Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
Credits | Terms Of Use | Legal | DMCA
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $2 million to support music education for children – hundreds of grants in all 50 states, with more on the way.
Review by kevinAreHollo
After the noted percussive jamming (Trey on his mini-kit), things dissolve into cacophony and noise until an eventual fade to Page's piano. He solos in the spotlight for quite a while unaccompanied, several minutes. When lights do come up again, Trey and Mike are seated on stools a la Acoustic Army at centerstage. They pick in unison for a bit, and Fishman joins them on vacuum for some moody atmospherics. Kuroda takes the lights down and this time when they come up the rotation has occurred: Trey on drums, Page on the Dragon, Mike on guitar. Fish takes his place at the piano to "sing" Mallory.
While I don't find this portion of the show all that interesting (the Jim and Bowie on the other hand...), it's obvious they had a strategy/game plan going in. Successful or not, I feel like it warrants updating the setlist.