Phish’s return to Albany, New York, for a three-night stand in October 2024 was already circled on calendars by the most devoted followers. But what unfolded on October 26 — the second of the three shows at MVP Arena — exceeded all expectations. More than just another date on a fall tour, the show was a benefit for the Divided Sky Foundation, Trey Anastasio’s nonprofit organization focused on supporting individuals in addiction recovery. That mission gave the performance a spiritual undertone, and the band responded with a sprawling, emotionally textured performance that skillfully married the unpredictable spark of live improvisation with setlist depth and subtle nods to their collective history.
Over two vibrant sets and an encore that reached skyward, Phish delivered a show that felt timeless. There were bust-outs, teases, fearless segues, and a pervasive sense of intention that stitched the whole thing together. If you were there, you felt it. If you weren’t, you’ve likely heard the buzz already.
Let’s dive into one of the most memorable benefit performances the band has staged in years.
Phish – 10/26/2024 – MVP Arena, Albany, NY
Benefit for the Divided Sky Foundation
SET ONE:
Possum, Sigma Oasis > Back on the Train*, Nothing**, Stash***, Bouncing Around the Room, Tube > Bathtub Gin, More
(*Trey teased “Rainy Day Women #12 & 35”)
(**First time since 6/1/22 – 118 show gap)
(***Trey teased “In Memory of Elizabeth Reed”)
SET TWO:
Prince Caspian > Down with Disease**** > Ruby Waves > Fuego > What’s the Use? > Golden Age > Lonely Trip, Harry Hood*****
(****Unfinished)
(*****Page teased “The Little Drummer Boy” at the end)
ENCORE:
Golgi Apparatus > Slave to the Traffic Light
Set One: Light-Hearted Energy, Rare Gems, and Funky Flow
From the very first note, it was clear this would be a show with heart. As the crowd buzzed with pre-show chatter about the benefit’s cause and what surprises might be in store, Phish launched into one of their most trusted openers.
“Possum”
Few songs jumpstart a show like “Possum,” and this version was no exception. It was jubilant, rowdy, and marked by Trey Anastasio’s spirited, spiraling solos. Right from the jump, the crowd was in motion, and the band was already locked in.
“Sigma Oasis” > “Back on the Train”
Next came “Sigma Oasis,” a relative newcomer to the Phish canon but one that’s quickly grown into an anthem. Its expansive and hopeful refrain — “You’re already there” — took on added weight in the context of a night focused on recovery and redemption. The segue into “Back on the Train” was buttery smooth, with the band easing into a relaxed pocket groove. During the jam, Trey worked in a playful tease of Bob Dylan’s “Rainy Day Women #12 & 35” (“Everybody must get stoned”) — perhaps a sly nod to the recovery journey and how far he and others had come.
“Nothing” (Bustout)
Then came one of the night’s biggest surprises: “Nothing.” Not played since June 1, 2022 — a gap of 118 shows — this fragile, jazzy track from Undermind emerged like a rare orchid in a sea of improvisation. Its delicate textures and labyrinthine structure were handled with nuance, and the audience rewarded the performance with reverent silence and appreciative cheers. It was a moment of stillness — reflective, weird, beautiful.
“Stash”
That tranquility didn’t last long. “Stash” brought the energy back up with a vengeance, and Trey made things even spicier by weaving in a tease of the Allman Brothers Band’s “In Memory of Elizabeth Reed.” The jam section stretched out confidently, balancing tension and release like a tightrope walker. This wasn’t a 20-minute monster, but it was focused and intense — classic Phish 3.0 jam style with 4.0 patience.
“Bouncing Around the Room”
The mood softened again with “Bouncing Around the Room,” a setlist mainstay that sometimes serves as a breather but in this case provided a nice emotional counterweight to “Stash.” The vocal interplay was tight, and the crowd swayed together as the refrains echoed through the arena.
“Tube” > “Bathtub Gin”
A funk renaissance followed with “Tube,” and what a version it was. Mike Gordon’s bass popped, and Page McConnell’s clavinet work lit up the groove. Trey seemed content to explore textures, allowing the jam to open just wide enough before transitioning seamlessly into “Bathtub Gin.” The Gin jam built slowly with joyful peaks, reflecting a band in sync and completely at ease. It never got too weird — this wasn’t a type II monster — but it delivered the uplifting, smile-inducing Phish vibe that keeps fans coming back.
“More”
To close the set, the band reached for “More,” one of Trey’s most overtly hopeful and anthemic tunes. In the context of a benefit show for a recovery foundation, its lyrics — “There’s more than this!” — hit with unusual force. The song soared, and the crowd followed.
Set Two: Depth, Darkness, and a Glorious Hood
After a first set that bounced between playful and poignant, the second set felt like a deeper voyage — both musically and emotionally. Structured like an ever-morphing suite, it showcased Phish’s improvisational ambition and thematic storytelling.
“Prince Caspian” > “Down with Disease”
“Prince Caspian” opened the second frame with elegance and gentle power. While often treated as a mid-second-set breather, this version built purposefully and transitioned fluidly into “Down with Disease,” which quickly launched into improvisational territory. While the DWD jam was not the longest in recent memory, it was left unfinished, suggesting the band had more journeying to do. The improvisation was exploratory — full of tight rhythmic shifts, harmonic play, and bubbling tension — before melting into the next segment.
“Ruby Waves” > “Fuego” > “What’s the Use?”
From the unfinished DWD came “Ruby Waves,” a tune that continues to earn its place in the pantheon of modern Phish jam vehicles. The jam stretched its legs, shimmering with ambient textures before Trey steered it into “Fuego.” That classic 3.0-era tune brought the fire (pun intended) and kept the energy climbing. Just when it seemed we might get a full-on “Fuego” jam, the band made another unexpected turn — into the haunting instrumental “What’s the Use?” The transition was seamless, and the effect was cinematic. For a few minutes, the arena seemed suspended in space.
“Golden Age” > “Lonely Trip”
“Golden Age” snapped the crowd out of its ambient trance with its funk-infused positivity. The TV on the Radio cover has become a trusted jam launchpad, and this version grooved hard before gently segueing into “Lonely Trip.” A solo Trey tune from the pandemic days, it was given full band treatment and served as a moment of emotional reflection. As Trey sang, “You’re never alone, you’re never that far,” the arena was wrapped in communal warmth.
“Harry Hood”
The second set closed with a triumphant “Harry Hood.” In typical fashion, it built gradually and confidently toward an ecstatic peak. But this “Hood” had a seasonal surprise: at the end of the jam, Page teased “The Little Drummer Boy,” a quiet, almost whimsical coda that caught the crowd off guard and drew big cheers. Whether intentional or just a spontaneous flicker of inspiration, it was a unique moment in a night filled with them.
Encore: A Classic Combo That Says It All
“Golgi Apparatus” > “Slave to the Traffic Light”
The encore began with “Golgi Apparatus,” one of the oldest tunes in the Phish catalog and a nod to the band’s earliest days. It was bouncy and fun, a palate cleanser before the emotional final act.
And what a way to close the night — “Slave to the Traffic Light.” Always a beloved encore choice, this version was sublime. The patient build, the luminous peak, the stillness in between — it encapsulated everything that makes Phish a spiritual experience for so many. Trey’s solo was heartfelt and searching, and when the final notes rang out, there was a sense of release in the crowd.