SET 1: My Friend, My Friend > Possum, Guyute[1], If I Could, Foam, The Horse > Silent in the Morning > Poor Heart > Cavern
SET 2: Halley's Comet > David Bowie[2], Sweet Adeline, The Lizards, Sample in a Jar > Slave to the Traffic Light
ENCORE: Rocky Top
Guyute was incomplete, as it was missing the second verse. Trey teased Nellie Kane in Poor Heart. Bowie included a vacuum jam from Fish. This version of Slave appears on A Live One.
Jam Chart Versions
Teases
Nellie Kane tease in Poor Heart
Debut Years (Average: 1989)
Song Distribution
Performers
This show was part of the "1994 Fall Tour"
Previous Show
Next Show
Random Show
Gap Chart
Setlist Options
Add to Collection
Attendance
Submit a Correction
Show Reviews
, attached to 1994-11-26
Out of all the shows I saw this one sticks with me on many levels. I drove up by myself from my small town in Northern Illinois. I asked my parents if I could borrow their car for the night. I was told yes as long as I didn’t leave town with it. I proceeded to drive 2 states away. I had an ex that lived in Minnesota and went to St Olaf. I went and met up with her and her new boyfriend. Some hardcore punk kid. It was awkward all around. He had a real disdain for our joint musical interest and did not join us for the show. I remember scoring 2 hits from some freaky lady in the parking garage before the show. The theater itself was lovely. So intimate. Every seat in the place was a good spot to watch and listen but being a theater with seats it made it more difficult to dance. Not impossible but more difficult. Since I dropped while walking in I have a pretty good memory of the first set. It was well put together and I was super into Possum at the time. I just loved the guitar solos in all the bootlegs I had and wanted to see another one. I didn’t fully appreciate the one I saw at my first show since it was all new to me. Of course I was peaking by the time Bowie came around and it wasn’t a particularly clean hit. I got quite uncomfortable and the opposite of the blissed our feelings I had had at other shows. I remember being excited that they played Rocky Top as an encore as it was the first song I learned to play on guitar as a kid and the familiarity brought me back to earth. I walked out of the show thinking it was over too quick. It felt like the shortest concert I had seen by them. At the time I didn’t realize I had seen such a long Bowie. I only remember being stuck inside my head for most of the second set. That’s about all I have left in the ol noggin about the show. I ended up staying over at the ex’s pad and when I woke the next day there was a horrible snow storm going down. I headed out of the twin cities and ten minutes later the Jetta went off the road and into a ditch. Lucky a pickup pulled over and pulled me out. When I made it back to Illinois There was not a snowflake to be seen. The car however was covered in snow. I pulled over two blocks from the parents house and cleaned the snow off the car. I told my parents about that night years later when I was about 40. I thought it was a funny antidote. They were less than happy to hear about it and told me to keep any other misadventures I may have had in my youth to myself. Figured I would share here.
Review by SuspiciousAngora
Out of all the shows I saw this one sticks with me on many levels. I drove up by myself from my small town in Northern Illinois. I asked my parents if I could borrow their car for the night. I was told yes as long as I didn’t leave town with it. I proceeded to drive 2 states away. I had an ex that lived in Minnesota and went to St Olaf. I went and met up with her and her new boyfriend. Some hardcore punk kid. It was awkward all around. He had a real disdain for our joint musical interest and did not join us for the show. I remember scoring 2 hits from some freaky lady in the parking garage before the show. The theater itself was lovely. So intimate. Every seat in the place was a good spot to watch and listen but being a theater with seats it made it more difficult to dance. Not impossible but more difficult. Since I dropped while walking in I have a pretty good memory of the first set. It was well put together and I was super into Possum at the time. I just loved the guitar solos in all the bootlegs I had and wanted to see another one. I didn’t fully appreciate the one I saw at my first show since it was all new to me. Of course I was peaking by the time Bowie came around and it wasn’t a particularly clean hit. I got quite uncomfortable and the opposite of the blissed our feelings I had had at other shows. I remember being excited that they played Rocky Top as an encore as it was the first song I learned to play on guitar as a kid and the familiarity brought me back to earth. I walked out of the show thinking it was over too quick. It felt like the shortest concert I had seen by them. At the time I didn’t realize I had seen such a long Bowie. I only remember being stuck inside my head for most of the second set. That’s about all I have left in the ol noggin about the show. I ended up staying over at the ex’s pad and when I woke the next day there was a horrible snow storm going down. I headed out of the twin cities and ten minutes later the Jetta went off the road and into a ditch. Lucky a pickup pulled over and pulled me out. When I made it back to Illinois There was not a snowflake to be seen. The car however was covered in snow. I pulled over two blocks from the parents house and cleaned the snow off the car. I told my parents about that night years later when I was about 40. I thought it was a funny antidote. They were less than happy to hear about it and told me to keep any other misadventures I may have had in my youth to myself. Figured I would share here.
, attached to 1994-11-26
The first set is well-played with a lot of enthusiasm, as you would expect from 94 Phish. The first half of the set is particularly strong. The second set boasts two great highlights in David Bowie and Slave. This Bowie goes way out there and clocks in at over 37 minutes for the longest version ever. The journey through this extensive jam is well worth it for the seriously sick ending. The band definitely earned the cool down tunes that follow, and the set-closing Slave is my personal favorite version. It was included on A Live One so you know it's great. The shows wraps up well with Rocky Top and we're left with a great show at the end of an epic month in Phishtory.
Review by westbrook
The first set is well-played with a lot of enthusiasm, as you would expect from 94 Phish. The first half of the set is particularly strong. The second set boasts two great highlights in David Bowie and Slave. This Bowie goes way out there and clocks in at over 37 minutes for the longest version ever. The journey through this extensive jam is well worth it for the seriously sick ending. The band definitely earned the cool down tunes that follow, and the set-closing Slave is my personal favorite version. It was included on A Live One so you know it's great. The shows wraps up well with Rocky Top and we're left with a great show at the end of an epic month in Phishtory.
, attached to 1994-11-26
"That was when Phish became a good band, right before the Bangor Tweezer." - Trey, Relix 11/16/2020
Fall '94. The difference in the band since Summer was palpable. We were fresh off of the classic 11/23 show, having been blown away by the whole experience, and rolling into Minnesota a day early. We skipped Chicago. Maybe a mistake, but a high school buddy was playing running back for little St. John's University outside Minneapolis and let us crash at his pad on some lake. I remember evergreens laden with snow and drunk Catholic girls and not much else.
The day of the show was frigid. Cold in Colorado ain't like cold in Minnesota. And the wind was blowing. And it was snowing, light at first, then picking up near show time.
No lot scene due to weather and limited parking, so we went inside as soon as we could and gawked at the place. Not as much eye candy as the Fox in St. Louis, but more elegant somehow. Dylan had owned the place until '88 when he sold it to the city. 10 million in renovations later, and it was damned impressive, especially the giant chandelier.
Seeing Phish west of the Mississippi but not in Colorado was a different sort of experience pre-'96. It was always the first Phish show for large swathes of the crowd, and this night was no different. We brought a friend to his first show, and every damn person surrounding us were n00bs, so we got to play like jaded vets and answer questions about the band.
Fungus fully kicked in right as the lights went down, maybe the best I've ever timed that, making first set an extended psychedelic roar. The opening MFMF > Possum was twisted enough to lead to some uncertain looks among the n00bs. Better buckle up, kids.
Trey blew a verse in Guyute, but it was new enough no one cared, and the fugue-ish section raged. Foam's dynamics always work best in small theaters, and the sound in this one was spectacular. The quiet parts were really quiet, but still crystal clear.
The last four songs of the first set are...not my my cup of tea, but they were playing so well I didn't give a damn. If I have a fave Poor Heart, this is it. Setbreak came and went in a haze. I remember little but staring at the deep blue lights Kuroda had bathing the stage.
Second set, magic set. Best set of Phish I ever witnessed.
I had literally one tape with Halley's on it at that point, and had nearly worn it out in a mere couple months. So when Mike launched into the opening vocal line, I started jumping up and down like mad, startling the n00bs. From that moment, it was on, like Donkey Kong.
How to describe the following Bowie? I've started to write posts on just it, but words always fail. It is ineffable, at least when considered in the primacy of felt experience. It defies descriptions of type I or II; it's somehow both at once. Here's this 37 minute kaiju of a jam, experimental to all hell, yet by the last five minutes every n00b around us--hell, the entire theatre--was standing up, spines channeling electricity, arms raised in triumph. Art, true art, always f***ing wins.
The rest of the set is roller coaster Phish at its best. It is in every sense dramatic, cinematic. The range of emotions covered in this set is extreme, and the closing Slave (the ALO version) remains the best I've seen. The Rocky Top encore had the damn security guards dancing in the aisles, and I remember spilling out of that place into the zero degree air laughing and shouting, full of f***ing life like some character at the end of a Hallmark movie.
I'm likely known around here as a 3.0 apologist, but that's a feeling nothing other than 1.0 has ever given me, that feeling of being so damn alive and in touch with the world at that moment. God f***ing damn, I'm getting chills merely recalling it.
The next day, of course, we nearly died driving through the Blizzard to Bozeman, but that story can wait.
Review by Laudanum
"That was when Phish became a good band, right before the Bangor Tweezer." - Trey, Relix 11/16/2020Fall '94. The difference in the band since Summer was palpable. We were fresh off of the classic 11/23 show, having been blown away by the whole experience, and rolling into Minnesota a day early. We skipped Chicago. Maybe a mistake, but a high school buddy was playing running back for little St. John's University outside Minneapolis and let us crash at his pad on some lake. I remember evergreens laden with snow and drunk Catholic girls and not much else.
The day of the show was frigid. Cold in Colorado ain't like cold in Minnesota. And the wind was blowing. And it was snowing, light at first, then picking up near show time.
No lot scene due to weather and limited parking, so we went inside as soon as we could and gawked at the place. Not as much eye candy as the Fox in St. Louis, but more elegant somehow. Dylan had owned the place until '88 when he sold it to the city. 10 million in renovations later, and it was damned impressive, especially the giant chandelier.
Seeing Phish west of the Mississippi but not in Colorado was a different sort of experience pre-'96. It was always the first Phish show for large swathes of the crowd, and this night was no different. We brought a friend to his first show, and every damn person surrounding us were n00bs, so we got to play like jaded vets and answer questions about the band.
Fungus fully kicked in right as the lights went down, maybe the best I've ever timed that, making first set an extended psychedelic roar. The opening MFMF > Possum was twisted enough to lead to some uncertain looks among the n00bs. Better buckle up, kids.
Trey blew a verse in Guyute, but it was new enough no one cared, and the fugue-ish section raged. Foam's dynamics always work best in small theaters, and the sound in this one was spectacular. The quiet parts were really quiet, but still crystal clear.
The last four songs of the first set are...not my my cup of tea, but they were playing so well I didn't give a damn. If I have a fave Poor Heart, this is it. Setbreak came and went in a haze. I remember little but staring at the deep blue lights Kuroda had bathing the stage.
Second set, magic set. Best set of Phish I ever witnessed.
I had literally one tape with Halley's on it at that point, and had nearly worn it out in a mere couple months. So when Mike launched into the opening vocal line, I started jumping up and down like mad, startling the n00bs. From that moment, it was on, like Donkey Kong.
How to describe the following Bowie? I've started to write posts on just it, but words always fail. It is ineffable, at least when considered in the primacy of felt experience. It defies descriptions of type I or II; it's somehow both at once. Here's this 37 minute kaiju of a jam, experimental to all hell, yet by the last five minutes every n00b around us--hell, the entire theatre--was standing up, spines channeling electricity, arms raised in triumph. Art, true art, always f***ing wins.
The rest of the set is roller coaster Phish at its best. It is in every sense dramatic, cinematic. The range of emotions covered in this set is extreme, and the closing Slave (the ALO version) remains the best I've seen. The Rocky Top encore had the damn security guards dancing in the aisles, and I remember spilling out of that place into the zero degree air laughing and shouting, full of f***ing life like some character at the end of a Hallmark movie.
I'm likely known around here as a 3.0 apologist, but that's a feeling nothing other than 1.0 has ever given me, that feeling of being so damn alive and in touch with the world at that moment. God f***ing damn, I'm getting chills merely recalling it.
The next day, of course, we nearly died driving through the Blizzard to Bozeman, but that story can wait.
, attached to 1994-11-26
If, like me, you hold a special place in your heart for 93-95, for Machine Gun Trey, for the jubilantly hosed-out, maximalist arena rock version of Phish, well, do yourself a favor and give this show a spin. You will already be familiar with the elegiac Slave from ALO and, very likely, the record-holding masterpiece of a Bowie, but those two, brilliant as they are, simply do not tell the whole story.
The entirety is just so deftly played, from the absolutely pummeling Myfe > Possum, Guyute intro through the grinning, victory lap encore of Rocky Top. What's perhaps most notable, if not strictly amazing, given the overall quality of execution from this era, is that there's not a dud in the bunch. Song selections that, to some, might look like lulls - or at least rote - on paper, feel fresh, joyful, even vital. If I Could, Poor Heart, Cavern, and Sample positively shimmer with that 94 energy. What's more, alongside the rightfully regarded canon of the Bowie and Slave performances - and, heck, even Sweet Adeline feels like a perfectly placed breath after nearly 40 minutes of the former - are riveting, goose-bump-inducing takes on Foam and Lizards.
There is certainly no shortage of other contenders - 1994 alone has so many transcendent crushers (Bomb Factory, Chicago, Columbus, Providence, Sugarbush, Red Rocks, the White Album, for crying out loud) - that move me. But, gosh, as @hoodharry opened their review of this particular monster, "This is my all time favorite phish concert. This for me is the epitome of why I love phish."
Amen, Mr. Hood, amen.
Review by jubman
If, like me, you hold a special place in your heart for 93-95, for Machine Gun Trey, for the jubilantly hosed-out, maximalist arena rock version of Phish, well, do yourself a favor and give this show a spin. You will already be familiar with the elegiac Slave from ALO and, very likely, the record-holding masterpiece of a Bowie, but those two, brilliant as they are, simply do not tell the whole story. The entirety is just so deftly played, from the absolutely pummeling Myfe > Possum, Guyute intro through the grinning, victory lap encore of Rocky Top. What's perhaps most notable, if not strictly amazing, given the overall quality of execution from this era, is that there's not a dud in the bunch. Song selections that, to some, might look like lulls - or at least rote - on paper, feel fresh, joyful, even vital. If I Could, Poor Heart, Cavern, and Sample positively shimmer with that 94 energy. What's more, alongside the rightfully regarded canon of the Bowie and Slave performances - and, heck, even Sweet Adeline feels like a perfectly placed breath after nearly 40 minutes of the former - are riveting, goose-bump-inducing takes on Foam and Lizards.
There is certainly no shortage of other contenders - 1994 alone has so many transcendent crushers (Bomb Factory, Chicago, Columbus, Providence, Sugarbush, Red Rocks, the White Album, for crying out loud) - that move me. But, gosh, as @hoodharry opened their review of this particular monster, "This is my all time favorite phish concert. This for me is the epitome of why I love phish."
Amen, Mr. Hood, amen.
, attached to 1994-11-26
I can't say enough about the Bowie. A multipart masterpiece of a jam -- the dark, brooding buildup that explodes, then settles eventually into a key-changed quiet, peaceful, trance jam, then the key changes again as they work the energy back up into a very fast, kind of funky, danceable jam, and finally that resolves to the closing theme played at a super frenetic pace.
Possum is another highlight of this show. 14+ min of Possum means the tension gets built up so gradually, and so high, that it almost hurts.
Foam is always great to hear, and something that separates Phish from other jam bands is their ability to jam over very complex chord progressions, bebop style. Lizards is similar but adds one of the most dramatic, elegaic, and beautiful melodies I've ever heard, in any style of music, including classical music, for the ending. Slave provides another powerful jam for the closer.
All in all an A+ show for one of my all-time favorite bands in one of their best years.
Review by gphishmon
I can't say enough about the Bowie. A multipart masterpiece of a jam -- the dark, brooding buildup that explodes, then settles eventually into a key-changed quiet, peaceful, trance jam, then the key changes again as they work the energy back up into a very fast, kind of funky, danceable jam, and finally that resolves to the closing theme played at a super frenetic pace. Possum is another highlight of this show. 14+ min of Possum means the tension gets built up so gradually, and so high, that it almost hurts.
Foam is always great to hear, and something that separates Phish from other jam bands is their ability to jam over very complex chord progressions, bebop style. Lizards is similar but adds one of the most dramatic, elegaic, and beautiful melodies I've ever heard, in any style of music, including classical music, for the ending. Slave provides another powerful jam for the closer.
All in all an A+ show for one of my all-time favorite bands in one of their best years.
, attached to 1994-11-26
I love Bowie so I always became fixated with 12/29 as the unquestioned champion. Some days I change my mind. It just so happens it is days when I get this show a whirl. This Bowie may not cover as much ground as the epic rendition a month later, but it is its musical counterpart sustaining just as much griping attention as 12/29. This show may rightfully be overshadowed in a month of an time shows, but eventfully phans should stop in Minneapolis.
Review by KingDisco
I love Bowie so I always became fixated with 12/29 as the unquestioned champion. Some days I change my mind. It just so happens it is days when I get this show a whirl. This Bowie may not cover as much ground as the epic rendition a month later, but it is its musical counterpart sustaining just as much griping attention as 12/29. This show may rightfully be overshadowed in a month of an time shows, but eventfully phans should stop in Minneapolis.
Add a Review
Phish.net
The Mockingbird Foundation
Review by hoodharry
My friend my friend > possum, guyute, if i could is a raging start.
But the absolute highlight of this show is the 37 and a half minute bowie. This for me, is Phish at its finest. This is a fucking piece of improvisational musical art. There was a time in my life where I would listen to this bowie 2-3 times a day every day. Its that good.
Give this show a listen, if not only for the bowie. trust me, you will not be disappointed.