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Phish: Getting It Clearly Through Alternate Paths (Relix Revisted)

Invariably, Phish explores and re-defines its parameters through performance, sometimes subtly, sometimes like a glowing spaceship. There are times when the experience of Phish seems to be re-written on stage; an innovation in lighting design has an unforeseen effect on the performance. “In that sense, it comes together,” Trey said. “On the other ahnd, we work so hard, We practice all the time; our crew is working their butts off when we’re home. Paul Languedoc [sound technician] was working ten hours a day over this whole vacation to get the sound system up to where it is now.” Commenting on the larger collective framework of the band’s organization, and on the non-linear evolutionary path that Phish seems to be following, lighting designer Chris Kuroda said, “Years ago, in Vermont, a friend of mine insisted that I see Phish. I did and I had to go back. Then I became a roadie.”

He is now the lighting designer. Chris manages a new, $20,000 lighting system, which coupled with the immense expressionist-painted backdrop debuted at the Worcester New Year’s show (created by bassist Mike Gordon’s mother, Minkin) produces some of the most outrageous visual effects in music today. Phish’s light show is so integrated, that at times it seems to guide the music in additional to visually representing it. This phenomenon is synesthesia, a crossover of the senses. “Reba,” a song about the almost alchemical creation of a meat product in a bathtub, evolves into a lime green and orange composite; “Esther,” a surreal melodrama, attempts to balance opposing forces by juxtaposing a blue and white pattern with deep red; “Tweezer” always strays in a condition resembling natural light, the absence of color exposing dissonance. The visual aspect of the music particularly enhances Phish’s extended jams, often the highlight of their live performances. It’s as if some of the jams are given life. Witness the instrumental sections of “Runaway Jim,” “Harry Hood,” “Divided Sky,” and “Fluffhead.” At times, it’s difficult to get it all back in the bottle, a tension which reveals pure distilled musical excitement.

In reference to lighting designer Chris Kuroda, Trey said “He’s completely tuned in with us on the lights. You’ve got to think when the blue light is on stage, it’s going to create a different mood than the red light, without us even being conscious of it. I definitely feel that,” said Trey. “There’s a wave that gets created with the audience – you feel like you’re riding on this whole thing that has a mind of its own.”

This is a phenomenon that bassist Mike Gordon repeatedly referred to as “environment simulation.” The intensity of the music and a collective connection produce a transforming effect, an altering of consciousness.

The subject was of such personal relevance to Mike, and the performance of “Tweezer” from the Worcester New Year’s show, particularly the ending jam, was perhaps some of the most intense, out-right grooving live music ever heard, that its mention served as a starting point for Mike’s thoughts.

“The only way a really good jam is going to happen,” Mike said, “one that goes in its own direction, is if you submit to it.” Surrender to the flow?

“Exactly,” Mike continued, “we have these jam sessions sometimes where I just play two notes for twenty minutes. Then those guys change what’s on top of that radically. I add a third note and this awareness is going on – how is this note affecting me?”

“Sometimes I deliberately play a note that I normally wouldn’t play because it’s too silly, or too obvious or strange. I notice how that tweaks my head and I just go with it. Synchronicity is an important thing.”