For over a decade, Phish’s annual Labor Day weekend run at DICK’S Sporting Goods Park has become a hallowed tradition—a four-night exhale to summer, a finale that reliably delivers the magic of spontaneous musical interplay, deep-cut surprises, and crowd-winking humor. On August 30, 2024, the band kicked off the weekend’s festivities with a first night that leaned into mood, nostalgia, and tight musicianship, punctuated by rare bust-outs, a memorable encore, and an unexpected tribute to one of their own.
This opening night wasn’t about throwing everything at the wall—it was about setting a tone, establishing a vibe. Instead of bombast, Phish offered nuance, deep grooves, and a few lovingly polished gems dusted off for the faithful.
SET ONE: Melodies, Mystique, and a Crowd-Pleasing Return
Back on the Train kicked off the night with warm, mid-tempo grooves that suited the high-altitude sunset settling over the Colorado plains. The band quickly locked into a tight, soulful rhythm, with Mike Gordon’s bass effortlessly steering the locomotive. The song’s jam didn’t stray too far afield, but Trey Anastasio’s lead lines glistened with tone and ease—a perfect beginning.
Wolfman’s Brother was up next, opening the improvisational door wider. The jam found Fishman toying with tempo as Page McConnell drove swells of clavinet and synth funk. Trey played with rhythmic phrasing here—less about fireworks, more about interplay.
Then came the newer Hey Stranger, a confident and well-paced performance that showcased the band’s commitment to integrating recent material. The song’s melancholic tone and precise arrangement hinted at introspection—a quiet contemplative counterweight to the playful jams.
The return of Guelah Papyrus was met with roars from long-time fans. Not played since July 22, 2022 (a 105-show gap), the fan-favorite saw the band nailing its tricky composed sections and the tightly orchestrated “Asse Festival” segment. Always a joy live, the song’s rarity only made it more appreciated.
Things picked up with No Men in No Man’s Land, a now-standard jam platform that brought funk-driven dance energy back into the mix. Trey and Page built the peak patiently, resulting in a blissful, full-band explosion that hinted at liftoff.
Steam came next, with its brooding intro and murky vibe—a perfect cooling off after “No Men.” Smoke effects billowed through the air as the band leaned into ambient territory, each member adding texture without stepping on each other’s toes. The final coda surged with minor-key tension before dissolving seamlessly into Evolve, another newer tune with hopeful lyrics and airy melodies that resonated nicely with the Colorado crowd.
To close the set, the band unearthed Strange Design, played for the first time since July 29, 2022 (100 shows). It was an emotional moment, with Page at the piano, vocals stripped-down and raw. The singalong from the crowd was as touching as it was reverent.
A fiery Run Like an Antelope closed out the set, as always a guaranteed adrenaline rush. Trey’s solo built with surgical tension, releasing into a climax that set the field into pure, flailing bliss. A final bow capped off a set that managed to blend rare ballads, quirky compositions, and improv without ever feeling disjointed.
SET TWO: A Tapestry of Modern Jam and Classic Crescendos
The second set opened with a searing Chalk Dust Torture, a longtime fan-favorite that almost always promises open-ended jamming. True to form, this version unspooled into a fluid, Type II journey that touched on funk, ambient spaces, and eventually built to a euphoric peak. It never returned to the final verse, setting the tone for a seamless, jam-heavy second frame.
Sand followed without pause, offering a rhythmic playground for Fishman and Gordon to explore syncopated grooves. Trey weaved in short bursts of melodic phrasing before letting Page shine with thick organ tones. Together, they built a meditative yet danceable passage that swirled into an ambient outro.
The segue into Ruby Waves was graceful, and though the jam was unfinished, it was a highlight of the night. Ruby’s dreamy progression gave Trey ample space to move between delicate licks and soaring leads, before eventually descending into the patient ambiance that introduced What’s the Use? This instrumental provided a cinematic breath—a moment of suspended time and space.
From there, Phish slammed into Possum, a raucous detour that snapped the crowd back into celebratory energy. Though it came later in the set than usual, the band approached it with full throttle enthusiasm. Page’s rollicking piano and Trey’s bluesy swagger elevated this version beyond mere filler.
To close the set, Everything’s Right served as a summation of the evening’s themes—hope, change, and presence. The jam was buoyant and major-key bliss, bursting into full-band unison grooves that hinted at “You Enjoy Myself” phrasing at times. With smiles all around, the band left the stage to thunderous cheers.
ENCORE: A Megaphone, a Classic, and an Ode to Firenze
For the encore, the band delivered a one-two punch of eccentricity and technical wizardry.
Fee came first, and Trey—true to form—sang the verses through his megaphone, drawing laughs and roars from the crowd. The surreal tale of Floyd the chimp resonated in the Colorado air, a weird and wonderful moment of theater. The crowd swayed and sang along, reminded of just how strange and playful Phish can be at their best.
But it didn’t end there. As the song melted into its outro, the band rolled directly into You Enjoy Myself, arguably the crown jewel of Phish’s compositional canon. The composed section was tight, and the trampoline routine was as joyful as ever. But what made this version especially memorable was the return to Fee’s lyrical motif—“Wash Uffizi, drive me to Firenze”—during the final vocal jam. It was an unexpected callback that created a stunning loop, as if tying the encore together with a knowing wink.
It was an encore that encapsulated so much of what makes Phish special: compositional complexity, goofball humor, technical mastery, and deep emotional resonance.
SOUNDCHECK: A Nod to Bruno
Though not part of the show proper, the August 30th soundcheck was notable for its tribute to Mark “Bruno” Bradley, Phish’s beloved monitor mixer. The band improvised a tune titled “Bruno,” complete with lyrics about “1,000 shows,” nodding to Bruno’s milestone and his long tenure with the band. It was a heartfelt inside joke and acknowledgment—classic Phish.
A Launchpad, Not a Firework Finale
The first night of DICK’S 2024 wasn’t about throwing down the gauntlet in terms of raw power—it was about establishing a mood, layering textures, and setting up the weekend to come. It was about space, patience, and respect for songcraft. Bust-outs like “Guelah Papyrus” and “Strange Design” gave setlist nerds reason to rejoice, while jams in “Chalk Dust Torture,” “Ruby Waves,” and “You Enjoy Myself” demonstrated the band’s ongoing commitment to exploration.
And of course, the crowd—a family, a phenomenon, a swirling mass of tie-dyed humanity—responded in kind. With laughter during Fee, awe during Steam, and jubilant chaos during Antelope, the bond between Phish and its fans continues to evolve without losing its spirit.
As the band walked off stage, the skies above DICK’S filled with stars, and the field buzzed not with finality but with anticipation.
Three nights remained.
SETLIST – August 30, 2024 – DICK’S Sporting Goods Park, Commerce City, CO
Set 1:
Back on the Train
Wolfman’s Brother
Hey Stranger
Guelah Papyrus [1]
No Men In No Man’s Land
Steam
Evolve
Strange Design [2]
Run Like an Antelope
Set 2:
Chalk Dust Torture
Sand
Ruby Waves [3] >
What’s the Use? >
Possum
Everything’s Right
Encore:
Fee [4] >
You Enjoy Myself [5]
[1] First time since July 22, 2022 (105 shows)
[2] First time since July 29, 2022 (100 shows)
[3] Unfinished
[4] Trey sang verses through megaphone
[5] “Wash Uffizi drive me to Firenze” lyrics reprised from “Fee” during vocal jam