Summer 99 is an underrated tour in my book. Maybe not the most even, but the band went deep often and to usually to great effect. It would be a stretch to say that this show was one of its highlights--you'll probably want to hear 7/8, 7/10 (released at Live Phish 8), 7/13, 7/15, 7/17-18 (Oswego), and 7/24 first--but it does boast maybe the best Mike's of the summer, if not the year. Clocks in around 18 minutes and goes well out of the usual (for the 97-00 era) Mike's jam sound early. They quote Sweet Emotion (with lyrics) towards the end of it as a wall of sound emerges, and then Trey's pulls off a pretty seamless segue into Twist. Nice stuff.

[Originally posted on Wed, 14 Jul 1999]

Okay, I knew for sometime I'd write a review, I just didn't know for which show I went to. Well, a few days after the fact, I've decided that Merriweather was the money show.

Limb by Limb opened the show. I hadn't seen this song open a show since 6-30-98, which was incredible so my hopes were high. Unfortunately, Merriweather Post has a horrible angle, so I couldn't see the band, but I guarantee they were jammin, cause everyone around me was -forgive me- bouncing around. Farmhouse is a great song I never mind. The jam is tight, the changes are simple...it just was surprising since they played that at Merriweather last year. Get Back on the Train is one I don't quite care much for yet. I liked it better acoustic, and it's one I need to learn to like. If there was any doubt, it vanished when I heard that open A chord of Divided Sky. The last Divded I heard was flubbed so badly they ditched it in Barcelona last year, so this version swept me away. Train Song, a great, sweet breather, was the worst version I've heard. I've seen it a bunch of times, so this version did nothing for me. Finally, I see Llama. This was my first Llama, and according to ZZYZX, the odds of that were about .04%. I rocked out to it, as did everyone around me. Driver is nice enough, but I was thinking to myself, "C'mon guys, kick it up a notch." They must have heard me, because Runaway Jim was on fire.

But that was nothing compared.

They returned with PYITE, one of my favorites. Yes, this song seems to follow me around, but I'm not complaining! That was a fun jam, nothing particularly stands out as monumental, but it got me dancing good. I was much more excited about Free. My last Free was Fall 96, and now that Free's radio airplay has calmed down, I was glad to see it again. I love the way they keep the tempo so steady. What's the Use is real out there. It's kinda spacy, again....pick up the energy level. I must admit the show I caught were definitely spaced out by many slow-it-down songs. Then it was time for the Meatstick. This song does shock my brain. I loved it on the Bearsville tapes, and I loved it the night before. Though caught off guard at its second appearance in 2 shows, I wasn't upset at all. What could cap this night off better than Mike's?? Another song abandoned in Barcelona, this version tore shit up. I feared they might kill my energy again by segueing into Sleeping Monkey or Swept Away or something, but fear not: My #1 wish list song: Twist Around. I had a minor stroke or something for a second, I went nuts, and loved this awesome version of Twist. They came a little bass intro to a totally smokin Weekapaug.

How can they top that I thought? Encore: Harry Hood. Now Hood is the most common song I've seen, but unlike, say Character Zero, I can't seem to dislike it. Everytime it blows my mind. And this was no exception. I'll have to hear the tapes to see if 98 Merriweather was better, but this version, though shorter, was fantastic. All in all, Merriweather was a great time. Other than the fact that these MD schmucks cannot seem to handle parking, this venue gets the band playing their best. Have fun on tour!

Gotta add props for this Weekapaug! For my money, there is no better version (suggestions welcome, of course). Mike's intro comes raging out of Twist's feedback ending, and we're in. Jam takes off with Trey laying down melody after melody (anyone else catch the Gotta Jibboo tease?). They begin to steer into the tight sometimes-minor-key funk section, but instead opt for a hilarious Macarena jam, out of which the music just EXPLODES. That final peak is almost too much. Trey coasts on some high wailing notes while the rhythm section braces us for a smooth landing.
He-eyyyyyy Macarena!

Andrew-
Good call on your part. This is a well-above average show from a year that was actually pretty damn good across the board. I think there are some all-time great shows from December 99; both Portland dates, 12/7 and 12/8, stand out in particular, and of course Philly night two. I also think very highly of 12/3 set II. To me, the attribute shared by all the shows that were great from 99 is "lazy funk." Set II of this MPP show (also set II from Mansfield 7/13) really settles into that sound. Trey isn't shredding but laying deep into the groove. They aren't searching for a peak, specifically, but really getting comfortable in some excellent, moody funk. You have to like that sound, but if you do, '99 has it everywhere. Oswego set I lives in this world, however I think it is because it was soooooo unbelievably hot on that blacktop that the band, along with the audience, was just sapped of energy. 7/9 is a highly listenable show though, top to bottom. The set I Divided Sky is another nice moment-the jam is much more group oriented and mellow than is typical.
To piggyback on your point, Andrew, I would say this is EASILY one of the best Mikes out there (acknowledging that its a highly subjective matter). I am usually quite disappointed when, instead of digging into the groove and getting funky, the Mikes jam just flails away at shred-fest cock rock. I would say that basically every Mikes since 3.0 began has been that type. 7/9 Mikes is a must hear for those who prefer to get down (I would also nominate 7/1/00 as a heavyweight in this category).
This is a show that you can put on for a long drive and never skip a tune. It is very balanced and listenable despite being highly improvisatory. 99 doesn't get enough cred but there are some real gems

This was the first show on a little two week tour. And I thought it was an awesome way to start my summer 99 adventure. I haven't actually listened to the show since the show, but I remember loving the 2nd set. What's the Use is one of my favorites and I loved the macarena and sweet emotion stuff in Mikes. Boom! Now I can cross off reviewing and rating a show in my 'achievements'.

Yet another show that sways back and forth between fumbling flubbery and strong intense playing.

Besides Divided Sky and Runaway Jim you could pretty much scrap the whole first set.

Although 2nd set starts off on the wrong leg with the usually fitting PYITE. Free is very notable, along with the classically strong Mikes Twist Groove.

It's a cherry pick kind of show for sure.

https://forum.phish.net/forum/permalink/1378118056

A restless artist fears stagnation and loves reinvention. Phish had become a giant touring production by the end of 1998, and Trey was likely feeling constrained by what Phish had become. All four band members had previously participated in side projects, but only with the clear understanding that those projects would be isolated and temporary, a "bend in the road" rather than a detour. The 8 Foot Fluorescent Tubes one-off show in May 1998 initially seemed like the latest example of this, but it was also a prototype for what would eventually become the Trey Anastasio Band. By early 1999 Trey seemed to be itching to play some shows without his other Phish bandmates, and after a warm-up benefit show in February, Trey took Tony Markellis and Russ Lawton on the road for 12 shows over 16 days in May. He was ready for another creative outlet, and the May shows allowed him to try out some favorite covers and new material written with Tony and Russ.

When Phish reconvened rehearsals for their Summer '99 tour, Trey had new material to teach the others, and a few other changes to put forward. His stage position moved from between Page and Mike (his spot since the days of three-night stands at Nectar's) to far stage left, on the other side of Fishman's drum riser. Trey had previously used a rotating Leslie speaker for occasional effect, but now his guitar sound was now heard through the Leslie almost exclusively. Whether these changes were Trey's reaction to perceived stagnation is speculative, but the result was an assertion of Trey's personality even further into the band's music. When the band released their next studio album, Farmhouse, in May 2000, it tellingly featured only songs Anastasio had co-written with lyricist Tom Marshall or with Lawton and Markellis, and none co-written with the other band members.

These new songs and the change in direction came to define the "Millennial Sound" of live Phish during 1999-2000. The casualness that had defined 1997 and 1998 was still there, but Trey began driving the jams like he had in the band's early days, instead of laying back and playing something complimentary to the others. As result, some jams became more focused, while others were diffused and languid, depending on how inspired Trey felt at the moment. This show features some of the best brain-shocking examples of this approach. 7/9/99 has already been heavily mined for Live Bait selections, and I couldn't fault someone who thought that was all that needs to be heard from this show. But I find the first set to be quite enjoyable, with good Trey solos in Limb By Limb, Farmhouse and Divided Sky, Page getting a chance to shine during Llama, and a hazy Runaway Jim set closer. Harry Hood encores are not to be overlooked, either. The overall listening experience is different from the early 90's or most of 3.0, but as always, the sound of Trey's guitar playing makes everything all right.

STANDARD SET 1, STAND OUT SET 2

This show is just a glass half full. The first set is nothing to write home about... absolutely nothing to separate itself from average. Standard late 90's first set. Minimal jamming, no bustouts, same song rotation as half of 1998 - 2000, and an abundance of standing around waiting for something the happen. This was often the case for Phish at the end of 1.0, and I have a hard time understanding why they so often played it safe during those first sets. It was almost like they were playing Blackjack and got 15 almost every night and refused to hit. Ever. Phish just wanted to take a chance on the dealer busting, rather than take a chance of their own. No risk, no reward. And so it was for this Merriweather first set on a sweaty night in July.

The band came out dealing in the second set. Complete role reversal. They wasted no time and jumped into a set full of great jams - both ambient and otherwise - and dropped in a couple of old school fan favorite teases in Sweet Emotion and Spooky. They were dealing everyone aces and face cards.

Set 1
I do not advise you to waste time listening to this set. You have far too many other options, especially with PhishTracks.com

Set 2
Punch You in the Eye > Free > What's the Use? BLACKJACK! This is the good stuff. Front-loading the PYITE with a nice ambient tinged intro jam and then a solid version of Punch bled into an ambient & funk-filled Free. A slower than usual Free with swirling Leslie Speaker effects and light distortion created a nice ambient build around the song's signature structure. Then a really slow bass bomb jam out of the structured section leads to a reverse delay solo from Trey with gorgeous texture and long note holds. A gorgeous, patient ambient Free groove that feels almost like wading through a big steamy bowl of Maryland Crab soup. Trey builds and builds until the return to the song is almost a huge release from the ambient funk prison. Jailbreak. The song fades as the feedback is sustained and looped quietly into What's The Use? A delicious trip to the supersonic ether leaves the audience meditative and ready for enlightenment. That enlightenment comes in the form of a lesson on the Meatstick from Trey and the boys, and a chance to lighten the heavy mood. But waste not, want not, and Phish dives into the shallow waters of the closing stanza of the second set head first with a MONSTER Mike's Groove. The Mike's Song comes out flush with spades at it wastes no time in getting to the jam, laying down the erratic loops and grooving over top. Trey picks, and comps, and flutters over top of a tight groove from Fishman, Mike and Page until almost the 8 min mark when the band drops the jam off the edge of a cliff. Slowly, slowly, slowly climbing back up. Quiet at first, then growing, the band pulls its jam back up from the bottom of the quiet ambient bliss. A few setbacks and almost stops before the audience takes over from the ambient unstructured collapse. The crowd claps in unison and cheers the band on. They are asking for it. The band delivers with the royal flush of teases: Sweet Emotion. The groove builds. Mike lays down the bass in an ambient almost Catapult manner as the band lays down the vocals all together. Trey takes a stab at the solo for about 2 measures, but reverts back to the Catapult-esque groove. Page drops some high end staccato keys on top. It gets funky and weird and finally devolves into Twist. Twist Around brings it's own baggage. Fan favorite. Known for great jams. The crowd gets to yell "Wooooo!" It's like the Rick Flair of the Phish catalogue. This one doesn't disappoint. It gets down and dirty. It gets Spooky (teases). Drops into an equally fun Weekapaug Groove. Bass to the face. Macarena teases. Show closing goodness. Oh, and a Harry Hood encore? Not too shabby.

Follow me @TimberCarini on Twitter

STANDARD SET 1, STAND OUT SET 2

This show is just a glass half full. The first set is nothing to write home about... absolutely nothing to separate itself from average. Standard late 90's first set. Minimal jamming, no bustouts, same song rotation as half of 1998 - 2000, and an abundance of standing around waiting for something the happen. This was often the case for Phish at the end of 1.0, and I have a hard time understanding why they so often played it safe during those first sets. It was almost like they were playing Blackjack and got 15 almost every night and refused to hit. Ever. Phish just wanted to take a chance on the dealer busting, rather than take a chance of their own. No risk, no reward. And so it was for this Merriweather first set on a sweaty night in July.

The band came out dealing in the second set. Complete role reversal. They wasted no time and jumped into a set full of great jams - both ambient and otherwise - and dropped in a couple of old school fan favorite teases in Sweet Emotion and Spooky. They were dealing everyone aces and face cards.

Set 1
I do not advise you to waste time listening to this set. You have far too many other options, especially with PhishTracks.com

Set 2
Punch You in the Eye > Free > What's the Use? BLACKJACK! This is the good stuff. Front-loading the PYITE with a nice ambient tinged intro jam and then a solid version of Punch bled into an ambient & funk-filled Free. A slower than usual Free with swirling Leslie Speaker effects and light distortion created a nice ambient build around the song's signature structure. Then a really slow bass bomb jam out of the structured section leads to a reverse delay solo from Trey with gorgeous texture and long note holds. A gorgeous, patient ambient Free groove that feels almost like wading through a big steamy bowl of Maryland Crab soup. Trey builds and builds until the return to the song is almost a huge release from the ambient funk prison. Jailbreak. The song fades as the feedback is sustained and looped quietly into What's The Use? A delicious trip to the supersonic ether leaves the audience meditative and ready for enlightenment. That enlightenment comes in the form of a lesson on the Meatstick from Trey and the boys, and a chance to lighten the heavy mood. But waste not, want not, and Phish dives into the shallow waters of the closing stanza of the second set head first with a MONSTER Mike's Groove. The Mike's Song comes out flush with spades at it wastes no time in getting to the jam, laying down the erratic loops and grooving over top. Trey picks, and comps, and flutters over top of a tight groove from Fishman, Mike and Page until almost the 8 min mark when the band drops the jam off the edge of a cliff. Slowly, slowly, slowly climbing back up. Quiet at first, then growing, the band pulls its jam back up from the bottom of the quiet ambient bliss. A few setbacks and almost stops before the audience takes over from the ambient unstructured collapse. The crowd claps in unison and cheers the band on. They are asking for it. The band delivers with the royal flush of teases: Sweet Emotion. The groove builds. Mike lays down the bass in an ambient almost Catapult manner as the band lays down the vocals all together. Trey takes a stab at the solo for about 2 measures, but reverts back to the Catapult-esque groove. Page drops some high end staccato keys on top. It gets funky and weird and finally devolves into Twist. Twist Around brings it's own baggage. Fan favorite. Known for great jams. The crowd gets to yell "Wooooo!" It's like the Rick Flair of the Phish catalogue. This one doesn't disappoint. It gets down and dirty. It gets Spooky (teases). Drops into an equally fun Weekapaug Groove. Bass to the face. Macarena teases. Show closing goodness. Oh, and a Harry Hood encore? Not too shabby.

Follow me @TimberCarini on Twitter

the "mike's song" from this show is worthy of a listen, and some other highlights include a stellar "runaway jim", a solid "free", and an always welcome "harry hood". from a musical standpoint, i'd rate this show close to a 4, but i gave it a 3 overall because my experience at merriweather was less than stellar. i ended up having to park my car on an exit off-ramp 'cuz the traffic navigation was abysmal, my view of the stage was non-existent due to the slope on the lawn, and my witnessing more than one incident with over-aggressive security put a damper on my evening. it was my last show of a five-show run, and after this evening, i was actually ready to head home...