[We would like to thank Matt Schrag aka @kipmat for recapping last night's show, and for doing so well in the Phish Trivia event at the lobby bar on Frday. -Ed.]

Backstory: on Wednesday, Charlie Dirksen sent an email to the recap mailing list, saying there was still a need for someone to volunteer to recap Saturday’s show for the phish.net blog. I responded to Charlie’s email the following afternoon, letting him know that I was in Mexico for the run, and would be available to write the recap for Saturday’s show. I carried on with our getaway vacation for two days; then I happened to check my email before I entered the venue for Saturday’s show, and saw a response from Charlie which essentially said, “You’re on, thank you!” And then midway through the first set, my lower legs and feet decided they’d had enough of dancing on sand that’s been pounded flat from three nights of raging. So there I was, at a Phish show, in a tropical paradise far away from home, and all I felt like doing is sitting down on the ground and typing into my phone. What a n00b.

That’s why I’m your late sub recapper for Mexico N4. Caveat emptor: please disregard anything in this recap that might sound less than enthusiastic. Believe me when I say that I’m happy and feel lucky to have been here for this show.

Phish took the stage shortly before sunset, and there are few songs that evoke the warmth of a daytime show like "Bathtub Gin." This version was patient and pleasant, not too adventurous, but a happy acknowledgment that we really were all here, together. The celebratory vibe continued with "Soul Shakedown Party," not played since the beach shows at Atlantic City in 2021, and a complete surprise to anyone who had not caught Tuesday’s soundcheck. This version managed to stretch into a nice jam, with Trey and Mike showing off their various effects, although not in a dub reggae style, just messing around.

The guests at Playa Luna had seen three very solid, professional Phish shows already, and I went into this show hoping to hear music from the band’s sillier side, like last year’s pairing of "Sanity" and "Chalk Dust Torture Reprise." They met me halfway with "Martian Monster." A standard version; it’s been a while since this song did anything musically notable, although an Iron Butterfly was spotted in the breeze, and it was Page’s turn to show off with the prerecorded voice cues from the Chilling, Thrilling album.

Night 3 had been the party show, with the band playing hard and the dancers raging. "Stash" was when I hit the proverbial wall and had to sit down, which happens sometimes; even if you pace yourself, one still needs to listen to one’s body and heed signs of fatigue or illness. This version of "Stash" quickly modulated to the key of A, lending itself some very nice flatted notes giving a middle-eastern flavor, building a little tension before Trey led everyone back to the closing chords. A typically quiet and mild "Farmhouse" followed, invoking the spirit of Bob Marley for a second time during this set.

As "Farmhouse" ended, a beautiful shot of the crescent moon, with Venus in near-alignment, was shown on the giant displays (and presumably on the webcast as well). Although the image tied in nicely with the "Farmhouse" album cover, the audience was compelled to howl at this moon. But the band wouldn’t have seen the screens to be able to make the connection, and instead of heeding the non-verbal request for Sci-Fi Soldiers’ song "The Howling," they moved along with "Reba." This was also a standard version, but the composed sections were executed well, Trey lifted us all into the air with his solo, and the traditional whistling ending brought us all back down on the sand with a light bump.

"Golden Age" started with a count-in, rather than Trey starting and the others falling in place, with the set 2 stalwart appearing in the first set for only the third time. The jam turned into a badass TAB-esque groove that Trey surfed above with ease, and hinted at going deeper before winding down. The band started up "My Friend, My Friend," which was a real surprise this late in the set. Living up to its new reputation as a jam vehicle, this version reminded me of a rocking "Ghost" jam, closing a set for the first time ever, with a nod toward a "Golden Age" reprise.

I used setbreak time to stretch my legs and enjoy the breeze off of the water. I wasn’t hungry, but standing downwind of the churros stand for a few minutes also helped me to rally.

With seven sets in the books and one left to go, there were still plenty of jam vehicles yet to be played during this run. A brief poll of those around us found "Tweezer" and "DWD" to be the frontrunners, along with "Ruby Waves," a jesting vote for "Ha Ha Ha," and an optimistic mention of "Petrichor." But evolution has always been more natural to Phish than stagnation, so it was "What’s Going Through Your Mind," the bright new jamming star of 2024, that kicked off set 2 with its first appearance in 2025. This "WGTYM" modulated to a major-key groove on a bed of backwards guitar loops and synth washes, and rode a big wave all the way up the Rio de Nuzuc, before returning to repeat the echoing “Mind” chorus. This patient, noble version should hold up upon repeated listening.

Trey then counted in the crashing downbeat to "Crosseyed and Painless." This was played at a less frantic, more moderate tempo that allowed the band to become more entrenched in the groove and create danceable jamming, so the discordant Lipps, Inc. tease was a natural fit. The jam then turned toward a heavier, rocking feel with classic Trey soloing, ending with the “still waiting” reprise while doubling the tempo to bring the version to an end. To my ears, this jam was the highlight of the show.

The heavily-demanded "Tweezer" was up next, featuring a jam that contained multiple segments and styles. Starting with a return to the mellow-groove space of "WGTYM," this jam eventually incorporated a jackhammer riff to pivot into the next section, before calming down and landing softly in "Mercy," “shivering by the sleeping shore”. "2001" had an undeniable rhythm that picked everyone back up from sitting on the ground, and stretched out nicely, while providing another showcase for the dazzling light rig run by Lighting Director Chris Kuroda, entering his 36th year working with Phish. And then "More" inevitably ended the set with an exclamation point and a loud roar of applause.

During "A Life Beyond The Dream," I found myself reflecting on the 42nd year of this band, and how amazing it is that these four guys have managed to stay together and play so many shows and create so many memories. One can watch the videos of Phish shows shot by fans back in the early 90s, playing in clubs for a couple hundred people, and one will see the same rapturous movement from the dancers, the same euphoric smiles that are on faces at shows now. Many other aspects of Phish have evolved since then, but that communal sense of joy, catharsis and relief, has always been there and will always be there.

There are parts of us that may feel undeserving of the opportunities that come our way, like seeing our favorite band play four shows in a row at a seaside venue next to a posh resort. But life itself is the greatest gift, the greatest opportunity to experience joy and happiness as often as you could ever want, a life beyond your dream.

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