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Tonight (Friday, November 27), Phishing will air their show from November 22, 1997 at Hampton Coliseum in Hampton, VA as the 28th episode of their current archival webcast / kitchen series, Dinner and movie. Tune in below at 8:30 p.m. ET and scroll down to follow our 11/22/97 broadcast companion.
Phishing Dinner and movie Episode 28: 11/22/97, Hampton Coliseum
https://www.youtube.com/watch?v=0-bX6-rsdMo
Episode 28 of Dinner and movie follows last month’s Halloween Triple Feature, which featured a trio of the group’s Halloween costume sets from years past. Go through the past Dinner and movie episodes and broadcast companions below.
11/22/97 Dinner and movie comes a night after the guitarist Trey Anastasio end The beacon jams, his eight-week virtual residency in New York Flagship theater. With the end of the phenomenal weekly engagement, fans are now faced with a winter with no live Phish on the menu (as far as we know). To appease that desire, the band selected an all-time excellent performance for Episode 28, the second Scorching Night at the revered Hampton Coliseum of the band’s fall 1997 trek, affectionately known as “Phish Destroys America. “. While we had a 1997 show on Dinner and movie before (7/21/97 for Episode 9 in May), this is the first time the band has served a performance from their most famous tour.
It would have been really difficult to choose a disappointing show for fall 97 for Dinner and movie– they are all this good, but this one is particularly exciting. It’s also a show that many fans new and old are intimately familiar with, as it was officially released along with the band’s other two performances this weekend as Hampton / Winston-Salem ’97 back in 2011.
1997 was a pivotal year for the band and its sound, and all the latest elements – from minimalist cow funk to spatial and effortless improvisation to near-telepathic intragroup communication – were on display that night. .
This show began to assert itself as a timeless from its first notes, opening “Mike’s Song”> “I Am Hydrogen”> “Weekapaug Groove” spanning more than 35 minutes, with lots of improvisations to do. Keeping the momentum going, the group fell into a rare early show “Harry Hood” that lasted over 18 minutes as it patiently reached a blissful high.
With three top notch jams to start the set, the rest of the frame was a bonus. Regardless, Phish made the last few songs count. After a “Train Song” / “Billy Breathes” hiatus, the band ended with a couple of fan favorite covers: Edgar Winter‘s “Frankenstein” and Jimi Hendrix‘s “Izabelle”. The Hendrix blanket, in particular, is a feature of 1997 Phish. While the Trey-does-Jimi guitar attack was performed frequently throughout the year – and was featured in several of the rented shows from the Fall 97 tour – it gave up the rotation altogether. summer 1998 and did not return until the last night of Baker’s Dozen almost 20 years later.
The second set of 11/22/97 was no less exciting. The energy of the crowd was palpable as the group took to the stage for the second set. Those present attempted to argue in favor of a collapse of the Mike Gordon-a written rarity, “Destiny Unbound”, but the vocals got lost in the frenzy of the audience roaring. “It sounds like a horrible, cannibalistic chant to people who want blood,” Trey said, trying to understand the screams of the crowd. “I don’t know what you are saying. … Is this the human sacrifice part of the show? Alright, bring them here! “
Fans would have to wait another six years for the return of “Destiny Unbound,” but the group didn’t wait to deliver the goods as they embarked on a “Halley’s Comet” for the ages. While its 26-minute duration ranks this version among the longest the band have ever played, it isn’t famous just for its length. This multi-sectional epic of improvisation shed light on everything that made Fall ’97 Phish a legend. If you’ve never heard it before, you’re in for a treat. Buckle up.
As “Halley’s” finally died out, the band fell into an always welcome “Tweezer”. While this funky “Tweezer” didn’t stretch as far as the jams that preceded it that night, it did take it up a notch, with the help of some important teases from “Black- Eyed Katy “. These teases predicted the next transition, as the “Tweezer” jam eventually moved seriously into the instrumental groove.
For those new fans who are wondering about “Black-Eyed Katy”, you’ve probably heard it before. The funky instrumental was eventually reworked with lyrics as “The Moma Dance”, which remains a staple of Phish’s setlists to this day. “Black-Eyed Katy” is yet another hallmark fall 97 item that we see in this show. The song was only performed as an instrumental seven times, all during this tour, before reappearing with lyrics as “The Moma Dance” on June 30, 1998.
The relatively short but sizzling “Katy” eventually gave way to a patient “Piper”, which in turn morphed into a roaring “Run Like An Antelope” – with a slight lyrical adjustment (“Michael Esquandolas”) for close a five songs. second series. A recall opening of “Bouncing Around The Room” set the stage for a triumphant “Tweezer Reprise” to bow the awesome performance.
Pass Dinner and cinema were evidenced by jokes, by themes, by the plots they illustrate in the context of the story of the Phish. This time around, the narrative is much simpler and, as such, much more exciting: Dinner and movie Episode 28 is, plain and simple, the peak of Phish in all its glory – arguably the best show of arguably the best tour of the band’s decades-long career. Tune in on Saturday at 8:30 p.m. ET when ’97 Phish destroys the Hampton Coliseum on Dinner and movie.
Setlist: Phish | Hampton Coliseum | Hampton, Virginia | 11/22/97
Set One: Mike’s Song -> I Am Hydrogen> Weekapaug Groove, Harry Hood> Train Song, Billy Breathes, Frankenstein> Izabella
Second Series: Halley’s Comet> Tweezers> Katy with Black Eyes> Piper> Running Like an Antelope[1]
Again: bounce around the room> Resume the tweezers
[1] The lyrics have been changed to “Michael Esquandolas”.
Both Mike’s Song and Tweezer contained BEK teases, with Tweezer’s teasing taking place long before the transition to BEK. Fans of on-stage banter will want to look for the second set for Trey’s humorous response to the crowd’s Destiny Unbound chant before Halley’s. The lyrics of “Marco Esquandolas” in Antelope have been changed to “Michael Esquandolas”. This show was released as part of the Hampton / Winston-Salem ’97 set.
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