This show being the 10th show and the last before the final 3 night run left everyone wondering really, what was going to happen? The night before, though mellow, showed that this band really has a lot of songs that though you may know when looking at setlists, off the top of your head you never really would expect the songs they play to come out. Tonight again showed that these guys have a plan, and that plan is to take over the world with jams and donuts.

Starting off hot they go right into the donut theme with "Way Down in a Hole", and then as many people guessed and were thrilled to see, Buried Alive which always gets people moving. KDF is a great Joy track that shows how they can play some standard rock but roll it out for almost 10 minutes of Phish-rock. GUYUTE! No one is ever really expecting a Guyute, and 3 songs into the show it really sets a bar for the energy of the show, not to mention this gave CK5 some time to shine. I Didn't Know is just a classic, and gave everyone some time to breathe, except Fishman of course, and followed into a standard but very welcome NICU.

After some chatter, no one was sure what was about to come up and then BANG, some Meat right to your face. Again, this is a song no one ever expects to hear, but when it comes out people are ecstatic. It's great to see a band go from a hard rocker, to an orchestral composition, to an a cappella vacuum cleaner song, into some swampy thick funk all within an hour. This Meat stays rolling in the swamp, definitely a standout version for 3.0. We hear the tick of the high hat next and immediately know it's Maze, and that everyone is getting ready to jump. This one seems to hit a few extra peaks than your typical Maze, but all in all is just as Maze usually is - kick ass and another CK5 standout moment. Gingseg and Heavy Things definitely cooled the crowd off a bit, but for what was about to go down in the second set, we could use a breather. Not to mention this Antelope to close the 1st set - placement of this song here foreshadows the epic monsters to come in just a half hour, and the whole building had their gear shift for the high gear of their soul.

Lights go back down, and Mikes Song has begun! This whole summer tour the 2nd set opener has been the big time slot- Chicago Simple, Carini, Tweezer, we know that this is the spot for the big one, yet Mike's hasn't passed 13 minutes in 3.0. Could this be the one? Yes, yes it is the one indeed, and after the first jam ends without any hesitation they dive right into the second jam, and as many have said this run describing a jam is like explaining a kaleidoscope to a blind man, you just can't. Just go listen. O Holy Night, while more of just a pun on the donut hole theme, was very eerie, had the band covered in steam, and was just weird. I loved it. Taste pops up next, for a second I think folks in the crowd thought it was 1997 again the way this groove was going. Taste hits it's usual peak and then heads off to space, but not the nice parts of space where astronauts visit, the dark parts where movies like Promethius take place. Again, just go listen to know what I mean.

WIngsuit follows and while mellow I personally love this song, it showcases some colorful tones from the entire band and does give us a break from the previous 40 minutes of mayhem. Next we hear a familiar 4th quarter funk riff, and not uncommon to be sandwiched in a MIke's, Sally was snuck right up our alley and the crowd loved it all. Short but sweet, it was a funk monster as usual and no one is ever gonna complain about a Sally regardless how short. Weekapaug breaks out of the end of Sally and though skipped Mike's usual intro, this Weekapaug was extended into some great territory that strayed just ever so slightly from the regular chord progression. We knew this was going to close the set, and when they finished everyone was beyond thrilled with this incredible 2nd set.

A day in the life is not a song I usually listen to, but fit the holes theme also, maybe tonight was the most donut referenced night of them all? Could be wrong but there was 4 songs, pretty good number. Anyway, this was a phenomenal show, and can't wait until the weekend for even more madness!!

First set was really, really fun. Tom Waits/The Wire cover to start things off? F*ck yes.
Buried Alive is quick and played well. Guyute is a pleasure. Meat gets meaty, like goulash meaty.

Mikes>OHN>Taste is truly magical. One of the longest, if not the longest Mike's ever? We know that length doesn't always equal quality but I'll be damned, this Mike's is damn good. The O Holy Night comes out of a beautiful transition and the 4 part harmony is angelic, to say the least. Then comes possibly the best Taste I've ever heard.

To be 10 shows into BD and still have a show like last night's truly speaks to the nature of this stage of 3.0. The boys are comfortable and feel good at 'home'.

In my opinion(& that's all that it is), I like this show more, and rate it higher than 7/30. I love Esther, and it was played very well on the 30th, but the remainder of the set, FOR ME, was alright. I got my Icculus>Mockingbird quite a while ago(and more than once), so I generally find myself waiting until they're over. You get my point. Drowned I thought was decent ambiance, but not spectacular, and the true winner for me of the whole show was Assy-Toes....just fantastic weirdness.
I'm rambling here- my point is, I really enjoyed the opener and Buried Alive combo, I love Meat and this one didn't disappoint. A strong Maze & set one closer, and I'm left happy. Get into that Mike's, and HOLY-SH*T-NOW-WE'RE COOKIN', then that Taste?! I believe my text to one of my buddies was "JEEEEE-ZUZ" and his response after another couple of minutes was "OH MY GOD!" -40 minutes of top-notch improvisation. Wingsuit for a landing-pad kept things fairly intense, and a fun Sally for a 4th quarter dance-fest into a fun and different 'Paug?!! What's not to love?! Altho I can recognize the enjoyment it would provide for those IN-ATTENDANCE, I'll take any of this over a 17-minute Harpua narration any day.
Regardless, I've loved the entire run and am glad the band is having fun, as we all are.
PS- My buddy and his friends created and got the 'Is This Still Lawn Boy?' shirt up to Trey. Xtra points for 7/30.

Motion to get this mikes on the "highly recommended" chart! Absolutely excellent version. I'd say hands down the best of 3.0. Contemplative, celebratory and down right rocking! Probably my favorite jam of the run along with the jam out of 1999. Lawn Boy and company get and deserve all the praise in the world, but this Mikes flows incredibly well and takes me there! See you all at dicks!

Okay, so I've totally given up on trying to do normal reviews with these BD shows... this is just one HUGE show and this is the tenth episode. And like all of the others, it's absolutely essential and a complete experience of the joy that is PHISH!

Anyone saying that the first set is "typical" is way out of bounds... Way Down in the Hole, Buried Alive, Guyute, IDK, NICU, Meat, and Ginseng all in one set? Crazy cool!

How deep is this band??? BD is doing its thing again!

Then, we finally get the Mike's Groove we've been waiting for... and it's a goddamned monster! Deep and dark and philthy and phunky!

ADITL closes the show out with the Holes theme... and there we have it... installment #10!

Quit trying to look at these as shows. Put them all in one huge playlist and let it spin. This is simply phenomenal Phish. We will look back on this and marvel at its wonder!

Can't wait for Friday.

Set 1: What, Trey didn't want to try and emulate Tom Waits' singing style for Way Down In The Hole? An enjoyable first set nevertheless (it's got Buried Alive - albeit with a false start - which is always a good omen), peaking with a Meat that Fish's blown reentry helps steer into a swampy take on Meat and the usual fireball peak in Maze. Antelope is a low-key late-90s style version to cap off the set, with Trey doing the classic downward trills at the end, so that's a thumbs up from me.

Set 2: Mike's Song opens up the set, and because this is the Baker's Dozen, baby, a slow organ-driven opening jam neatly slides into The Fabled Second Jam, without the crashing ending fakeout/go-baby-go of the 2015 versions (a sure sign it was planned - the crowd roar shows they couldn't care less). The second jam starts off relaxed and unhurried, Trey and Page meshing quite nicely 8/4/15 style, before major key is suggested and the band moves towards something happier. Page goes to the synths to add some really lovely flavor as Mike dings the ol' fight bell (I think) and Trey switches to chords, then Mike starts to assert himself as Page switches to piano and the jam begins to pick up steam. A pretty sweet peak leads to the jam collapsing in on itself, and out of the midst of the fog and smoke O Holy Night (!) appears, and it's a very eerie and cool way to cap off that jam (one thing the band did well during the BD was eerie and cool, it needs to be said).

The band builds up a torrid wave of noise after the singing is done, and one could imagine Also Sprach Zarathustra was in the offing (or would, if it hadn't been played 3 nights previous), but instead Taste comes in, and this is an absolutely staggering Taste that wanders from some darker and more anthemic-style jamming to a low-key synth-driven late-night groove (that's right, triple hyphens) to Trey's sharp chords leading the band back to powerful rocking to an excitingly massive finale. This Taste is one of the finer moments of the BD, without question. A really powerfully dramatic Wingsuit (with a unique Mike-driven jam that leads into the Wingsuit finale) makes for the third exceptional jam of the night...and then Sally comes in, lights a quick fire, and then collapses oddly into Paug because Trey apparently noticed curfew was coming up. One might wish they'd just taken Sally to the end and encored with Paug, but there was one more holes-related surprise left (ADITL, of course), and that's a minor quibble in the face of a scorching set of improvisation anyhow.

Final thoughts: As with a number of the "lesser" Baker's Dozen shows, drop this in many a modern era tour (and a few outside the modern era) and people are absolutely ruining their BVDs over it. Another winner of a show, with a Taste that is absolutely not optional listening.

My 80th show which I suppose is a milestone. Two songs were played this night I saw my first show on 11/2/96. Antelope & A Day in the Life.
These mid-week shows were some of my favorite songs from the BD run. The Taste > Wingsuit was absolutely beautiful. Mike's Song completely surpassed any definition of second jam in my humble opinion.
The now rarely played Guyute was only part of what I consider a really interesting first set. Meat > Maze should be heard simply because the Meat jam that segues into Maze is very unusual.
A great summer, mid-week NYC Phish show.
I wish they would do a run at MSG every summer.

The first set is particularly notable to me for the Phish debut of Way Down in the Hole, and a jam out of Meat. Run Like an Antelope brings some high-octane performance to a set that otherwise, while highly enjoyable, feels to me a little bit underwhelming. The second set, on the other hand, is objectively notable for the much sought-after return of the second jam in Mike's Song, as well as the Phish debut of O Holy Night (over an eerie, psychedelic instrumental backdrop) and perhaps the best Taste ever. Phish did a second jam in Mike's on 8/4/15, too, but this one feels a bit more true to the precedent set by Mike's in 1.0. A speculative impression that I get is that if you look way back, to, like, when Phish played their one-set openers for Santana in 1992 or 1996, the second set of this show would seem to be a sure way--if this wasn't anachronistically impossible and unnecessary at this point in Phishtory--to hook some new phans as a one-setter, but I'm not sure if as many phans would ever have been hooked if they hadn't had songs--and performances thereof--like those in the first set to balance the equation.

Set 1: What, Trey didn't want to try and emulate Tom Waits' singing style for Way Down In The Hole? An enjoyable first set nevertheless (it's got Buried Alive - albeit with a false start - which is always a good omen), peaking with a Meat that Fish's blown reentry helps steer into a swampy take on Meat and the usual fireball peak in Maze. Antelope is a low-key late-90s style version to cap off the set, with Trey doing the classic downward trills at the end, so that's a thumbs up from me.

Set 2: Mike's Song opens up the set, and because this is the Baker's Dozen, baby, a slow organ-driven opening jam neatly slides into The Fabled Second Jam, without the crashing ending fakeout/go-baby-go of the 2015 versions (a sure sign it was planned - the crowd roar shows they couldn't care less). The second jam starts off relaxed and unhurried, Trey and Page meshing quite nicely 8/4/15 style, before major key is suggested and the band moves towards something happier. Page goes to the synths to add some really lovely flavor as Mike dings the ol' fight bell (I think) and Trey switches to chords, then Mike starts to assert himself as Page switches to piano and the jam begins to pick up steam. A pretty sweet peak leads to the jam collapsing in on itself, and out of the midst of the fog and smoke O Holy Night (!) appears, and it's a very eerie and cool way to cap off that jam (one thing the band did well during the BD was eerie and cool, it needs to be said).

The band builds up a torrid wave of noise after the singing is done, and one could imagine Also Sprach Zarathustra was in the offing (or would, if it hadn't been played 3 nights previous), but instead Taste comes in, and this is an absolutely staggering Taste that wanders from some darker and more anthemic-style jamming to a low-key synth-driven late-night groove (that's right, triple hyphens) to Trey's sharp chords leading the band back to powerful rocking to an excitingly massive finale. This Taste is one of the finer moments of the BD, without question. A really powerfully dramatic Wingsuit (with a unique Mike-driven jam that leads into the Wingsuit finale) makes for the third exceptional jam of the night...and then Sally comes in, lights a quick fire, and then collapses oddly into Paug because Trey apparently noticed curfew was coming up. One might wish they'd just taken Sally to the end and encored with Paug, but there was one more holes-related surprise left (ADITL, of course), and that's a minor quibble in the face of a scorching set of improvisation anyhow.

Final thoughts: As with a number of the "lesser" Baker's Dozen shows, drop this in many a modern era tour (and a few outside the modern era) and people are absolutely ruining their BVDs over it. Another winner of a show, with a Taste that is absolutely not optional listening.

A little bit of sloppy playing up until Meat. Fish messed up some drum lines and Trey missed a bunch of chords. Then, the band started coming together and at the perfect moment because that Meat was pretty rad with Maze immediately after. Then, there was a little bit of a breather for the band before they killed the Antelope to close out the first set. I didn't think the first set was played as well as some others during BD.

The second set came back with a huge jam-filled version of Mike's Song > O Hole-y Night and one of my favorite Tastes in a long time. Wingsuit and Salley (cut short) was kind of strange to me and then they closed out with *Paug. The second set was fantastic. I loved it.

The encore was placed perfectly. I love a good Beatle's cover to close out what started out kind of sloppily turned into quite the awesome jammed out show.

On August 2nd, 2017 I rushed from the Ed Sullivan Theatre (where I had just witnessed a killer eight minutes of Joe Walsh performing on Colbert’s show) to Madison Square Garden for my second taste of Phish’s instantly-legendary Baker’s Dozen run.

I stopped for a quick slice at Pizza Suprema before the show, truly great New York pizza right across the street from the world’s most famous venue.

This was the band’s tenth instalment of their doughnut-themed string of shows at MSG. In keeping with their wacky and hugely-successful concept, on this night Phish handed out peanut-swirl doughnut holes to the first rush of fans entering the arena, leaving us all to guess what peanut or hole-related songs the band might surprise us with.

I had (arguably) the best seats of the five shows I would be seeing on the run, almost straight-on to the band just a few rows up from the floor. I took my spot, said hello to the very nice guy beside me and in no time the lights went down.

They opened with something I didn’t recognize, but boy the rest of the crowd seemed pretty excited. My new friend was whooping it up pretty good so I asked him what we were listening to. “It’s the theme song from The Wire,” he yelled back, smiling from ear-to-ear. “Oh, okay,” I thought, “I don’t feel too bad about not knowing the theme from some television show.”

Turns out Way Down In The Hole is actually a song by one of my favourite artists of all time, Tom Waits. Oops. I wish I had recognized it; I would have been that much more excited.

As the first set went on it was clear that the remarkably loud (and decidedly pointless) talking coming from the two guys directly behind me wasn’t going to stop. This is a situation that is as common as it is annoying, but I never say anything. I always figure it’s karmic payback for my drunken behaviour at my first Bob Dylan concert back in the ’80’s in Montreal and so I always take it on the chin.

Obviously everyone around us had their own karma to deal with because nobody else said a thing either. Except the two guys of course, they kept saying plenty. Most ironic was when they spent the first half of Maze yelling to each other about how excited they were to hear Maze, and remember that time we saw them play Maze together?!?!

“Yeah, that was in Albany!!!”

“No man, it was here at MSG on one of the New Years runs!!!”

“No it wasn’t man, you’re crazy! It was Albany, or maybe Syracuse!!!”

“No man, I’m pretty sure it was here…”

On and on. Karma’s a bitch (as they say).

During the setbreak my nice new friend turned to me.

“Hey, can I ask you a huge favour?”

“Sure.”

“We just noticed that two of our good friends are sitting at the end of this aisle,” he explained, pointing to a pair of friendly looking hippies. “Would you and y’lady mind switching seats with them for the next set?”

“No problem buddy,” I said, and promptly moved out of earshot of my drunken karmic deliverymen. We warned the friendly hippies about the talky-talkersons sitting behind their new seats but they waved it off as no problem.

I guess karma figured it had bigger fish to fry. Funny, the couple we switched with seemed nice enough.

The second set was as epic as the first, a Mike’s Groove set-long sandwich with an A Day In The Life encore, which was in keeping with the evening’s theme of course. When the band sang the line “Four thousand holes in Blackburn, Lancashire,” the crowd cheered like mad.

Who knew so many Phish fans were from Lancashire?

(This was the show where I momentarily turned into a glowstick ninja. Flying glowsticks are a constant at Phish concerts, and early in the first set I found myself watching the band when out of the corner of my eye I saw a glowstick heading my way.

I swear, my brain saw that glowstick in ultra-slow motion and it systematically plotted it’s trajectory while I calmly boogied to the music, completely unconcerned. My brain tracked the stick through my peripheral vision and as it approached my face I casually [and without looking] held up my left hand and plucked the thing out of midair, just a few inches from my face. Without taking my eyes off the band I held the glowstick out to the guy beside me, who quickly grabbed it and threw it back into the melee.

Though my brain told me something special had just happened, it was the dozen amazed slaps that rained down on my back immediately afterward that confirmed that I had indeed just crouched like a tiger.)

http://www.toddmanout.com

On August 2nd, 2017 I rushed from the Ed Sullivan Theatre (where I had just witnessed a killer eight minutes of Joe Walsh performing on Colbert’s show) to Madison Square Garden for my second taste of Phish’s instantly-legendary Baker’s Dozen run.

I stopped for a quick slice at Pizza Suprema before the show, truly great New York pizza right across the street from the world’s most famous venue.

This was the band’s tenth instalment of their doughnut-themed string of shows at MSG. In keeping with their wacky and hugely-successful concept, on this night Phish handed out peanut-swirl doughnut holes to the first rush of fans entering the arena, leaving us all to guess what peanut or hole-related songs the band might surprise us with.

I had (arguably) the best seats of the five shows I would be seeing on the run, almost straight-on to the band just a few rows up from the floor. I took my spot, said hello to the very nice guy beside me and in no time the lights went down.

They opened with something I didn’t recognize, but boy the rest of the crowd seemed pretty excited. My new friend was whooping it up pretty good so I asked him what we were listening to. “It’s the theme song from The Wire,” he yelled back, smiling from ear-to-ear. “Oh, okay,” I thought, “I don’t feel too bad about not knowing the theme from some television show.”

Turns out Way Down In The Hole is actually a song by one of my favourite artists of all time, Tom Waits. Oops. I wish I had recognized it; I would have been that much more excited.

As the first set went on it was clear that the remarkably loud (and decidedly pointless) talking coming from the two guys directly behind me wasn’t going to stop. This is a situation that is as common as it is annoying, but I never say anything. I always figure it’s karmic payback for my drunken behaviour at my first Bob Dylan concert back in the ’80’s in Montreal and so I always take it on the chin.

Obviously everyone around us had their own karma to deal with because nobody else said a thing either. Except the two guys of course, they kept saying plenty. Most ironic was when they spent the first half of Maze yelling to each other about how excited they were to hear Maze, and remember that time we saw them play Maze together?!?!

“Yeah, that was in Albany!!!”

“No man, it was here at MSG on one of the New Years runs!!!”

“No it wasn’t man, you’re crazy! It was Albany, or maybe Syracuse!!!”

“No man, I’m pretty sure it was here…”

On and on. Karma’s a bitch (as they say).

During the setbreak my nice new friend turned to me.

“Hey, can I ask you a huge favour?”

“Sure.”

“We just noticed that two of our good friends are sitting at the end of this aisle,” he explained, pointing to a pair of friendly looking hippies. “Would you and y’lady mind switching seats with them for the next set?”

“No problem buddy,” I said, and promptly moved out of earshot of my drunken karmic deliverymen. We warned the friendly hippies about the talky-talkersons sitting behind their new seats but they waved it off as no problem.

I guess karma figured it had bigger fish to fry. Funny, the couple we switched with seemed nice enough.

The second set was as epic as the first, a Mike’s Groove set-long sandwich with an A Day In The Life encore, which was in keeping with the evening’s theme of course. When the band sang the line “Four thousand holes in Blackburn, Lancashire,” the crowd cheered like mad.

Who knew so many Phish fans were from Lancashire?

(This was the show where I momentarily turned into a glowstick ninja. Flying glowsticks are a constant at Phish concerts, and early in the first set I found myself watching the band when out of the corner of my eye I saw a glowstick heading my way.

I swear, my brain saw that glowstick in ultra-slow motion and it systematically plotted it’s trajectory while I calmly boogied to the music, completely unconcerned. My brain tracked the stick through my peripheral vision and as it approached my face I casually [and without looking] held up my left hand and plucked the thing out of midair, just a few inches from my face. Without taking my eyes off the band I held the glowstick out to the guy beside me, who quickly grabbed it and threw it back into the melee.

Though my brain told me something special had just happened, it was the dozen amazed slaps that rained down on my back immediately afterward that confirmed that I had indeed just crouched like a tiger.)

http://www.toddmanout.com

On August 2nd, 2017 I rushed from the Ed Sullivan Theatre (where I had just witnessed a killer eight minutes of Joe Walsh performing on Colbert’s show) to Madison Square Garden for my second taste of Phish’s instantly-legendary Baker’s Dozen run.

I stopped for a quick slice at Pizza Suprema before the show, truly great New York pizza right across the street from the world’s most famous venue.

This was the band’s tenth instalment of their doughnut-themed string of shows at MSG. In keeping with their wacky and hugely-successful concept, on this night Phish handed out peanut-swirl doughnut holes to the first rush of fans entering the arena, leaving us all to guess what peanut or hole-related songs the band might surprise us with.

I had (arguably) the best seats of the five shows I would be seeing on the run, almost straight-on to the band just a few rows up from the floor. I took my spot, said hello to the very nice guy beside me and in no time the lights went down.

They opened with something I didn’t recognize, but boy the rest of the crowd seemed pretty excited. My new friend was whooping it up pretty good so I asked him what we were listening to. “It’s the theme song from The Wire,” he yelled back, smiling from ear-to-ear. “Oh, okay,” I thought, “I don’t feel too bad about not knowing the theme from some television show.”

Turns out Way Down In The Hole is actually a song by one of my favourite artists of all time, Tom Waits. Oops. I wish I had recognized it; I would have been that much more excited.

As the first set went on it was clear that the remarkably loud (and decidedly pointless) talking coming from the two guys directly behind me wasn’t going to stop. This is a situation that is as common as it is annoying, but I never say anything. I always figure it’s karmic payback for my drunken behaviour at my first Bob Dylan concert back in the ’80’s in Montreal and so I always take it on the chin.

Obviously everyone around us had their own karma to deal with because nobody else said a thing either. Except the two guys of course, they kept saying plenty. Most ironic was when they spent the first half of Maze yelling to each other about how excited they were to hear Maze, and remember that time we saw them play Maze together?!?!

“Yeah, that was in Albany!!!”

“No man, it was here at MSG on one of the New Years runs!!!”

“No it wasn’t man, you’re crazy! It was Albany, or maybe Syracuse!!!”

“No man, I’m pretty sure it was here…”

On and on. Karma’s a bitch (as they say).

During the setbreak my nice new friend turned to me.

“Hey, can I ask you a huge favour?”

“Sure.”

“We just noticed that two of our good friends are sitting at the end of this aisle,” he explained, pointing to a pair of friendly looking hippies. “Would you and y’lady mind switching seats with them for the next set?”

“No problem buddy,” I said, and promptly moved out of earshot of my drunken karmic deliverymen. We warned the friendly hippies about the talky-talkersons sitting behind their new seats but they waved it off as no problem.

I guess karma figured it had bigger fish to fry. Funny, the couple we switched with seemed nice enough.

The second set was as epic as the first, a Mike’s Groove set-long sandwich with an A Day In The Life encore, which was in keeping with the evening’s theme of course. When the band sang the line “Four thousand holes in Blackburn, Lancashire,” the crowd cheered like mad.

Who knew so many Phish fans were from Lancashire?

(This was the show where I momentarily turned into a glowstick ninja. Flying glowsticks are a constant at Phish concerts, and early in the first set I found myself watching the band when out of the corner of my eye I saw a glowstick heading my way.

I swear, my brain saw that glowstick in ultra-slow motion and it systematically plotted it’s trajectory while I calmly boogied to the music, completely unconcerned. My brain tracked the stick through my peripheral vision and as it approached my face I casually [and without looking] held up my left hand and plucked the thing out of midair, just a few inches from my face. Without taking my eyes off the band I held the glowstick out to the guy beside me, who quickly grabbed it and threw it back into the melee.

Though my brain told me something special had just happened, it was the dozen amazed slaps that rained down on my back immediately afterward that confirmed that I had indeed just crouched like a tiger.)

http://www.toddmanout.com

Monster 3rd quarter with Mike's and very extended (if not necessarily amazing but still must-hear) Taste.

First set was more typical than some recent first sets (some may prefer this as it had a higher quantity of high energy songs than say 8/1). Had some heavy hitters - Maze, KDF, Antelope - and some bustouts but nothing besides maybe Meat is atypical.

Sally was great and fun but, dare I say it, below average, compared to versions post 2011. Paug seemed a bit off to my ears but, as always, had the place rockin'.

This show is what a 4/5 is meant for.