181TubeGreat lead work from Trey and some nice fills from Fishman in this one from Big Cypress. · 118 BPM
9:23
154I Didn't Know144 BPM
4:50
150Punch You in the Eye123 BPM
8:58
142Bouncing Around the Room108 BPM
3:44
149Poor Heart144 BPM
2:42
152Roggae129 BPM
8:55
188Split Open and MeltIIfunkdarkMulti-section, improvisational groove-based jam, including typically dark "SOAM" grooving, funky upbeat major mode jamming, and a -> to "Catapult." Vastly different from 7/15/99. · 118 BPM
18:52
->INTO
170Catapultdark-> in from an excellent "SOAM." · 129 BPM
4:20
138Back on the Train83 BPM
5:09
153Horn144 BPM
4:02
146Guyute96 BPM
10:31
178After Midnight-> in from "Drowned." A patient, sparse, and well-textured groove-based jam. · 136 BPM
6:28
SET 2MAIN37 TRACKS·7:1615 CHARTED
279MeatstickambientCloses out the Big Cypress festival with a short ambient outro. · 162 BPM
5:37
->INTO
243Auld Lang Syne129 BPM
2:16
>SEGUE
287Down with DiseaseblissLaid back but joyful millennial celebratory groove. This is feel good music. Unfinished with -> to "Llama." · 99 BPM
23:45
->INTO
233Llama92 BPM
3:32
275Bathtub GinIIA very different "Gin" begins with extended vocal jamming through 9:25, then shifts to an enchanting groove. · 123 BPM
16:24
252Heavy Things123 BPM
6:41
277TwistambientA tranquil ambient groove emerges with delay loops and an eerie Page solo on the Fender-Rhodes. -> to "Prince Caspian." · 129 BPM
13:14
->INTO
246Prince Caspian107 BPM
9:02
>SEGUE
292Rock and RollIIThis wide-ranging, 30-minute monster from Cypress starts off in an excellent bluesy groove, before quieting down to a percussive, groovy, organ-led cowbell movement with anthemic riffing from Trey. The jam then coasts along at a low simmer, with very quiet, introspective playing and massive bass bombs, before exploding into an epic, earth-shattering firestorm of a conclusion at 26:00. · 152 BPM
31:14
283You Enjoy MyselfCrowd-assisted CHEESECAKE VJ. (No B&D.) · 99 BPM
22:55
289Crosseyed and PainlessIIblissThis is one of the center-piece jams of one of Phish's most storied and highly-lauded sets. This one quickly hits a slow groovier jam. With a good foundation set by Gordon and Fishman, Trey and Page have ample room to explore several gorgeous and melodic passages. · 144 BPM
21:15
273The Inlaw Josie Wales112 BPM
5:51
294SandIIdarkambientThe masterpiece of the '99-'00 style "Sands" from the early morning at Big Cypress. A dark groove develops with all sorts of eerie effects added to the mix. Trey's lead work is scintillating and gives the jam an ominous feel as it builds to a devilish peak and then transitions to the hypnotic second movement replete with looped minimalist elements which continue into -> "Quadrophonic Toppling". A must-hear jam from the band's ambient era. · 108 BPM
21:42
->INTO
2—Quadrophonic TopplingambientDebut begins with the deployment of Mike's Siket Disc vocal sample in the midst of the meditative, ambient jam which emerged from "Sand". Guitar and keyboard delay loops are eventually joined by a fuller arrangement but the volume never rises above a reverent hush. · 133 BPM
15:02
287Slave to the Traffic LightThe longest "Type I" version. If you like a slow, really stretched out "Slave," this one is for you. But the peak is nothing remarkable, in fact it sort of collapses under its own weight. · 92 BPM
15:22
266Albuquerque136 BPM
5:30
258Reba96 BPM
17:05
236Axilla152 BPM
3:49
242Uncle Pen129 BPM
4:40
268David Bowie99 BPM
21:04
270My Soul129 BPM
13:56
267Drowned129 BPM
6:32
->INTO
284After Midnight-> in from "Drowned." A patient, sparse, and well-textured groove-based jam. · 144 BPM
20:21
240The Horse152 BPM
0:48
>SEGUE
248Silent in the Morning99 BPM
5:15
>SEGUE
276Bittersweet Motel112 BPM
7:19
278PiperNew millennium Swamp Worm (it was played about 4:00 AM on 1/1/00) opens with all guns blazing before settling down with a Mike and Page led groove including "Bug" teases from Page. · 140 BPM
18:59
->INTO
240Free129 BPM
9:13
258Lawn Boy99 BPM
3:32
263Hold Your Head Up129 BPM
9:32
>SEGUE
2—Love You
>SEGUE
2—Hold Your Head Up
290Roses Are FreeIILaunches into phenomenally intense improv almost from the start as it embarks on an at-times-breathtaking journey. Eventually grows dissonant before briefly regaining its feel-good vibe. · 129 BPM
35:30
238Bug152 BPM
7:46
279Also Sprach Zarathustra35th song in the second set is the infamous "Hood" fake out. Breakdown at 5:40 is sicknasty and Trey sounds as fresh as he did in 1983. Second jam features a reggae filth groove. · 123 BPM
13:41
>SEGUE
262Wading in the Velvet Sea136 BPM
6:28
>SEGUE
267MeatstickambientCloses out the Big Cypress festival with a short ambient outro. · 129 BPM
This was the second show of the Big Cypress festival. Fish was introduced as 'Soda Jerk' during I Didnât Know. Split Open and Melt and Disease were unfinished. Melt contained A Love Supreme teases. After the ensuing Catapult, Trey remarked: âOnly at the largest concert in the world could we get away with playing a song like that.â After Midnight made its Phish debut. The late set, also known as âThe Show,â began at around 11:35. âFather Timeâ was on stage, pedaling on an exercise bike that powered a large clock. The sounds of the clockâs gears could be heard through the sound system. About ten minutes before midnight, âFather Timeâ collapsed from exhaustion and the clock stopped. Then, a large fan boat entered the concert field and approached the stage. Early in its journey, the fan boat exploded away and revealed the hot dog used in the 1994 New Yearâs stunt. While the band rode the hot dog to the stage, an instrumental version of Meatstick began to play over the P.A.. The band reached the stage and fed several meatsticks to Father Time, reviving him so that the clock could continue moving toward midnight. The band then took the stage and played Meatstick to begin The Show. Dancers were on stage prior to Phish reaching it. Auld Lang Syne and Disease were accompanied by fireworks. Heavy Things was recorded live and rebroadcast as part of ABC televisionâs New Yearâs Eve coverage. In a humorous effort to confuse the home audience, Trey instructed the crowd to yell the word âcheesecakeâ in lieu of cheering at the end of the song. After twice giving the example of yelling the word once, Trey changed his mind and instructed the crowd to chant it, adding for them to say it like they were pissed. Trey then introduced the band for the rebroadcast and offered a message of peace and harmony for the world where he reminded people to drive in the right lane unless passing another vehicle. Meatstick was subsequently teased as the New Year approached in the central time zone. YEM included a vocal jam based around the word âcheesecakeâ and Trey altered the lyrics to Axilla and Albuquerque to reference the word. Inlaw Josie Wales featured Trey on acoustic guitar. Sand contained My Soul teasing from Mike and segued into the debut of Quadrophonic Toppling. Rock and Roll included an After Midnight tease. Love You included band introductions; Fish introduced Page before the song and Mike and Trey afterwards, and the band as âPhish 2000â (see November 2, 1990). Piper contained Bug teases from Page. 2001 began with the signature Hood drum roll. After the show closed with yet another version of Meatstick, the Beatles song Here Comes the Sun was piped through the crowd at sunrise. Two bustouts were played: Crosseyed and Painless (first since August 13, 1997, or 159 shows), and Love You (first since July 5, 1997, or 179 shows).
By the numbers8 STATS
RUNTIME9h 1mwith break
LONGEST35:30ROSES ARE FREE
SHORTEST0:48THE HORSE
AVG SONG11:03across 49
JAM CHRT19charted
SEGUES150.29 per song
DEBUTS0no firsts
JAM TIME4%of 542 min
SONG DURATIONS · 51 IN ORDER0–36 MIN
ROSES ARE FREE 35:30
● SET 1● SET 2● ENCORE
Fingerprint2D · 4BO
SETLIST · BLOCK = SONG · COLOR = OVERDUEIN ORDER →