Haybarn Theater, Goddard College, Plainfield, VT
Set 1: Golgi Apparatus > Slave to the Traffic Light, Wilson, Halley’s Comet ->Possum, Sneakin’ Sally Through the Alley, Makisupa Policeman
 First known performance.
And so it begins, the first show in the classic Phish lineup; Trey, Mike, Page, and Fish. The band has also graduated from the cafeteria to the stage of the Haybarn theater at Goddard College. Trey and Jon have enrolled there to focus on music full time. Mike has stayed at UVM and is in his senior year. It’s an interesting time of change but it also has given the band freedom to focus.
The show kicks off with a debut of “Golgi Apparatus”. A now classic Phish tune, this version finds the band playing it at a slightly slower speed but the tune seems fully fleshed out with even the angelic composed section in the bridge. The final notes segue into “Slave to the Traffic Light” and it’s on this tune you can really hear the space that Jeff’s departure has given to Page. Page’s synth gives the song great tone and doubles well with Trey’s guitar. Here we get the signature interplay between Page and Trey. The peak still isn’t built yet but the potential is captured in the ending.
The band chooses to debut another new song and rolls into “Wilson”. It doesn’t yet have it’s two-chord intro and of course the chant wasn’t even a fan invention yet. The song also has Trey doing weird Bob Dylan style vocals again. Can you imagine of Trey had recorded all of Gamehendge as Bob Dylan? It would not have the gravitas for sure. The crowd however clearly enjoyed the song and claps along to the beat before Page’s solo. Page’s solo has some “When the Music’s Over” teases and a very Doors vibe which Mike picks up on. The song even includes the Blat Boom section albeit closer to the end. The band also pulls out another new one, albeit having been played a few times at this point, “Halley’s Comet”. They also bring out the song’s writer Richard “Nancy” Wright to sing it. This version has no frills but can be noted for the smooth segue into the newly arranged “Possum”.
“Possum” has been retooled after the departure of it’s creator Jeff. It’s less bluegrass stomp and more back roads boogie. It also gets a more sleek vocal arrangement opening up the chorus for more fun. Trey rips off a nice solo here. Mike takes over the lead and lays the groundwork for every “Possum” most people know. The night’s only cover follows next in “Sneakin’ Sally”. It’s fun but fairly standard. The vocal jam is the highlight. The recording closes with “Makisupa Policeman”. This version also takes its now current form, with a Qaddafi reference in the keyword section. The jam goes out there with some serious reverb and effects. Same as it ever was with Trey tweaking and learning his rig.