the most logical place for the group to play. Hearsay was that a platform would suspend them in the air, out of the roof of the structure. Trusting nothing but our own vision, we stood in silence, searching for clues of initiation.
In a flash, several festival patrol horsemen rode off into the darkness behind the nearby buildings, signaling the group’s arrival to the scene. Simultaneously, several hundred overly eager fans rushed after them, in a comical, blind pursuit. Then, four figures finally appeared in the translucent windows of the shed, as the quartet began experimenting with non – respective roles, playing different instruments than the audience is typically accustomed to seeing. While at first thinking this was merely a warm-up exercise, the realization soon became clear: this was the secret set.
After twenty five or so minutes of this unique and tranquil psychedelic rock, each member eventually found his way to his principle instrument. The band’s use of electronic drums and other synthesizers was unique for Phish, a group that took a five year break when electronic jam music began to flourish on the country’s live music circuit. About midway through the hour-long set Fishman started patiently drumming his bass and snare – as percussion finally filled the space the ambience had produced, the band harped on Pink Floyd’s Us and Them with an absolutely gorgeous, image-invoking slice of improvisation. This evolved, staggered for a bit, then petered out into space once more, before the group found themselves playing a synthesizer-heavy version of Sleeping Monkey, a beast which they so quietly awoke in a mature and enticing manner, marking the end to Saturday night.
The surprise had concluded, and while many fans seemed disappointed in the set’s lack of songs and up-tempo rhythm, this performance was something to be appreciated in a whole different light than in regards to expectations of today’s music festivals. Playing to a crowd that was perhaps craving a type of live music more conducive to the dance, Phish continued on their unique path of adhering to the unscripted and unprescribed: this live session was a re enactment of the band’s roots (a story which would be revealed the following night). Writing its own rules, Phish continued to demonstrate its exception from the norm – not for the purpose of acting extraordinary, but for the sake of art itself.
****
Photo by Dave Vann © Phish 2011
Super Ball IX’s attended crowd may have expended a hefty load of energy in the festival’s first few days, but it certainly had something up and on its sleeves for the weekend’s final show: it was the eve of the anniversary America’s independence, a holiday event culminating on the festival’s final night. Red, white and blue outfits appeared in great number throughout the day, and by sun down, all of us were in the most festive of moods.
The band opened Sunday’s first set with Soul Shakedown Party, ushering positive energy into the already glowing sea of people with the song’s melodic nature. Several songs later, Phish tapped into its vault with the Gamehendge classic, Colonel Forbin’s Ascent, and before transitioning into Fly Famous Mockingbird, Anastasio took the opportunity to explain the previous night’s events: in 1988, on the group’s first tour, the four young musicians pushed their lone vehicle, a Plymouth Voyager, into the open bay of a storage shed, not far from the town of Watkins Glen, New York. Unexpectedly, the bay’s door shut behind them, and the young men were trapped inside, lacking any kind of cellular phone or other communication device, for it was the late 1980s. With no food or water, and the possibility of isolation until the next day, the young group did what they knew best: play music, in a free, non-conforming form. “So, when we end this whole thing, we’re all going to vaporize… and end back up where we were in 1988, back inside this storage unit,” Anastasio exclaimed, holding back a light, satirical laugh. Bringing closure to the previous evening, the jovial front man amusingly declared the incident a mental projection of the rest of their careers, including our collective experience at Super Ball IX.
The set progressed with Destiny Unbound, which carried with it a twisted funk section that seemed to revamp the audience. Another not so frequent guest, Mound, then joined the party, and a gem of a version ensued. Following was A Song I Heard The Ocean Sing. The playing of this post-Hiatus piece was well timed – the sun dove behind Ball Square as Anastasio’s reverberation echoed throughout the grounds, invoking Jimmy Page’s influence with this passionate style of play.
Over an hour and fifteen minutes in Phish continued to alter expectations by playing another half hour of music, covering the whole of two classics: Reba, and David Bowie. Reba’s jam was thorough and pleasing and, for the first time this year, the band played the song’s original ending. Thousands roared as whistles passed through the microphones, evolving into more psychedelic space that transitioned into the beginning of David Bowie, a stellar take that maintained a high level of excitement with the weekend’s final hour of music looming on deck. This first set clocked in at an impressive hour and forty nine minutes, the longest of the weekend.
Photo by Dave Vann © Phish 2011
Twilight emerged and Phish took the main stage for the seventh and final time, while a group of giant, inflatable balls could be seen waiting behind a nearby gate. A dotted half note, followed by three descending eighth notes and then another dotted half note – rewinding to the soundtrack of high school, and playing to the tune of their own event, the band opened their final set with ACDC’s Big Balls, as the giant spheres were unleashed into the sea of eager, open palms.
The quartet then morphed into a more familiar section of music – the introduction to Down With Disease, which led the group into a relaxed, hopping jam that showcased the artists’ ability to listen to one another, harmoniously sharing the instrumental spotlight. This lasted for several moments before slowing into a thicker brand of psychedelia as the band ceased playing, save the keyboard’s electronic notes. Inserting a heavy (and highly desired) Lizards tease, McConnell then transitioned into the epic opening phrase of Led Zeppelin’s No Quarter, one the most refined and influential masterpieces of hard rock ‘n’ roll. This was the second time Phish had covered the song, and this rendition saw a bit more experimentation than the first. Issuing an erie and awesome aura upon the crowd with Plant’s lyrics, “The snow falls hard and don’t you know, the winds of Thor are blowing cold,” the group was paying tribute to one of their greatest influences, in a scene of grand proportion.
Photo by Dave Vann © Phish 2011
The gothic mystique of Zeppelin’s music faded into the cool night, as a drum roll signaled a second set awakening – Party Time. A Fishman original, the band finally relaxed and played this song not merely to blow through it, but to enjoy the well written carnival music they were providing at their own festival. It worked, and the extended jam was the sign of good things to come for this young song.
Ghost followed, which many had been waiting for all weekend. After a brief disco theme from Fishman’s kit was replaced by the familiar beat that is the foundation for the song’s jam, the band unfortunately decided to take a quick exit and enter a silent space, before the bluesy riff of Gotta Jibboo emerged out of the quiet. This placement was perfect and the jam was delicate, as precision of tone seemed to dominate this version’s theme. A gorgeous Waves highlighted the end of the set, rivaling the tour opener’s version from May 27th.
After returning to a roaring encore, the Phish from Vermont gathered around Anastasio’s microphone and paid tribute to our nation’s birthday by singing “The Star-Spangled Banner.” The danceable First Tube capped the performance, as beautiful fireworks were set off in the west. A dissonant cadence faded into silence, and as the rockets continued to light up the evening sky, Simon and Garfunkle’s America began to hum from the speakers above. Arms linking friends, we gazed upon the beauty of this moment, singing along to the words of our parents’ childhoods as loud as we possibly could.
Photo by Dave Vann © Phish 2011
The festival was over, but we would continue to bask in the independent spirit this amazing weekend had embodied. Free of any predestined form, Phish and its fans celebrated their own independence on America’s most treasured holiday, and in doing so, put a unique stamp on the musically historic grounds of Watkins Glen International, whose remembered name will never again be uttered without the mention of Phish, at Super Ball IX.
Leave a Reply