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Holly Bowling Featured On Tom Marshall's 'Under The Scales' Podcast April 19, 2017 11:57
Runaway Gin's Andy Greenberg Featured On 'Under The Scales' Podcast February 20, 2017 22:44
Photo by Jason Herman
Just two weeks ago, longtime Phish lyricist Tom Marshall joined Phish tribute act Runaway Gin on stage at The 8x10 in Baltimore for a special rendition of "Brian and Robert." It certainly seems as if Marshall enjoyed his first Runaway Gin experience, as frontman Andy Greenberg became the newest featured guest on Marshall's podcast Under The Scales. Greenberg is without question in good company, as Phish's Trey Anastasio was Marshall's featured guest on the past two episodes of the new podcast. RJ Bee of The Helping Friendly Podcast can also be heard on 'Episode 13' with Marshall and Greenberg.
- Runaway GIn recently announced a handful of 2017 spring tour dates (click here).
- Click here to watch Tom Marshall perform with Runaway Gin in Baltimore.
Listen to Episode 13 of Under The Scales with Andy Greenberg of Runaway Gin here:
With over 225 shows under their belt, Runaway Gin is the World's most active Phish Tribute Band. They play many Sundays at the Charleston Pour House and tour often.
The members of Runaway Gin are long time Phish fans who have united with the goal of creating musical moments inspired by Phish. The band's song list is constantly growing and their improvisational and communication skills are constantly developing independently and together. Like Phish, Runaway Gin will never play the same show or jam the same way twice making every show a unique experience and every moment pure artistic creation.
Runaway Gin strives to capture the essence of Phish's flagship live style of group improvisation known as "type-2" jamming as well as learning the composed segments of Phish's catalog with impeccable precision. Their success in these areas comes from constant live shows as well as rehearsals. The current moment is always the driving force in a Runaway Gin show giving the quartet a fresh and original sound during jams and shows as a whole.
Trey Anastasio Discusses Languedoc Guitars On 'Under The Scales' February 15, 2017 10:08
Longtime Phish lyricist Tom Marshall has garnered much attention from the jam community in recent months with his new podcast, Under The Scales. This week features easily Marshall's most high profile guest, as he and multi-platinum songwriter/producer Dan Kanter continue their two-part interview with Phish frontman Trey Anastasio to discuss the magic of Paul Languedoc's guitars.
For those who don't know, Kanter is the musical director and former lead guitarist for Justin Bieber, and has performed and directed countless other top-name pop stars. This episode serves as the second half of a two part series with Anastasio. If you missed part one of the interview, we've got you covered (click here). For more information and all of the latest on Under The Scales, click here.
Listen to Episode 12 of Under The Scales with Trey Anastasio here:
Trey Anastasio Featured On Latest Episode Of "Under The Scales" February 6, 2017 15:12
Longtime Phish lyricist Tom Marshall has garnered much attention from the jam community in recent weeks with his new podcast, Under The Scales. This week features easily Marshall's most high profile guest, as he and multi-platinum songwriter/producer Dan Kanter sit down with Phish frontman Trey Anastasio to discuss inspirations, set lists, guitars, song choices, and even a full run down on Trey's rig. As one would imagine, this episode sparks all kinds of interesting topics, including the crossover between the pop and jam scenes.
For those who don't know, Kanter is the musical director and former lead guitarist for Justin Bieber, and has performed and directed countless other top-name pop stars. This episode serves as part one of a two part series with Anastasio, so make sure to stay tuned for part two, which is scheduled for release in the near future. For more information and all of the latest on Under The Scales, click here.
Listen to Episode 11 of Under The Scales with Trey Anastasio here:
Tom Marshall Performs "Brian And Robert" With Runaway Gin In Baltimore January 30, 2017 10:54
Watch Runaway Gin perform "Brian and Robert" with Tom Marshall here (01:45 mark):
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Setlist: Runaway Gin - Baltimore, MD - 01.28.17:
Set 2: Brian and Robert^, Reba > Tweezer > Cities > You Enjoy Myself$ > Carini > Lizards
Encore: Dogs Stole Things > Frankenstein > Tweezer Reprise
*unfinished
NOTE: the first set spelled Tom Marshall
Chasing Phish Through The Southeast: Tuscaloosa: Night 3 August 11, 2015 18:09
Written by Bo Hanan - Live & Listen Contributing Writer
Photos by Live & Listen
After a scorching two night run at Aaron's Amphiteatre Lakewood in Atlanta, Phish's third stop on the deep south leg of their summer tour found them returning to Tuscaloosa, Alabama for the first time since November 8, 1991 and only the fourth time overall. Playing the four-year-old Tuscaloosa Amphitheater, this just under 7,500 capacity venue provided an intimate outdoor setting for a Sunday night show. Nestled along the beautiful backdrop of the Black Warrior River and featuring clear sight lines, a spacious pit, and excellent acoustics throughout, this venue was sure to be a hit from the start.
"Sample in a Jar" began the proceedings, serving as a show opener for the second time this tour. Though not the most lively of openers, the crowd responded well and things were off. The energy picked up afterwards as Trey and the boys whipped things into a frenzy via a rendition of "Chalkdust Torture" that while perhaps lacking in time, it certainly wasn’t in strength. Next up was "Train Song," a beautiful and fairly uncommon Mike ballad that was most certainly a nod to the tracks crossing the river just behind us. "Devotion to a Dream" continued with the laid back feel before an extra funky "Meat" featuring a false ending made sure everyone was up and moving. A scorching "Maze" continued to build the excitement and anticipation before things once again slowed back down with "The Line," which thankfully found itself back in the first set. "Roggae" continued the mellow mood, and included an absolutely wonderful solo from Trey that evoked memories of Phish from years past. "My Friend, My Friend" followed with a somewhat slower than normal buildup and for the very first time in the song’s history featured quotes from "The Very Long Fuse." A blistering "46 Days" had everyone thinking it was the set closer before the band switched gears by seguing into the always crowd pleasing "Cavern" to end the first set on a high note.
As is normally the case, the real guts of this show are found in the second set. "Down With Disease" begins things, quickly venturing into Type II territory after the structured beginning. Stretching just shy of 20-minutes, this version features a beautiful Piper-esque jam sandwiched between often dark and brooding interplay before Trey quickly changed gears into "Camel Walk," only the second time these songs have been segued in the band's history. This old school funk number created smiles abound before a great cool down of "Seven Below." While this jam didn't venture into the unkown territory some previous versions have, it set things up perfectly for the end of the night while providing concert goers a brief moment to catch themselves before the first keys of "Fuego" were struck. Though it has stayed mostly in the composed realm, some very well placed confetti by those riding the rail added excitement and energy that carried over into "2001."
Stretching a bit longer than many 3.0 versions, Page and Trey's interplay was very much on point and each note took the crowd higher and higher, serving as an excellent springboard for the show’s culmination of "Harry Hood > Possum." Though a bit shorter and more structured than many recent versions, Hood once again was a genuine crowd pleaser and set the stage for the roof to be blown off with a blistering "Possum" closer. The show was perfectly wrapped up with an encore of The Beatles' "A Day in the Life," perfectly encapsulating the show’s overall feel in a single song, leaving us all drifting into a dream as we headed to the exits.
Stay tuned for our recap of Nashville: Night 4 tomorrow!
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Chasing Phish Through The Southeast: Atlanta: Night 2 August 10, 2015 15:31
After what seemed like a nearly impossible night to top, Saturday, August 1st was officially upon us, and it was time to see how Trey, Mike, Page, and Fish would follow up Friday night’s monster performance. Having the luxury of a multi-night Phish run with at least two-nights being in the same city always makes the experience that much better. Sleep in (hopefully), find a good spot for brunch (Atlanta’s options are endless), and make your way to the lot. It was another scorching hot summer afternoon, but the heat and humidity would in no way affect the buzz in the air at Lakewood. Many were discussing the fact that it was Jerry Garcia’s 73rd birthday, as we were last year in Orange Beach, AL. I, for one, do not expect to hear a single Dead tune this summer, but I’ll be as elated as anyone in the event that it occurs. Trey, of course, found a much more creative way to pay homage to Jerry on this night.
Recap: Chasing Phish Through The Southeast: Atlanta: Night 1
The first set started in classic fashion with “Runaway Jim,” an opener which I seem to catch about once every four shows, but Jim is such a perfect way to start a show. Trey gives the latter end of the jam such a pyrotechnic feel, just before its time for “By the time he came home he was seventeen!” This one was that much more fun as my friend Andy Greenberg, front man of Phish tribute band Runaway Gin, joined us in the pit just before show time. It wasn’t long before “Undermind” made its second appearance of the summer. The entire Undermind album is one that I’ve always felt that a lot of Phish fans sleep on, but we are reminded just how fun it is to sing along with every time it is played. As “Undermind” came to an end, Mr. Greenberg looked at me and asked “How ‘bout some Nellie Kane?” and I’ll be damned if he wasn’t spot on. The “bluegrass” tunes which Mike tends to take lead vocals on make for a nice change of pace and showcase the vast range of this band. “Blaze On” seems to the anthem of the 2015 Summer Tour, and I couldn’t be happier about that. Not quite as repetitive as “Fuego” in 2014, but this made for its fourth appearance in just seven shows. Atlanta’s “Blaze On” was shorter than those of Bend, Shoreline, and Austin, but they have made it perfectly clear that this song will be a major jam vehicle.
Every set tends to have a “breather” moment, and “Halfway To The Moon” typically provides just that, right in the middle of a set. A beautiful, Page-led tune always makes for a nice transition. Once “Ocelot” came out to play, we saw yet another moment which directly reflects the amount of time Trey has put in this year. He is consistently finding a way to take these songs to new heights every night. The solo went way further than I can remember in the past, and I have found myself re-listening to Saturday’s “Ocelot” as much as any song. “Heavy Things” carried the fun, sing-a-long vibe, and I truly believe even those who are exhausted with this song find themselves singing ending melody every time. There was a clear “Happy Birthday” tease during this one, which many felt as a nod to Jerry.
The combo of songs chosen to close the first set was as powerful as any in my opinion. “Theme From The Bottom” is one of my all-time favorites, and the gradual buildup of this ballad was as clean as any I have heard. The chorus of Theme makes for one of the most uplifiting, euphoric moments I’ve found from any band. “Run Like An Antelope” was then delivered in such powerful fashion; one of those songs that just seems like it has to close a set. I think we can all agree that we’ve earned a breather/bathroom break/cold beer after an Antelope.
A two-night stand in Atlanta would not have been complete without a “Tweezer,” and could there be a more dynamic way to start a set? This was one of those monster versions that we have come to expect, clocking in at 26-minutes, containing so much space, communication, and creativity. Trey definitely leads the pack here, but Mike also provided numerous notable moments in the midst of the darker jam about half-way through. The ultimate landing into “Waiting All Night” was seamless, and while I’ve been critical of this song in the past, it was perfectly placed for this set. Speaking of which, let’s go ahead and move on to “Backwards Down The Number Line,” another “newer” 3.0 tune which draws a whole lot of mixed feelings. Always developing into a beautiful, nostalgic jam, this one was really special. The closing jam was so polished and went to new heights. Perhaps the “birthday” element was another nod to the “birthday boy.” Regardless, this was another song from the weekend that I will forever associate with Atlanta 2015.
Deep into the second set, it was time to blow the roof off, and what better way than the opening notes of “Carini.” The expectations on this one are always sky high, and while this wasn’t a record breaker, it was nasty, dark, and without a doubt satisfying. The jamming was kept tight and concise, and similar to “Tweezer,” the landing into “Waste” was perfect. One of Phish’s most notable ballads, and much more rare these days, “Waste” was a soothing landing spot out of “Carini.” There were no stops in this set, and the summer’s second “Sand” served as yet another perfect call. Being the opening song of the Summer Tour in Bend, we were all due for a late night “Sand,” a chance to groove on it well after the sun had set, allowing Chris Kuroda (lighting designer) to work his magic. They ran with this one a little longer than any other second set tune, with the exception of “Tweezer.” This was ultimately a build up for “Tweezer Reprise” to close the second set, which has been the pattern on this tour thus far. You can’t help but wonder what they are working up, but at some point this summer, there will be a Reprise like no other to end an encore. Throwing in Velvet Underground's "Rock And Roll" for the encore was quite a treat, and yet another curve ball as this particular tune is a very rare encore, and Phish is playing very few covers.
When looking back and assessing any multi-night run, it is always an interesting, tough call. Each set always ends up having a handful of songs that I go in hoping for, and there is usually at least one moment that throws me off guard. Friday night's second set in Atlanta was definitely an exception, and without question one of the best sets I have seen from Phish. Saturday night saw several unforgettable moments, most notably with “Theme>Antelope” to close the first set, only to be followed by a 26-minute “Tweezer” to kick off the second half. The strategic song selection that we are seeing every single night this summer speaks volumes about the state of Phish. It’s difficult to think that during any era, every set was flowing this well, while continuously surprising those at the show, as well as the thousands watching/listening at home. The quality of every show this tour has been nothing short of remarkable, and it’s truly inspiring to see this band enjoying it even more than we are.
Chasing Phish Through The Southeast: Atlanta: Night 1 August 7, 2015 17:03
Written by Jordan Kirkland - Live & Listen
Photos by Live & Listen
Just when we thought that the month of July couldn't get any better, last weekend brought about our favorite annual summer tradition: Phish in the Southeast. For the dedicated following this band has built over 30 years, the 2015 Summer Tour has justifiably created as much hype and anticipation as any previous tour. After finishing 2014 with a legendary three-night Halloween run in Vegas, and another amazing four-night New Years' run in Miami, we had all been counting the days until the boys hit the road again. Trey Anastasio's role and performance in the "Fare Thee Well" Dead 50th anniversary shows only fueled the fire that much more, giving us all reason to believe that this tour would be one for the books.
Just as the lawn began to fill, and the sun began to set, the Southeastern run was underway with the weekend's first bust-out, "Prince Caspian." Rarely even placed in the first set, much less as the first song, “Caspian” provided for a smooth intro to the night and appropriately foreshadowed an evening full of surprises. "No Men in No Man's Land" made for an instant dance party, a new tune that seems to have already been universally embraced, as this was its third appearance in just seven shows. The energy and vibe of this night would only build from this point. A 13-minute "Ghost" would follow with "The Wedge" and "The Moma Dance" not far behind, keeping up the energetic start to the set. Mike Gordon's "How Many People Are You" made its second summer appearance just before "Rift," which can almost always be expected early in the night. It was at this point that Trey addressed the crowd and said something along the lines of, "Now we're gonna pick up the tempo!"
After the "Mike's > Wedge > Fuego > Shade > No Men's > Weekapaug" in Bend, it was to be expected that the classic "Mike's > Hydrogen > Weekapaug" was coming at some point this weekend. The opening notes to "Mike's Song" took an interesting turn as (Jon) Fishman led some major "false starts" with the tempo (Was that the intro drum roll to "My Sweet One?"). A slowed-down, reggae-ish groove would ensue before the band erupted into the standard flow of "Mike's Song." The always peaceful, breath-of-fresh-air "I Am Hydrogen" gave us all a moment to collect our thoughts before "Weekapaug Groove" sent the entire venue into a frenzy and wrapped up a stellar first set, full of hits from every era of this band.
If you follow Phish in any capacity, it would have been hard to have missed the enthusiasm surrounding Friday night's second set. "Kill Devil Falls" went places we never imagined, and it's difficult to think that this particular tune will not be forever tied to 07.31.15. As the song progressed from the normal rhythm of KDF, Trey seemed to utilize an effect we hadn't yet heard, while Page moved from the piano to the organ. Carrying on for nearly 24-minutes, a sufficient dose of "type-2 jamming" ensued, developing into one of the summer's biggest moments thus far. Just when we thought we had a moment to rest our dancing legs, (Page) McConnell triggered the narration/intro of "Martian Monster," the final song of the band's 2014 Vegas Halloween 2nd set. I'm not sure there could have been a better call at this moment, and I'm convinced that the echo of the crowd reaction was likely heard 20-miles north in Alpharetta. The "rotation jam" performed at this point began with Trey and Mike playing behind their backs, before Trey would ultimately stand behind Mike while playing his bass. He then moved behind McConnell to play keys, before meeting Mike back behind the drums, while Fishman moved up front to play bass. Mike was now on lead guitar, and the rotation was in full effect.
After returning to their normal positions, the subsequent segue into "Twist" was executed perfectly. "Twist" has always felt like the perfect party tune, as Trey's main riff almost seems to wind you up, all the way until it's time to scream "Woo!' After a solid 10-minute jam on "Twist," the familiar sound of "Back on the Train" was born. I guess you would call this the "breather" of the second set, which feels like an absolutely ridiculous thing to say. One of the finer executions of "Reba" would follow where we would witness Trey absolutely go off on this famously beautiful solo. My biggest concern at this point was whether or not the classic "Reba" whistle jam would occur, and it seemed as if it would not. The first and only pause of the set came before firing into "Bathtub Gin," which was placed as the second set closer for the first time in Phish history. This was also the first Gin to follow a Reba in 25 years (+1 to Phish.net). To make things even sweeter, the Reba whistles surfaced after the first verse of Gin. The whistles continued throughout Gin, which carried on for nearly 15-minutes, without one band member skipping a beat. The closing jam of Gin that we all know so well was as crisp and clean as any I have ever heard.
Throwing "Farmhouse" into the encore was undoubtedly an interesting call. While it's not ever going to be my personal favorite, if there is a time and place for it, that may be towards the end of a show of this magnitude. There was absolutely no doubt that something huge would follow to finally put this party to bed. "Character Zero" was the right call and seems to become more and more explosive the later in the set it is played. The final roars of this song made for the perfect ending to what many are calling the show of the summer.
The level of expectation approaching this show was unrealistically high, and of course, this band found a way to exceed those expectations. From the “Caspian” opener to the first ever second set “Gin” closer, this show was living proof of how creative this band continues to be. Knowing that there were two (possibly three) more shows ahead, gave us all a level of satisfaction like no other. The level of effort and strategy that they continue to give with each passing show, even with the most minor details, is what keeps me chasing them as often as possible.
Stay tuned for our recap of Night 2: Atlanta, Night 3: Tuscaloosa, and Night 4: Nashville in the coming days!
