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Music and Concerts | Review: As the second band to play Sphere,…

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Music and concerts | review: as the second band to play sphere, phish adds something new — improvisation.

LAS VEGAS — “Let the music do the talking,” sang Phish vocalist-guitarist Trey Anastasio at the outset of the band’s concert Saturday at the Sphere, the new venue that surrounds the audience with a wraparound LED screen. Normally, hearing that advice from a singer who seemingly never tires of the stage would pass without a hint of irony.

However, given Phish was not even one minute into the third of its sold-out four-night stand at the $2.3 billion dome — expressly devised to push sensory boundaries to previously uncharted limits — one couldn’t help wonder how seriously the group would take its own instruction. Turns out Anastasio and company still place their hallmark interplay above everything.

At once playful and serious, Phish’s brilliantly unpredictable music led and complemented a non-stop parade of dizzying graphics, abstract patterns, distant universes and panoramic projections made possible by the Sphere, where the band took over from an opening residency by U2 . The optical extravaganza erupted on nearly four acres worth of 16k LED screen wrapped behind, above and around the members’ positions on a minimalist oval stage.

Among the generated scenery that dropped the crowd into manipulated environments: Soap bubbles that grew in size, headed for the audience and acted as if they might swallow anyone in their path (“Tube”). A hilly meadow with trees and blowing grasses, which illuminated with alternating bright and pastel colors according to the band’s pace (“Pillow Jets”). A calming perch atop a forested peak shrouded in fog (“Mountains in the Mist”).

During “Tweezer Reprise,” cars tumbled across an empty sky, teasing chaos as they poured down like hail. Throughout “Taste,” layers of metal rings, stacked wedding-cake-style, rotated to reveal iconography and illustrations from an archival Phish CD series. Amid “Sigma Oasis,” plush clouds resembling gigantic mushrooms bloomed as others transformed into the shapes of birds and turtles. (Though some anticipated the numerical date of Saturday’s event would prompt the band to commemorate 420, marijuana’s unofficial holiday went unacknowledged — not surprising since the group thinks big and beyond trite concepts.)

Just the second act to use the Sphere as a boundless sandbox, Phish took a decidedly different approach than U2. In christening the facility last fall and winter, the Irish group opted for extraordinary displays that challenged conceptions of space and suspended disbelief, as well as literal and metaphorical visuals that delivered potent environmental and sociopolitical messages. U2 also stuck with a pre-scripted program at every performance.

Phish pursued improvisational tactics that reflected the emblematic fluidity of its concerts. Less interested in direct interpretation, the band orchestrated the optical spectacles to respond in real time to the music. The daring strategy permitted Anastasio, drummer Jon Fishman, bassist Mike Gordon and keyboardist Page McConnell to stay clear of prescribed routes and fenced-in passages. In short, the production allowed Phish to do what it does best: surrender to the flow and live in the moment.

Phish affirmed its commitment to adventure and exploration by spending almost 40 minutes sussing out the first three songs of the multi-set performance. With its start anchored by freewheeling renditions of two older favorites stemming from 1990 (“Tube” and “Stash”), the ensemble flashed a blend of dexterity, patience and surprise that continues to attract hordes of followers more than four decades after its formation in Burlington, Vermont.

Mirroring previous stands at Madison Square Garden, Phish avoided song repeats and scored each concert with different visuals. Preparation for the run began in July 2023 when creative director Abigail Rosen Holmes started on ideas proposed by the group. While she collaborated with Montreal-based Moment Factory — a multimedia studio specializing in immersive environments — on video presentation and show design, Phish audio engineer Garry Brown oversaw the deployment of the venue’s 167,000-strong loudspeaker system.

Fans unable to trek to the desert got the chance to livestream each performance on the group’s website. Others put their faith in the Phish community. On Saturday, dozens of followers milled around outside the venue holding up an index finger hoping for a “miracle” — an extra ticket, often gifted for free. Some fans already had tickets to one or several of the other shows. Other diehards, including Jessica Ganjon, arrived without knowing their fate. She flew in from Denver without guaranteed admission to any show in the limited run.

Indeed, given Phish’s proclivity for risk-taking performances and audiophile sonics, the brevity of its Sphere engagement seemed bizarre. By comparison, U2 delivered 40 concerts over the course of several months. Dead & Company will present 24 shows beginning in May.

In July, Phish will release its 16th studio album and commence on a 26-date tour. The jaunt swings through Alpine Valley in Wisconsin for a trio of shows late in the month before routing through Noblesville, Indiana, and Grand Rapids, Michigan — each less than a three-hour drive from Chicago. Anastasio arrives earlier. He and his solo ensemble hit the Salt Shed on May 9.

It’s conceivable the 59-year-old still might be smiling from the Vegas rush. As Phish’s de facto leader, Anastasio couldn’t disguise his enthusiasm on Saturday. The bespectacled road warrior hopped in place before a single note struck. Near midnight, as Phish completed the marathon 185-minute show, Anastasio still looked as if he could coax another symphony’s worth of articulate tones, free-form melodies and knife-edged solos from his guitar.

Phish’s license to walk the proverbial tightrope — and tendency to nestle into the thickets of on-the-fly arrangements — can prove overbearing for listeners who prefer concise hooks or conventional structures. To the Phish faithful, the group’s deep-dive excursions and without-a-net acrobatics explain why seeing the band in person is without parallel. That, and the thrilling light displays that designer Chris Kuroda orchestrates to respond to Phish’s whims.

The Sphere’s voluminous canvas and technological capacity helped explode those elements to exponential proportions — particularly since Phish stretched its collective legs on a majority of the material. Pulling from a grab-bag of rock, fusion, boogie and electric jazz, the quartet guided airy escapades filled with bounding tempos, gliding riffs, blissful vibes and subtle yet sudden shifts.

Largely steeped in fusion and funk, songs opened up to elongated jams that encouraged loose-limbed dancing, closed-eyes meditation and mouth-agape awe. Phish conveyed a wide range of emotional states — heroic, optimistic, dramatic, relaxed, anxious, giddy — without uttering a word. When Anastasio stepped to the microphone to sing, or teamed with Gordon or McConnell on a vocal, the phrases were usually brief, choral exclamations or onomatopoeic.

Drifting and expansive, songs’ architecture remained tethered to rhythmic foundations courtesy of Fishman’s steady drum beats and Gordon’s flexible bass lines. They provided a true compass on numerous occasions, most notably during an epic 20-plus-minute reading of “Fuego,” whose complex sprawl threatened to float away into the ether. Here and elsewhere, Phish benefited from selective use of the Sphere’s spatial sonic capabilities.

Trey Anastasio, bassist Mike Gordon, drummer Jon Fishman, and keyboardist Page McConnell of Phish perform as part of a four-concert series at the Sphere in Las Vegas, running April 18-21, 2024. (Alive Coverage)

Trey Anastasio, bassist Mike Gordon, drummer Jon Fishman, and keyboardist Page McConnell of Phish perform as part of a four-concert series at the Sphere in Las Vegas, running April 18-21, 2024. (Rich Fury)

Without warning, the band isolated a particular instrument in a specific area, panned percussive sounds or added psychedelic accents to the mix. The results created 360-degree sonic vistas that enveloped the mind and body. Low-end frequencies, too, possessed elevated degrees of definition, clarity, depth and decay. Along with Phish’s adaptive visuals and probing tunes, the aural wizardry contributed to an immersive experience that triggered the imagination, entertained fantasy and incited waves of recurring joy.

Consciously or not, Anastasio summed up the future-is-now realities and dynamic sensations in “Golden Age,” singing: “The age of miracles, the age of sound / Well, there’s a Golden Age, comin’ round.” Enjoy it if and while you can.

Bob Gendron is a freelance critic.

Setlist from the Sphere in Las Vegas April 20:

Set I “Set Your Soul Free” “Tube” “Stash” “Pillow Jets” “Steam” “Mountains in the Mist” “Taste” “46 Days”

Set II “Sigma Oasis” “Fuego” → “Golden Age” → “Twist” “I Am Hydrogen” “Chalkdust Torture” → “Say It to Me S.A.N.T.O.S.”

Encore “A Life Beyond the Dream” “Tweezer Reprise”

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Phish Live at the Sphere: How to Buy Tickets and Stream the Concerts Online

The legendary rock band takes over Las Vegas this weekend.

By Rudie Obias

Rudie Obias

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After massive fan turnout and hype throughout U2’s residency last fall followed by a special Grammy performance from the band this past February, The Sphere is getting ready to host rock jam band Phish for a four-night concert event.

Running Thursday, April 18 through Sunday, April 21, Phish is set to perform an immersive experience for fans at the music and entertainment arena in Las Vegas . Although all four shows are sold out, there are a few options to still attend with last-minute tickets, or watch or listen to the concerts online.

Where to Buy Phish Tickets at The Sphere Online

Popular on variety.

You can use our exclusive promo code VAR2024 for $20 off at Vivid Seats , or use VARIETY10 at checkout to save $10 off your purchase at SeatGeek.com . Phish: Live at The Sphere tickets are also available at Stubhub and Ticketmaster .

Where to Watch Phish: Live at The Sphere Online

Want to watch Phish: Live at The Sphere online? All four concerts are available to livestream on the band’s very own webcast site . A number of the jam band’s past concerts are also streamable on nugs.net so fans may eventually be able to stream the Phish Sphere concert on-demand as well.

For now, nugs.net has the best library of Phish concerts and livestreams to watch online outside of The Sphere show. Even better: you can test out the streamer with this 7-day free trial to watch live streams and on-demand concert recordings. Afterwards, plans start at $14.99/month, and come with unlimited catalog streams, on-demand streaming and professional audio mixed performances. Learn more about perks from nugs.net here .

Where to Listen To Phish Live at The Sphere Online

If you want to listen to Phish: Live at The Sphere, concerts are set to air on Phish Radio (Channel 29) on SiriusXM the day-after each show at 12 p.m. ET/9 a.m. PT. In addition, the fourth and final concert airs live on SiriusXM on Sunday, April 21 with a start time of 10 p.m. ET/7p.m. PT.

Though there are rumors that Phish may extend their Vegas residency, only this weekend’s dates have been announced thus far. Buy tickets to Phish: Live at The Sphere in Las Vegas at the link above.

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Concert Review: Goose Earns Its Indie-Groove Wings

By Paul Robicheau

Goose has seen its stock in the jam-band world soar at a pace unseen since… well, Phish.

Rick Mitarotonda of Goose at Roadrunner. Photo: Paul Robicheau

The line stretched around the corner for blocks, forcing a lot of fans to miss the start of the first set. Others got in early to hoist microphones in the tapers’ section, even though the band posts live recordings online.

The buzz surrounding the sold-out opening night of Goose’s spring tour at Roadrunner on Thursday reminded of an early ’90s Phish show even before the Norwalk, Conn., quintet began to play. It was the group’s first local headlining date since a 2019 gig at the Middle East’s Sonia room. But similar to Billy Strings, over the past year, Goose has seen its stock in the jam-band world soar at a pace unseen since… well, Phish. That band’s Trey Anastasio even jammed with Goose from Radio City Music Hall to a co-billed fall tour that hit Lowell ‘s Tsongas Arena, sort of like the passing of a torch.

“You looked a little tight out there,” Goose keyboardist/guitarist Peter Anspach said before Thursday’s encore to the crowd that stuffed the 3,500-capacity Roadrunner. “Hopefully next time y’all can get us to a bigger place!”

Peter Anspach of Goose at Roadrunner. Photo: Paul Robicheau

So, what warrants this devotion from a younger generation? Eschewing the abstract, spacey improv of predecessors like Phish, moe. and Disco Biscuits, Goose favors more straightforward, taut-yet-fluid grooves that rise and fall through exhaustive jams, morphing through sometimes same-sounding songs that seem like incidental frameworks. And all the energy stems from lead guitarist/singer Rick Mitarotonda’s incendiary noodling on a hollow-body electric that slightly resembles Anastasio’s trademark guitar.

A 75-minute first set surged from the chugging momentum of “Flodown” (where Mitarotonda teased “Hey Jude” on guitar) to a wild 26-minute finale of “Earthling or Alien?” Its sticky funk slowly migrated into stinging waves of rip-current guitar before he cued a classic rock crescendo that ticked back to a funky amble.

But the near-three-hour show peaked during a second set “Hungersite,” another near-20-minute jaunt begun with a wistful guitar hook over Jeff Arevado’s congas, Mitarotonda bathed at the center of criss-cross spotlights. It’s one of the band’s signature songs (from 2022 album Dripfield , which sealed Goose as an “indie-groove” outfit) and perfect for Mitarotonda’s calming vocals. He still wound his way to a throttled-guitar peak while Boston-bred drummer Ben Atkind burst from his easy anchor role to drive propulsive fills around bassist Trevor Weekz’s rubbery pulse. That flowed into “Red Bird” (laced with red lights, natch), where Anspach’s own winsome lead vocal culminated in a chorus round of “It’s time for a bird to fly.”

Goose tucked in a few covers through the night, casting Father John Misty’s “I’m Writing a Novel” (whose author sang it during the same Radio City show with the Anastasio cameo) as a Phishy country-rock bop, while David Gray’s “Please Forgive Me” assumed a faithful glide as a cheery, piano-rooted shuffle.

The night also wound to a close with new millennial influences in the indie-psych feel (evoking Tame Impala) of second-set closer “Pancakes” and a burbling synth bridge and tastefully Autotuned vocals lending different flavors to encore “Slow Ready.” With one hand on his keyboard, Anspach — a picture of jazz icon Dave Brubeck on his shirt — danced and ran in place with a big smile.

Ben Atkind of Goose at Roadrunner. Photo” Paul Robicheau

By then, the band’s reigning strengths – Mitarotonda’s nimble, shifting guitar flights and (following in Phish’s footsteps) an active if robotic light show of roving beams around a blinking grid – had both reached points of near-numbing saturation.

Nonetheless, as evidenced by acceptance from both the Phish and Grateful Dead camps (Mitarotonda also performed with the Dead’s Phil Lesh), Goose has clearly earned its wings. And as the quintet heads for its next scheduled area appearance at Marshfield’s Levitate Festival on July 8, with Anastasio’s solo band topping the lineup to foretell additional collaboration, it’s time for Goose to fly higher.

Paul Robicheau served more than 20 years as contributing editor for music at the Improper Bostonian in addition to writing and photography for the Boston Globe , Rolling Stone , and many other publications. He was also the founding arts editor of Boston Metro .

Real good to read one of Paul’s reviews after a long time.

Thanks, John. Glad you caught it.

It’s not just “young people” supporting this band! I am 65, a Phish and TAB fan of many years. As soon as I heard my first Goose tune, I knew I’d found something new and special! That said, I’m happy those “young people” can….most likely will…support these talented guys for years!

I’m with you on that, Donna. I just know that more young (as well as older) fans seem to be all in on Goose whereas an interim generation of bands like Disco Biscuits, Umphreys and moe. never seemed to fully get over the hump to such an approaching level of popularity. We’ll see where Goose ends up.

I’m 64, and haven’t been this into a band since I was 15. I think Rick Mitarotonda is the most amazing guitarist I think I’ve ever heard. And a fantastic rhythm section.

60 yo here, hooked on Goose during the pandemic. They are for real!!!

Yup, congrats to another older fan. Goose pulled smart moves to keep building a following through the pandemic and they’re rolling now.

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Passes & Travel Packages

Phish’s next festival, Mondegreen, takes place August 15-18 at The Woodlands in Dover, DE.

The Woodlands offers an abundance of campsites, RV setups, and nearby hotel options just a short drive from numerous northeastern cities. Even Harrisburg!

Passes, Camping and Travel Packages are on sale now.

General Admission

$450 (Inclusive of fees)

A General Admission pass gives you access to all four days of shows and the GA campgrounds.

Bonus Track

Starting at $1,950 (Inclusive of fees)

Starting at $1,500 $750 per person (Inclusive of fees)

A Glen Close pass grants access to all four days of shows, and the GA, Bonus Track, Glen Close and The Full Monde campgrounds. Glen Close weekend passes are only available by purchasing a Glen Close camping package.

The Full Monde

Starting at $3,050 $1,525 per person (Inclusive of fees)

The Full Monde pass grants access to all four days of shows, and the GA, Bonus Track, Glen Close and The Full Monde campgrounds. The Full Monde weekend passes are only available by purchasing a The Full Monde camping package.

Travel Packages

Starting at $940 per person (Plus fees)

Camping not your thing? Scared of dirt and bugs and fresh air? Travel Packages include General Admission passes, a four-night stay at select hotels and shuttle transportation to and from the show each day. Packages are available for groups of two or four people.

A Bonus Track for RVs Has Been Added!

Pull up your own RV to the infield of Dover Downs Speedway.

Mar 12, 2024

Mondegreen is On Sale Now!

Weekend Passes, Camping & RV options and Travel Packages are On Sale now.

Jan 19, 2024

Announcing Mondegreen: A 4-Day Phish Festival

We’re excited to announce Mondegreen, a 4-day Phish festival set for this August 15-18 at The Woodlands in Dover, Delaware.

Jan 16, 2024

PAYMENT PLANS AVAILABLE

Secure your passes now and split your order into payments over time. Payment Plans are available at check out for all orders over $400, until April 30, 2024.

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RENT A TENT

Don’t want to haul your own gear to the festival? Choose a GA or The Full Monde Tent Rental, and we’ll do the heavy lifting for you by providing a pre-set tent with accommodations for up to four people.

Phish fans are famously dedicated. What happens when they enter the Sphere?

The 20,000 fans walking toward the glowing Sphere in Las Vegas last week were there for a band that many visiting the Strip have no idea exists

LAS VEGAS -- Adele, Mariah Carey and Garth Brooks tower over the Las Vegas Strip, peering out from billboards advertising their various casino residencies. But the 20,000 fans marching toward the glowing Sphere last week were there for a band that many Strip visitors have no idea exists.

Over the past 40 years, legions of dedicated Phish fans have followed the Vermont jam band no matter where it goes. This time, it happened to be Las Vegas, for four nights at the $2.3 billion immersive arena. No two Phish shows are the same, and while the band had played Vegas 26 times before, the Sphere offered a game-changing canvas for its signature light shows.

The fans came in sequined, glittery dresses and tie-dye alike, in button-down shirts and overalls printed with the band's red doughnut logo. Once inside, they were greeted with a LED screen the size of a football field.

Over 68 songs over the four nights, co-creative director Abigail Rosen Holmes would use that expanse to drive fans across bold visual worlds inspired by the four states of matter: solid, liquid, gas and plasma. As Phish jammed, the Sphere's screens became an art show, taking the audience through flowing streams of color and simple dots of light, around an enchanted lake and a field of psychedelic trees, and through a car wash (yes, a car wash).

“It gives me hope,” said Sean Marmora, 31, who traveled from New Jersey. “It’s inspiring that they’re pushing boundaries and doing things that they have never done before.”

Some displays were more abstract — during “Sand” and “Chalkdust Torture,” specks of light danced on screen in time to the music — while others were easier to discern: “Bathtub Gin” featured computer-generated people on floats made of donuts, pineapples and pizza slices in a wave pool. During “Maze,” a narrow line of video blew up into bits across the screen. For “Leaves,” hundreds of digital balloons joined the very real balloons flying up inside the Sphere.

“It was a very different Phish show, so special in its own right,” said Tim Urbashich, 38, from Wisconsin. “This is a whole evolutionary experience in what’s happening. They deserve visual representation of their music.”

Phish's light shows are typically driven by Chris Kuroda, whom fans have nicknamed CK5 — as in, the fifth member of the band.

Kuroda was still heavily involved in the shows at the Sphere, albeit with a stripped-down light setup offsetting the screen. Phish frontman Trey Anastasio said Kuroda played a key role in fighting against the “tyranny of the wall” of visuals.

On Saturday night, the screen lit a digital version of the band ablaze during “Fuego,” eventually subsiding into a calm blue. As the real band jumped into “Golden Age,” Kuroda lit them in his signature soft purple and yellow spotlights.

Holmes says the production team learned to be looser over the course of the Vegas run, refining and adopting subtle changes to make the visuals more responsive to the music.

“This is such a new and different environment, where we started trying to make everything perfect. And then being more comfortable, taking chances and pushing things a bit further,” Holmes said. “I think Chris Kuroda and I were able to reach further and mesh better as the nights went on.”

As much as the Sphere shows will be remembered for the visuals, though, it’s the music that ultimately makes Phish.

No song was repeated, and the band took advantage of the ability to isolate sounds across the room’s 167,000 speaker drivers. Anastasio says he was proud the band could still go in without a plan. Most large visual concert experiences include a click track to know when to hit certain marks. Phish insisted on being able to improvise.

“I felt like if we didn’t have that element, it wouldn’t be a Phish concert,” Anastasio said.

At the end of Sunday night’s show, Anastasio vowed to return to the Sphere. Phish was only the second band to play it after U2 opened it with a 40-show run. Dead and Company are scheduled to play there this summer.

Meanwhile, Phish will release its 16th studio album, “Evolve,” in July, when it will also launch a summer tour.

“As long as the four of us are together and walking this planet, I would like to think that Phish exists and that we can keep playing,” McConnell said of the band's stamina and longevity.

So much of the band’s time together is spent thinking about processes and new approaches, he said.

“So we don’t exactly know where it goes and where it’s going. But I have a good feeling that it’s going to go on for a long time,” he said. “I really hope it does.”

As long as Phish keeps going, so too will its community. Both Marmora and Urbashich were among the dozens of artists selling their Phish-inspired work at the PhanArt show that pops up at the band's stops.

“We’re all trying here to find something special,” Urbashich said. “You have to open up your mind to the simplest things. It’s so out there and abstract. If you don’t give it patience you might not think it’s what you’re looking for.”

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Here’s how Phish is using the Sphere’s technology to give fans something completely different

The exterior of the Sphere is pictured on Friday, April 19, 2024, in Las Vegas. The band Phish started its four-night residency on Thursday. (AP Photo/Josh Cornfield)

Keyboardist Page McConnell, left, and Trey Anastasio, guitarist and singer-songwriter of the band Phish, rehearse before the group’s four-night engagement at the Sphere on Tuesday, April 16, 2024, in Las Vegas. (AP Photo/David Becker)

Wires run between sections of light on one of the individual screens behind the stage of the Sphere on Tuesday, April 16, 2024, in Las Vegas. (AP Photo/Josh Cornfield)

Page McConnell, keyboardist for the band Phish rehearses before the group’s four night engagement at the Sphere on Tuesday, April 16, 2024, in Las Vegas. (AP Photo/David Becker)

Abigail Rosen Holmes, show director and co-creative director for the band Phish’s upcoming show at the Sphere, works in the control booth during rehearsals on Tuesday, April 16, 2024, in Las Vegas. (AP Photo/David Becker)

The group Phish rehearses before the band’s four night engagement at the Sphere on Tuesday, April 16, 2024, in Las Vegas. (AP Photo/David Becker)

Trey Anastasio, guitarist and singer-songwriter of the band Phish, rehearses before the group’s four-night engagement at the Sphere on Tuesday, April 16, 2024, in Las Vegas. (AP Photo/David Becker)

This image shows the exterior of the Sphere on Thursday, April 18, in Las Vegas. The light displays on the exopshere are created with 1.2 million individual lights, each of which can show more than a billion colors. (AP Photo/Josh Cornfield)

This image shows one of the individual screens at the Sphere and the hundreds of light nodes it contains on Tuesday, April 16, 2024, in Las Vegas. The screen at the Sphere is 160,000 square feet and shows images and video in 16K x 16K resolution. (AP Photo/Josh Cornfield)

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LAS VEGAS (AP) — Phish opened its four-night stay at the Sphere Thursday with a four-hour show that used the advanced technology in the $2.3 billion arena to deliver a show that even the band’s most ardent fans have never experienced before.

“We came in really wanting to do a show that was a great Phish show,” said Abigail Rosen Holmes, who is running the visual show. She said the band and its creative team wanted to mix the Sphere’s technical capabilities and consider “what can we do for Phish that we maybe couldn’t do for any other artist?”

Here’s how Phish is creating a set of shows that even fans who’ve seen the band perform hundreds of times won’t have experienced before.

TAKING THE MUSIC ON SCREEN

While Phish shows usually get their visual punch from lighting guru Chris Kuroda’s massive lighting rig, these shows are completely different as the band uses custom visuals on the 160,000-square foot 16K-by-16K LED screen.

Three-dimensional blue bars moving and spinning in time and growing to meet beams of light falling from the ceiling. Live video of the band playing, cut into pieces. A wall of psychedelic-colored cars blinking their lights with a long improvisational jam. Easter eggs from Phish’s history — like the vacuum cleaner drummer Jon Fishman sometimes plays — falling from the ceiling. A naturescape that then morphs into a fantasy world.

Holmes sits in the center of the arena controlling the visuals in real-time, mixing the elements created with Montreal-based entertainment studio Moment Factory to match the band’s performance.

Abigail Rosen Holmes controls the visuals on screen in real-time in the center of the Sphere. This photo was taken during rehearsals on Tuesday. (AP Photo/David Becker)

Kuroda sits beside her, using six light towers behind the stage plus spotlights to find the right moments to bring people back to the band on stage.

Toward the end of Thursday night’s show, Kuroda started to spotlight individual members of the band, sending a simple black silhouette onto the wall. The silhouette then burst into a reddened field of 20 silhouettes throughout the arena.

‘PINPOINTS OF SOUND’

There are 1,600 permanent speakers, along with 300 mobile speaker modules, that use a 3D audio beamforming and wave field synthesis technology to spread sound throughout the venue. The system allows for individual instruments to be heard from different parts of the arena. “It’s like pinpoints of sound and thousands and thousands of them,” says Phish’s Trey Anastasio.

GETTING FULL FEEL FOR THE MUSIC

There are 17,500 seats inside the Sphere, every one of which will be filled with a Phish fan this week, along with about 2,500 standing on the floor. The seats use haptic technology, so every bass line and drum kick from the band can be felt from your chair — for those actually sitting and not standing up and dancing.

WHY PHISH IS ONLY DOING FOUR SHOWS

U2 performed 40 shows to open the Sphere . Phish sold out its four shows this week within minutes and considered doing more, but decided they wanted to create four unique visual and music experiences to match the band’s history of never repeating the same show twice.

“I don’t know that we could have done it any other way,” said Page McConnell, Phish’s piano/organ/keyboard player. “We do it for us. We do it for the audience. It keeps it interesting for us and it keeps it interesting for them. And it’s what people like about us.”

Page McConnell, left, and Trey Anastasio during rehearsals on Tuesday before the band’s shows at the Sphere. (AP Photo/David Becker)

PUCKS OF LIGHT

There are 1.2 million LED “pucks” that make up the 580,000-square feet exosphere, each of which can display more than 1 billion colors. The display has become an instant tourist attraction in Las Vegas, seen from hotel rooms around the Strip and from planes above.

It cycles through various funky visuals, including a giant yellow blinking smiley face and a furry creature. This week it includes a digital billboard for Phish.

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Drew Carey Says He Would 'Stick My D--- in a Blender' to See Another Phish Concert at Las Vegas Sphere

Phish performed four sold-out shows at Sphere in Las Vegas this month, and the band will release its next album in July

Slaven Vlasic/Getty; Rich Fury/Sphere Entertainment/Getty

Seeing Phish perform at Sphere in Las Vegas was life-changing for Drew Carey .

The 65-year-old comedian attended one of Phish's four sold-out concerts at the technologically-advanced Sin City venue from April 18-21, taking to X (formerly Twitter) afterward to share some explicit thoughts about just how badly he'd like to see the show again.

"I swear I just talked to God," wrote Carey on Monday, April 22 alongside a video of Phish's intricate visuals displayed on the massive screens of Sphere. "I would give you all my money, stick my d--- in a blender and swear off p---y for the rest of my life in exchange for this. Bro I met God tonight for real. I feel like I just got saved by Jesus no lie."

Rich Fury/Sphere Entertainment/Getty

A fellow attendee replied to the Price Is Right host, saying the show left him feeling "melted." Carey then responded with even more NSFW thoughts — comparing the act of watching Phish's live show to "what it must feel like" to experience sex with female genitalia.

"Because if it’s even close I’m [flying] to wherever tomorrow and getting the best p---y money can buy. I don’t need to be a man no more of it means I can feel like this all the time," wrote the TV star. "F---ing keep it bro if I can get this feeling instead."

"That was God at work or something," added Carey of the performance. "Like it felt like I was being saved by Jesus no lie."

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Over the four shows at Sphere, Phish performed 68 different songs in unique setlists the jam band has become known for throughout its decades-long career. The group, comprised of lead vocalist and guitarist  Trey Anastasio , bassist  Mike Gordon , drummer  Jon Fishman and keyboardist  Page McConnell , is currently gearing up to release its 16th studio album, Evolve , on July 12.

Phish's Sphere residency was announced in November 2023, with Anastasio telling fans in a statement at the time, "From the moment we first heard about Sphere and its potential, we’ve been dreaming up ways to bring our show to this breathtaking canvas. We’re thrilled to present this completely unique experience to Phish fans."

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Review: Phish mounts a human-scale spectacle at Las Vegas Sphere

The massive LED video screen that forms the interior surface of Sphere can be used to transport audiences to the tops of mountains, to outer space, to beneath the feet of an elephant standing as tall as a 20-story building.

On Friday night, Phish turned the place into a car wash.

Playing the second date in a sold-out four-night stand at this state-of-the-art venue just off the Las Vegas Strip, the veteran jam band from Vermont took full advantage of the technological capabilities that cost the building’s mastermind, Madison Square Garden Entertainment Chief Executive James Dolan, five years and more than $2 billion to bring to life last fall.

At one point in the nearly four-hour gig, the 160,000-square-foot screen — said to be the highest-resolution in the world — became a starry night sky so crisply rendered that you could almost believe the roof had retracted; at another point, Sphere transformed into an underwater kelp forest with sunlight streaming down from the top of the dome. The venue’s sound system was just as impressive, with a finely detailed mix and seatback haptics that allowed you literally to feel the oomph of bassist Mike Gordon’s low notes.

Yet Phish’s production — the second by a band to play Sphere after U2’s opening engagement — wasn’t about excess or grandiosity; it was homey, friendly, deeply quirky. After the car-wash bit, which replicated the experience of crawling through one, a gigantic dog appeared and proceeded to lick what looked like the other side of the screen in slow motion as the band performed its song “You Enjoy Myself.”

The approach certainly differed from that of U2, whose 40-date residency launched in September and ended last month. Built around the Irish group’s 1991 album “Achtung Baby,” U2’s show riffed on big ideas about celebrity and media and the intersection of politics and capitalism; it used Sphere’s eye-popping tech to uphold the band’s distinct brand of rock-star heroism, reasserting U2’s place in a cultural lineage stretching from Frank Sinatra to Elvis Presley to the Beatles to Prince.

For Phish, perhaps music’s biggest cult band, Sphere wasn’t a means of self-glorification but of community-building: One thing you thought about over the course of the band’s two sets and an encore was how tiny the players looked onstage — the same size, in other words, as any of the 18,000 or so people in the crowd. Even when the screen would show a close-up of one of the players — Gordon, singer-guitarist Trey Anastasio, keyboardist Page McConnell and drummer Jon Fishman — the image would be warped almost beyond recognition.

Jam bands, of course, have a long history of elaborate visual presentations. Ahead of Phish’s run in Vegas, fans of the band wondered online whether its lighting designer, Chris Kuroda, would have the space to do his thing properly amid Sphere’s digital overload. (The answer was kind of.) So it makes sense that Sphere might become a destination for other acts in the tradition; indeed, next up at the venue is Dead & Company , which will begin a 24-show stint in May after saying that its 2023 tour would be its last.

With no fear of being overshadowed by the room, Phish leaned into Sphere’s immersive potential with an assortment of water-themed visuals: hundreds of swimmers floating in doughnut-shaped inflatables atop the waves of a rippling sea; marine life darting through the columns of a vast sunken monument; a psychedelic waterfall pouring over a cliff that seemed almost untouchably far away from wherever you were sitting in the steeply raked amphitheater. As part of a production team parked behind dozens of glowing monitors in the middle of the room, Abigail Rosen Holmes, Phish’s creative director, manipulated these images in real time, responding — sometimes subtly, sometimes dramatically — to the twists and turns of the band’s improvisations.

In a funny twist, Phish’s lack of anxiety about being upstaged by what was happening on Sphere’s wraparound screen — the members themselves seem well aware that they’ve never been much to look at — meant that Friday’s show actually felt like it was about music, which was clearly the point for a band that famously never repeats a set list.

“Bathtub Gin” was jaunty and playful, with McConnell threading a bit of Gershwin’s “ Rhapsody in Blue ” into the song’s fabric; “Lonely Trip” was a lilting ballad with one of the evening’s few convincing vocal turns from Anastasio. “Split Open and Melt,” which came just before the evening’s intermission, was the highlight of the concert: a demented boogie-rock freak-out that landed somewhere between early Sonic Youth and electric-era Miles Davis.

For its encore, Phish played the plaintive “Wading in the Velvet Sea” as photos stretching back to the band’s beginnings in the mid-1980s flickered across Sphere’s screen, and for a moment the musicians seemed to be indulging in the kind of rock-god mythologizing the rest of the show resisted. Then you realized that most of the pictures depicted these guys in various humble backstage scenarios: just four lifers getting ready to go to work for their people.

This story originally appeared in Los Angeles Times .

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Taboose Trends: Trey Anastasio Band, Goose Bring Joint Tour To Halfway Point In Glens Falls, NY [Videos]

As we arrive at the midpoint of “Taboose” tour, certain trends have begun to emerge—some obvious, others more abstract.

Each night, Goose  opens the show with a set of its own, then Trey Anastasio  hops in to help elevate a few of the Connecticut outfit’s originals to new heights. Trey Anastasio Band  plays next, with Goose’s Rick Mitarotonda  (guitar) and  Peter Anspach  (keys) joining in on the last few tunes. By the end of the encore, all of Goose is on stage with TAB, completing the 13-piece, two-band consortium.

Locations have also been something of a theme throughout the tour’s first four shows. From the day of the tour’s announcement , fans have noted the similarities between the stops on the Trey Anastasio Band/Goose 2022 fall tour and Phish ’s fall tours in the 1990s—an era when the jam icons were still on the rise—while the ghost of Goosemas past  lingered over the Mohegan Sun date following Goose’s three-set home state celebration there back in February.

Several times throughout the run, Anastasio’s history in the evening’s locale has made its way into his setlist. On Friday in Lowell , Trey gave a nod to a notable 1995 Phish show in the Massachusetts city by playing acoustic renditions of a pair of songs debuted by the band that night, “Theme From The Bottom” and “Strange Design”. On Saturday in Connecticut , Goose upped the ante for the home-team casino crowd with a sit-in from the TAB horns— James Casey  (saxophone),  Jennifer Hartswick  (trumpet), and  Natalie Cressman (trombone)—on Fat Freddy’s Drop ‘s “Fish In The Sea”, a reliable cover that Goose had yet to play with the horn parts heard on the original recording.

Geographical synchronicity notably came into play on Sunday in Glens Falls, NY, though in a more somber sense. “I love playing here, feels a little ‘hometown’ to me. I feel like I’m doing a hometown gig.” Trey said with an uneasy laugh following a rendition of “A Wave Of Hope” early in his set. “Right near my old humble abode, down the road. Where I used to lay my head, in Washington County Jail. Ah, those were the days. They don’t give you a pillow there, by the way. Okay, next subject… Thank you, happy to be here with Goose. Five nice guys who have never spent any time in that particular place, clearly, and hopefully never will. Somebody shut me up.”

Later in the show, Anastasio once again reflected on his time spent in the drug court system. This time, he followed the thread of that trying period to his current efforts to give back to those struggling as he once did. Following “Valentine”, another song he wrote “just miles from this building,” Trey offered up “Part B” of his Glens Falls-area recovery story: “That was one of the first songs I wrote right down the street. … Thank you for welcoming that music back home,” he said.

He went on to explain that fans could go stop by the Divided Sky Foundation table on the way out of the venue. There, they could meet  Melanie Gulde , his own former drug court case manager, with whom the long-sober guitarist is opening a new treatment center in Ludlow, VT .

  View this post on Instagram   A post shared by Jennifer Hartswick (@jhartswick)

While the novelty factor of the interwoven format alone was enough to spark excitement on the outing’s opening night in Portland, ME , the three shows this past weekend at Glens Falls, NY’s  Cool Insuring Arena (Sunday), Uncasville, CT’s  Mohegan Sun Arena  ( Saturday ), and Lowell, MA’s Tsongas Center ( Friday ) have neutralized that initial level of unexpectedness. That said, learning the rules of the game only produces a new wave of questions: On which songs will the sit-ins come? In what ways will the collaborations elevate the tunes they play together? How will this exercise affect the two bands’ playing when their tour counterparts are not on stage with them?

Through four shows, Goose has yet to repeat a song. TAB has played a couple of staples twice, but has continued to rotate the setlists for the Goose-assisted portions.

The two nightly crossover segments (Goose with Trey, TAB with Goose) have consistently produced memorable highlights. Trey’s presence has added a noticeable jolt to Goose’s readings of “All I Need” and “Pancakes” ( Portland ), “Wysteria Lane” and “Arcadia” (Lowell ), “Factory Fiction” ( Mohegan ), and “Red Bird” and “Hot Tea” (Glens Falls). On each one, the elder guitarist has served to throw gas on the proverbial fire, pushing the core quintet ever further outside its typical pocket.

Rick, Peter, and the rest of Goose have joined in with Trey’s group in various capacities on a number of TAB/Phish favorites, from Portland’s “Wolfman’s Brother”, “Llama”, and “First Tube” to Lowell’s “Back On The Train”, “Steam”, “Theme From The Bottom”, and “Strange Design” to Mohegan’s “No Men In No Man’s Land”, “46 Days”, and “Carini” to Glens Falls’ “Mr. Completely”, “Rise/Come Together”, and “Possum”. While they have often manned supporting roles with Trey’s band, as opposed to the way Trey has been prominently featured with Goose, their presence in the TAB mix has added some exciting oomph to the band’s already “big” sound, thanks in large part to the riff-matching and Allman Brothers Band -reminiscent lead guitar harmony provided by Mitarotonda.

It’s probably worth noting, as well, that all of Trey Anastasio Band’s selections featuring Goose sit-ins have been either Phish tunes or TAB songs that have since crossed over to Phish—and that’s likely by design. Many of the songs that reside solely in the Trey Anastasio Band universe lean into the more structured instrumentation of the eight-piece, while the songs that move freely between TAB and Phish are primed for the type of toe-to-toe collaborations he seems to be seeking with the younger half of the bill.

Fans have also watched TAB and Goose get increasingly comfortable with each other over the course of the first four shows. That much has been clear in the music as Trey and Rick have gotten more and more in sync, but it’s even clear in their demeanor on the stage.

In Portland, Trey simply welcomed “Goooose” to the stage for Rick and Peter’s first TAB appearance, a blanket nod to the other band on the tour. By Saturday night at Mohegan Sun, Trey was asking for Rick to join in on an acoustic “Strange Design” so that he could joke about the Goose guitarist missing its debut on account of his being four years old at the time.

On opening night, Anspach welcomed Trey to the stage with a formal note of gratitude and reverence. By Sunday, he had dropped the pretense: “We’re having so much fun out there with Trey,” Anspach said before a “Red Bird” featuring Anastasio on guitar and vocals. “This is a dream come true for us. Thank you all for being here… in this moment, you know? I don’t know…”

The individual dividends of this “moment,” this creative crucible, have already become apparent in the tour’s front half. Take the Glens Falls “Madhuvan”, for instance. While Goose fans were surely hoping to hear the jam vehicle with Anastasio’s assistance, the version the core five-piece delivered on Sunday night seemed to harness the intrepid qualities of the tour’s Trey-augmented explorations even without him on guitar. On Saturday at Mohegan Sun, Trey’s showings on “About to Run” and “Push On ‘Til The Day” threatened to steal the headlines from the evening’s collabs, as if to say, “I appreciate all of this new talent, I love all of this collective creativity, but let’s not forget that I’m still that guy .”

That cycle of connection, influence, motivation, and high-level execution is sure to continue throughout the tour’s second half and into the future. Remember how good the Phish shows got in 2015 when Trey spent the spring shredding Grateful Dead  songs for Fare Thee Well ? This intensive “Taboose” workout will inevitably figure into Anastasio’s other endeavors moving forward. For Goose, that inspiration response is already beginning; in Glens Falls on Sunday, Goose debuted a new song, “Thatch”, written two days prior while on tour with Trey. Its funky bounce and aggressive guitar tone are hardly subtle in the influence they take from Trey.

With all of this development in the first four shows and four shows still left to come, these trends promise to evolve and intensify. We can’t wait to see what’s in store as Trey Anastasio Band/Goose tour moves into its second half.

Scroll down to check out Goose and Trey Anastasio Band photos, videos, and setlists from Sunday night in Glens Falls, NY, or revisit our nightly coverage from the first three nights of the outing here: Portland , Lowell , Uncasville . Tune in to livestreams of the upcoming shows in Moon Township, PA (11/15), Fairfax, VA (11/17), Syracuse, NY (11/18), and Reading, PA (11/19) via nugs.net .

Trey Anastasio Band – “Drifting” [Pro-Shot] 11/13/22

[Video: nugsnet ]

Goose – “So Ready” [Pro-Shot] 11/13/22

Goose – “Madhuvan” [Pro-Shot] – 11/13/22

Goose w/ Trey Anastasio – “Red Bird” [Pro-Shot] – 11/13/22

Goose w/ Trey Anastasio – “Hot Tea” – 11/13/22

[Video: Skelator Revisited ]

Setlist [via elgoose.net ]: Goose | Cool Insuring Arena | Glens Falls, NY | 11/13/22

Set: So Ready, California Magic, Thatch[1], Don’t Do It[2], Madhuvan, Red Bird[3] > Hot Tea[4]

[1] FTP. [2] The Band. [3] With Trey Anastasio on guitar and vocals. [4] With Trey Anastasio on guitar.

Setlist [via phish.net ]: Trey Anastasio Band | Cool Insuring Arena | Glens Falls, NY | 11/13/22

Set One: Drifting, Set Your Soul Free, Ocelot > Magilla, A Wave of Hope, Shade, Burlap Sack and Pumps, Spin, Last Tube, Hey Stranger > Valentine, Mr. Completely [1], Rise/Come Together[1]

Encore: Possum [2]

[1] Peter Anspach on keys and Rick Mitarotonda on guitar. [2] Peter Anspach on keys, Rick Mitarotonda on guitar, and Jeff Arevalo, Ben Atkind, and Trevor Weekz on percussion.

  View this post on Instagram   A post shared by Goose (@goosetheband)

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Missed Phish at The Sphere? Here’s How to Stream the Jam Band’s Past Performances Online Free

The band's iconic shows in Las Vegas are now available to watch back on-demand

By Tim Chan

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Phish announces fall tour dates.

Want to stream more Phish content online? You can watch some of their other iconic performances and shows right now on nugs.net . The popular music streaming service is home to a number of livestreams , as well as a huge catalog of archived concerts from artists like Phish, along with Grateful Dead, Bruce Springsteen, Pearl Jam and Metallica, among others.

How to Stream Phish Concerts on nugs.net

The current Phish concert streams on nugs.net go back as far as 1989 (when the band was promoting their debut studio album, Junta ) and also include standout moments like the band’s performance at the Field of Heaven: Fiji Rock Festival in 1999, and a number of Madison Square Garden dates, including their New Year’s Eve concert in 2017. Almost every Phish tour from the 1990s to present-day are included in some form or another on nugs.net , which lets you watch the archival concerts on-demand and stream them from your phone, tablet or laptop.

A subscription nugs.net starts at $14.99/month , but the site is currently offering a 7-day free trial for new subscribers. Use the free trial to stream Phish concerts online free and access audio recordings of each show on high-quality audio.

Nugs.net says many of the Phish concerts have been upscaled to HD or 4K quality, and the concert audio (downloadable at MP3s) have been “professionally-mixed.” Want to own a copy of the show? Nugs.net lets you purchase full concert recordings to keep and listen to on-demand whenever you want. See full details here .

How to Watch Phish Concerts on Amazon Prime

You can also purchase a number of Phish live concert DVDs on Amazon here .

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Drew Carey Had a Spiritual and Sexual Awakening at His First Phish Concert

By Larisha Paul

Larisha Paul

Drew Carey isn’t the same man he was before he attended his first Phish concert. The psychedelic rock band’s shows are trippy enough on their own, but they recently completed a run of shows at the new Las Vegas Sphere venue, a wholly immersive location with LED screens for walls. That twisted combination triggered a rebirth in the comedian.

“I swear I just talked to God,” Carey posted on X (formerly Twitter) after the show. “Would give you all my money, stick my dick in a blender, and swear off pussy for the rest of my life in exchange for this. Bro I met God tonight for real. I feel like I just got saved by Jesus no lie.”

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“So I saw Phish at the Sphere this weekend. Never saw Phish, didn’t know a Phish tune. And they [bleep] blew my mind off so hard. I thought to myself, I had a bunch of girls with me, and I thought to myself, ‘Is this what it’s like to [bleep] with a [bleep]?'” he said. “People that were there can verify, 100 percent true, this is what it’s like: It was like being edged for four days straight. And right before the face-melting climax at the end of the fourth day, an angel comes down from heaven, Gabriel, and he shoots [bleep] heroin in your arm, and he says ‘Good luck now, [bleep]!’ and he leaves and then you have an orgasm for 15 minutes while your eyeballs fall out of your head.”

Well. We’re glad he had a good time.

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