Located at the peak of the University of Pittsburgh’s main campus, the Petersen Events Center is beautiful. Built upon a 90-foot sloped site (which once deterred pedestrian traffic through the heart of campus), this one-time geographical impediment is now utilized to both great aesthetic and practical effect. An impressive five-story, all-glass lobby fronts the building and opens upon the school, functioning both as a great meeting space and central link, bridging the lower and upper portions of the university, while casting an extended, enchanted sort of effect about the school’s incredibly cramped and ultra urban grounds.

Once inside, the venue continues to impress. Bathed in Panther blue and gold – all exposed metal surfaces and railings within the arena are fashioned a metallic “bullion” – the interior is at once collegiate and works to impress the sophisticate.

But it gets better yet.

Points atop “The Pete” offer dramatic views of surrounding Oakland and the university’s renowned Cathedral of Learning. This 42-story Late Gothic Revival Cathedral—the second tallest gothic-styled building in the world—rises 535 feet to divide the sky, which, this particular evening, is a federal sort of firmament, a liquid blue made to appear all the more so by the waning day’s scattershot clouds, which, hanging low, are touched with color by the rising alpenglow. It’s summer. It’s warm. All told, a wonderful atmosphere to take in a show.

Parking is somewhat of a problem. But doable. At $5.00 a car, several surface lots and parking garages dot the campus, able to accommodate some 14,763 fans (the given maximum figure for center-stage concerts) as we arrive from Illinois, Ohio, and et cetera. Yes. The absence of a “traditional” lot scene is noticeable. This isn’t Burgettstown. This isn’t the Civic Arena either, the last venue to host Phish while playing the city of Pittsburgh proper, though that parking situation, as opposed to that night’s scene (although that is another story), is somewhat similar. And yes. While traveling and hanging out before a show are certainly important aspects of Phish culture, it is, ultimately, the spirit of the band’s music which brings us together. Given Phish’s strong showing at Northerly; their lively return to Dayton; and their penchant to seemingly throw down whenever swinging through Pitt ... Well, we’ll certainly take it.

The lights go out.

The band walks on.

Of course one of Phish’s finest features is their ability to surprise. To amaze. Tonight, perhaps the most interesting aspect feeding excitement is the band’s forthcoming thirteen-night New York City stand. Billed as "The Baker’s Dozen," Phish’s MSG residency is slated to be a revelation. That much is clear. But now, though ... Here ... Are we in for a sort of 8/13/96, when Phish, as if blowing off a summer’s-worth of collective steam, amazed fans by seemingly going off script, to play one of the year’s most spirited and inspired shows, just prior to the historic and career-defining Clifford Ball Festival? Or come 1997. Exactly one year later. The gig before The Great Went. When, late in the second set, Ken Kesey and his Merry Pranksters drop by Gamehendge. Might a surprise arise in the form of something strange? If most shows spell something, we’ve never before had the opportunity to read Phish through the prism of this particular context.

And so we shout.

And this is what goes down.

Trey dispenses with the usual pleasantries and makes straight for his guitar. Without looking at Mike, Fish, Page – or the page of paper in front of his mic (more on this in a bit) – he runs through the opening riff of “My Soul.” Standard fare, but the crowd warms nicely, and it’s clear that Trey is comfortable. Loose. The same can be said when the band runs through a solid version of “NICU.”

This is when the sound in the room becomes noticeable. It’s loud. Really loud. And as the band adjusts to accommodate the additional mass (us) in the venue, it becomes clear that Trey aims to use this to his advantage. The space sounds great. The vocals sound great. WE sound great. The lower level is literally bouncing (had the song not already been performed in Chicago, it seems likely that “BATR” would have been performed here.) Which takes us back to the piece of paper by Trey’s feet ...

Whether Trey simply needs a list (which is replaced during set break) to keep track of the names of all the new songs the band is committed to playing (two more debuts this evening, which brings the number since Northerly One to an impressive ten), or for some other reason ... He is clearly operating from a set number of songs. This said, there appears to be a certain amount of flexibility – with Trey often peering at his sheet, before walking over to confer, usually, with Mike. While this practice is certainly not unprecedented, what is noteworthy is that the band is five shows into their summer tour, and they have yet to repeat a song. Fun stuff.

Back to the room. After glancing at the available options, Trey decides that “Halley’s Comet” is next, and this is seemingly no coincidence: the song affords both the band and the audience the opportunity to belt out some fan-favorite lyrics. At one point it seems as if the band is certain to step from their stands and allow the fans to take over. It is that sort of vibe.

But it’s not all chorus, chorus, chorus. From a spirited, yet perfunctory, “Halley’s,” Trey segues nicely into “Undermind,” – this apparently agreed upon during a brief discussion Trey has with Mike following “NICU” – and, musically, the band opens up for the first time this evening. Could be a result of where I am sitting, but it seems like the bulk of the show, at least through the first set, is Trey-driven. A Trey who is on a peak-seeking mission. While that sort of play is soon to come, Trey does work through the version with a bit of verve, at one point, and with a noticeable bit of swag, swatting from his face an approaching beachball directly before delivering the line “undeterred.” Working both his feet and his Supa Puss, Trey fiddles with his effects to great effect, and the jam – and the show – is shoring up nicely.

After consulting his document and conferring with Mike, “Divided Sky” is up next. Easily a highlight, this, too, seems more proof positive that Trey is playing to the room. The version is clean, spirited, and inspired, and features one of the loudest “pauses” that I can recall in some time. I am not keeping time, but the break before the “note” seems extra long – and before long fans are drumming the sides of the building .... As if it wasn’t Trey they were cheering, but rather goading Grayson Allen, who had just lined up for a free throw. Deafening. Fired up, Trey runs through the version with measured grace and assurance, before, ultimately, offering up that “old school” style of bliss.

“Marissa,” a new song from Mike, follows, and while it’s difficult to write too much with regard to debut material, the music – and lyrics – seem promising. Pulsing to that sort of pseudo-reggae vibe we’ve come to expect, the words arrive as being more introspective than whimsical, and the band compliments Mike’s line nicely, creating a neat little groove which seems to be going somewhere. But alas. A full-blown jam does not come to pass. Like so much of Mike’s material, the song seems constructed so as to invite extended improvisational play. To which I say: Let Mike Play!

Page is up next, and he delivers a nice version of the summer’s first “Home.” With it’s New Amsterdams vibe, Page is now afforded the opportunity to sing to the room, and the band works through a couple of nice musical moments, which continue to hint at the song’s promise (which we have been talking about since the song’s Big Boat release.)

What follows is arguably the summer’s biggest surprise. (At least for a set break ...) Given the shape the set was taking, it seems reasonable to assume that Trey elects to move into “Prince Caspian” as a means to (yet again) fill the room – while offering us another opportunity to contribute – with sing-along energy, before wrapping things up with something like “Suzy.” This isn’t the case. To be sure: Everyone is singing. And the energy is great. But just when it seems like Trey is going to wind the version down - a la a 1996 version – which would have been interesting – he proceeds to lead the band through one of the most inspired readings since ... Well, you know the one. But make no mistake: This version is more than its incredible conclusion. There is some seriously nice and varied play before Trey drives the jam higher and higher, again and again, with Mike working his pedal to deliver what seems like four – I lose count – astral booms.

One of my favorite features of Phish: They can spend “fifteen minutes” during set break, only to walk on stage to spend another five discussing what to play. But here there is a reason. “Punch You in the Eye” opens, and it’s appropriate. Loud and boisterous, again encouraging fans to “play” the version ... From an energy standpoint, “PYITE” picks up right where we left off. And then the band goes off.

First: Huge shout out to the floor – particularly the first handful of rows ... They pick up on the “Mr. Completely” bustout (not seen since on a Phish stage since its Phish debut in 2003, a gap of 380 shows) a full five measures before most of the arena. From the stands their reaction is AWESOME, and really works to build the excitement for those unfamiliar with the song.

Once reading that the band checked the song while in Chicago – and keeping in mind the fact that the song wasn’t performed in Dayton – I made sure I had a copy of 7/15/03 in my car for the drive through Pennsylvania. While a long shot (I reasoned the band was rehearsing for NYC), you never know ...

... While I love reading about music, and obviously love writing about what the band does as well, one of my favorite quotes – sometimes attributed to Bowie – is: “Writing about music is like dancing about architecture.” And that really seems to be the case here. Sometimes what the band does is ineffable. The moment, plus the music, are impossible to capture with words. And this is a great thing. It feels like any attempt on my part wouldn’t necessarily cheapen the moment, but will in no way do the music justice. Hopefully the band will release a video of this performance, so those not in attendance can share in this great Phish experience.

“Mercury” comes as the perfect complement. And the band works through the composed sections well, and enters a really nice groove. (Of note: We also see the Marimba Lumina for the first time this year.) Here, there is no other way to put it: The band cuts the jam short in favor of another debut, “Come Together” (or "Rise/Come Together," depending who you ask). However, what can also be said is this: The segue was tremendous. Moreover, the song, given the context of the evening, was precisely what Trey wanted to play. Like the Phish debut of “Architect,” (which -> from a strong “Carini”), it is visible that Trey really – really – wants to sing his new song. He literally stretches upon his toes and leans into his mic. Repeatedly. And, true to the night, he drives the music to an emphatic peak.

“Contact” is fun, and provides a cool down, with some extra “Flamenco”-like flourishes from Trey, though at the cost of some lyrics (I think). “Axilla” quickly reasserts all sorts of energy back into the room, before the band enters “Steam.” An excellent song in this spot – with everyone waiting for the first “big one” – this version sounds a bit off. The playing was fine, but Trey’s tone didn’t seem to work well. Could have accidentally been down a step, or this could have been by design.

Given the night’s trajectory, I was thinking that a noisy, crazy, “Fluffhead” was going to occupy the closing slot. And while this would have been welcome – and appropriate – “BDTNL” really is excellent. This is no rote sendoff. Page's work on the piano is terrific. And Trey’s play is deft and nimble - it seems as though he adds an extra section to his solo - in addition to sustaining a note for nearly twenty seconds.

Page’s quirky “Things People Do” works pretty well as the first of a multi-song encore (if only because we know we are in for a multi-song encore) and “Bug,” with its huge sing-along chorus, is fitting, serving as a reminder that this is all fun. "Rocky Top," while somewhat of a nonsequitur when played outside the South, wrings two more minutes of energy out of the show and brings a memorable night to a close.

If this show did indeed spell something, it seems fair to treat tonight not so much as a story, but as the next chapter in a thrilling novel that, as the band prepares to make for NYC to establish their “residency,” continues to unravel.

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