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Hi everybody and welcome to today’s episode of Attendance Bias. I am your host, Brian Weinstein. Today’s special guest is Jamie Boldt, and boy, did he pick a winner to review today: 10/31/95 at the Rosemont Horizon in Chicago, Illinois.

Regular listeners of Attendance Bias will note that The Who was THE band for me as I made the transition from classic rock and alternative radio in my early teens to exploring the world beyond the corporate record stores and Top 40 radio. To say it another way: before Phish, there was The Who. As you’ll hear Jamie and I discuss in just a little while: it was a major turning point for me when I found out about this Halloween show.

In the bigger picture, this was Phish’s 2nd Halloween musical costume. After the unmitigated success of The White Album Halloween show in 1994, the band chose to go a different route, playing a huge venue in the midwest, and choosing a relatively obscure album that required additional musicians. But there’s more to this show than the musical costume; the first and third set are masterpieces that stand on their own.

Jamie chose to discuss this show for a number of reasons, and one of them is that he wanted to get my take on the convergence of Phish and The Who. While I am the host of this podcast, and I get my thoughts in there, Jamie is the guest and we get to hear what it was like to witness this epic show that continues to live on the top shelf of Phish history.

So let’s join Jamie to talk about Greenwich Village, mod culture, and Jon Fishman’s relatives as we discuss October 31, 1995 in Chicago.

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Episode Playlist

The Improbable, Unstoppable Rise of Goose, by Charlie Werzel for The Atlantic

Welcome back, everyone! Today, Megan Glionna and Brian Brinkman of The Helping Friendly Podcast join Attendance Bias as we morph back into "Flocking Outside: A Miniseries About Goose From 3 Phish Lifers."

About a year ago, the three of us released a 3-episode miniseries to get a handle on the sharp rise of Goose, and the tension that was building between the fanbases of Goose and Phish. Those episodes are still available if you scroll back to Attendance Bias episodes from June, 2023. In those three episodes, Brian and Megan gave me information about Goose's history as a band, and we discussed the context in which their profile was rising in the jamband scene.

A year has passed since then, and Goose's story, as well as each of our own stories, has changed and expanded. In today's episode, which I think is a coda to the previous three, Megan, Brian, and I discuss the band's development of the past calendar year, how they've changed musically, how they've separated themselves from the jam scene, and how we've changed as fans.

We hope you enjoy episode 4 (coda) of "Flocking Outside!"

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Hi everybody and welcome to this week’s episode of Attendance Bias. I am your host, Brian Weinstein. Today’s guest, Brian Blatt, takes us back 30 years to April 6, 1994 at the Concert Hall in Toronto, Ontario. Phish had just started their spring tour promoting Hoist, but also showcasing their increasing ability to play anything and everything–from straight rock and roll, to bluegrass, to latin jazz, to a capella tunes, and more. Plus, a recurring theme of today’s show was the band’s improvisational exercises paying off. Whereas in 1993, they could segue in and out of any song in their repertoire, now they were jumping off the ledge into the unknown, not knowing where they’d end up, or whether they’d come back to the song at all.

On top of all that is Brian’s experience. He drove from Rochester, NY to Toronto for this show; a drive of about 3 hours. This was not his first time seeing Phish, but this was his first time seeing Phish sober. That new experience of clarity allowed him to remember, even 30 years later, the exact moment where he GOT IT. The exact moment when he was hooked.

I don’t want to spoil it, so keep listening as we join Brian Blatt to talk about vocal jams, garbage plates, Weird Al, and more as we discuss Phish’s show from April 6, 1994 at The Concert Hall in Toronto.

Audio of 7/28/92

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Hi everybody and welcome to today's episode of Attendance Bias. I am your host, Brian Weinstein.

When I began this podcast, I didn’t know too much about the key shows of the end of 1.0. The years 1999 and 2000 weren’t exactly lost to me, but it was harder then than it is now to get the most recent recordings. And even if you were lucky enough to get a recording of a recent show at the end of the century–or the beginning of the new one–chances are that the recording didn’t quite capture the intricacies and details that you would need to hear in order to appreciate what the band was playing at the time.

That’s a long way to say that today’s guest–Will Little-shines a ton of light on the technical aspect of what Phish was up to, musically speaking, during the summer, 2000 tour. Will chose to discuss his memories from July 4, 2000 when Phish played the 2nd of two nights at Camden. While many guests on Attendance Bias, and I’m guilty of this as well, focus on the fan perspective of their chosen show, Will focuses mostly on what made the soundscapes and atmospheric playing of 2000 so interesting and compelling. For years, I’ve known that soundboard recordings of this tour were high-level, dense stuff but never had the vocabulary to explain why. I still don’t have the vocabulary, but luckily we have Will here to help out.

And boy, did he pick the right show. July 4, 2000 encapsulates the “2000” sound as well as any other show that year. In fact, the second set is a legendary 5-song second set that opens with a 30-minute Gotta Jibboo. If you’re the type of fan who likes to press play, lay back, listen, and then wonder “how are they doing this?!”, then this is your show and your episode.

If you haven’t figured it out by now, Will is a multi-instrumentalist from the south-east who is typically involved in a number of projects, including longtime Asheville-based band East Coast Dirt, and by the time this episode airs, he’ll be playing with Phish tribute band, “Nectar: A Picture of Phish.” He’ll give more details about his projects once the conversation starts.

So let’s join Will to chat about the the nuance of specialized guitar effects, what the funk siren really is, and whether or not Backwards Down the Number Line is a great Phish song as we break down July, 2000 in Camden.

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Hi everybody and welcome to today’s episode of Attendance Bias. I am your host, Brian Weinstein. Today’s guest, Matt Hoffman, takes us back to an instant classic: December 2, 1997 at The Philadelphia Spectrum, the first night of a 2-night run that has since been released officially by Live Phish. The fall 1997 tour has been reviewed on this show before on Attendance Bias…and basically any other conversation about Phish, but today’s discussion focuses more on the micro–this specific show, and Matt’s experience seeing the band for the first time at a career peak.

By this point of the tour, Phish was a well-oiled machine, and Philadelphia was as close to a hometown stop for Trey as the band would get at the time. Donning a Flyers jersey for the show, Trey and the band would offer up a setlist full of fan favorites, including a 7-song 2nd set, 5 of which appear on the Phish.net jamcharts.

Meanwhile, there is a particular Philadelphia flavor to this conversation, as Matt grew up and still lives in the Philly area, so keep listening as we join Matt to talk about the Mann Music Center, cover bands, taking naps, and more as we discuss Phish’s show from December 2, 1997 at The Spectrum.

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Hi everybody and welcome to this week’s episode of Attendance Bias. I am your host, Brian Weinstein. Today’s episode is about a Phish show, to be sure, but in the larger picture, it’s about an entire tour. Today’s guest, Jordan Kahn, chose to tell his story from June sixteenth, 2000, when Phish played Zepp Suminoe-ku, in Osaka, Japan. Four years into this podcast, it’s not often that a guest chooses a show from a tour that has not yet been covered, but Jordan saw nearly every show from the Japan, 2000 tour and man, I was excited to hear all about it.

In retrospect, we all know that, just a few months after Phish played Japan in 2000, they would go on a year-and-a-half long hiatus. When listening to this show, and others from the tour, they don’t sound tired, or as if they need to stop the Phish touring machine. Maybe it was being in small clubs with quiet, respectful audiences that provided the band with the relaxing feel to experiment toward the beatless, futuristic, ambient sound that would dominate 2000. But that’s all speculation. Let’s stick to what we know.

Jordan provides us with a personal, yet universal, experience of what it was like to travel from the United States to the Land of the Rising Sun, and parts of this conversation veers away from the Phish experience and becomes something of a travelogue with a jamband flavor.

So let’s join Jordan to talk about bullet trains, superior sushi, and why a day off during a tour is okay as we discuss June 16, 2000 from at Zepp, Osaka.

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Hi everybody and welcome to this week’s episode of Attendance Bias. I am your host, Brian Weinstein. Today’s guest is Steven Gripp, the creator of the Phish Mapping Project. Steven is here today to tell about one of his favorite segments of Live Phish he’s ever witnessed: “46 Days>The Dogs>46 Days” from the Austin 360 Amphitheater on July 28, 2015, in Austin Texas.

Steven and I also talk quite a bit about his project: If you’re a nerdy fan like me who could spend hours down a wormhole on Phish.net or used to read and re-read the Pharmer’s Almanac, the Phish Mapping Project is right up your alley. Basically, Steven took years of research and meticulous mapping of every Phish show on record and created an interactive worldwide digital map of their history, using Google Tours and Google Maps. If you have a favorite show but always wanted to know what the venue looked like, or where it actually is, the Phish Mapping Project has you covered. There are more dimensions to it than I could explain here, but that’s why we have Steven here to tell us about all the angles of this magnificent contribution to the Phish fan experience.

In addition, we cannot forget the 46 Days/The Dogs musical sandwich that Steven brought to the episode. The summer 2015 tour peak Phish, and even an “average great” show would have highlights that would stand out when all was said and done. This power rock combination certainly meets that criteria and after all, who doesn’t love a flawless segue?

So let’s join Steven to talk about 1993 Phish, the best versions of Crosseyed and Painless, and Phish in the Lone Star State as we discuss “46 Days>The Dogs>46 Days” from July 28, 2015 at the Austin 360 Amphitheater.

Phish Mapping Project

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Hi everybody and welcome to this week’s episode of Attendance Bias. I am your host, Brian Weinstein. Today’s guest is Anton Milioti, bass player from the acoustic-ish Grateful Dead cover band, Crickets and Cicadas. Today, Anton and I spend a good deal of time talking about the Grateful Dead and live performance, but the majority of our conversation centers around a show that was Anton’s first, and still holds up in Phish history–December 30, 2013 at Madison Square Garden.

When a guest chooses a show to discuss, I tend to get excited over shows from the mid-1.0 era; 1992, 1995, 1998...but over the course of today’s conversation, Anton mentioned a few times that it’s been 10 years since the 2013 NYE run. And when we break down some of the jams and remember the Phish zeitgeist around the end of 2013, an argument can be made that they were as different 10 years ago as they were 10 years before that!

On top of that, there is the recurring theme of the band celebrating its 30 year anniversary in 2013, which takes on extra resonance now, considering that we recently had the privilege of celebrating the band’s 40th anniversary! When taken in that context, this show takes on an entire different dimension.

So let’s join Anton to talk about Phil Lesh, A Live One, and dream setlists as we discuss Phish’s show from December 30, 2013 at Madison Square Garden.