Band to Watch: Art Decade

Experimental kaleidoscope rock group Art Decade is a musical sponge, dripping its varied influences on the ears of their listeners. The band’s secret recipe is a blend of huge stadium anthems, thick power chords and catch-you-off-guard, shredding guitar solos. Touring frequently in their hometown of Boston and occasionally venturing into New York City, this band is likely to make waves in the small club scene across the U.S. The trio’s new, self-released album Royalty is available now through their website and iTunes. Check them out over at http://www.myspace.com/artdecadeband.

Sharon Jones To Play SNL

Singer Sharon Jones, best known for her work with the Dap Kings and her recent collaboration with Phish at Festival 8 is slated to play Saturday Night Live this coming Satuday. Jones is scheduled to perform a duet with Canadian soft-rocking sensation Michael Buble. Together they will be performing the track “Baby (You’ve Got What It Takes)” from Buble’s latest album Crazy Love. Hopefully Jones will add some of her trademark soul to the pop-singer's emotional sound.

The Who Reveal Super Bowl Halftime Set List

In an interview with Billboard, Pete Townshend o The Who revealed the upcoming set list or the Super Bowl Halftime show.

“We’re kinda doing a mashup of stuff,” the guitarist tells Billboard. “A bit of ‘Baba O’Riley,’ a bit of ‘Pinball Wizard,’ a bit of the close of ‘Tommy,’ a bit of ‘Who Are You,’ and a bit of ‘Won’t Get Fooled Again.’ It works — it’s quite a saga. A lot of the stuff that we do has that kind of celebratory vibe about it — we’ve always tried to make music that allows the audience to go a bit wild if they want to. Hopefully it will hit the spot.”

Ticketmaster-Live Nation Merger Approved

We've been tracking this story for quite some time. Today, the Department of Justice announced that the merger between Ticketmaster-Live Nation will be approved, forming the new company Live Nation Entertainment. The merger took nearly an entire year due to much investigation and due diligence by the DOJ. Part of the merger stipulation includes the agreement to divest in its Paciolan ticketing operation which was acquired by Ticketmaster in 2007 as well as striking a ticketing licensing agreement with sports and entertainment company AEG. AEG's concert promotion division, AEG Live is currently Live Nation's closest competitor. “Live Nation and Ticketmaster together will be a phenomenal operation that will enhance the ability for artists to perform live, and in this day and age performing live has become extraordinarily important to artists,” Allen Grubman, entertainment attorney for both Ticketmaster and Live Nation stated in an interview. He went on to state that "the merger will “rewrite the way live entertainment has been handled up until now. There will still be plenty of competition, artists will still have the ability to pick and choose who they do business with, but this will give everybody a huge surge.” Finally, Grubman says talk that the merger would lead to higher ticket prices is exaggerated. “Ticket prices are about supply and demand,” he says. “You’re not going to be able to charge unrealistic prices for tickets just because of one new element. If the public is not interested in buying because of high prices, they’re not going to go to concerts.”

From the U.S. Department of Justice:
Under the terms of the proposed final judgment filed today in U.S. District Court for the District of Columbia, the companies have agreed to divest Ticketmaster’s self-ticketing subsidiary, Paciolan, to Comcast-Spectacor and to license the Ticketmaster Host technology to Anschutz Entertainment Group, Inc. (“AEG”), as well as to other terms that protect competitive conditions in ticketing and promotions. Seventeen State Attorneys General also participated in the matter and have joined in the U.S. consent decree. The parties’ consent agreement with the Canadian Commissioner of Competition is on substantially equivalent terms.

As previously announced, in connection with the merger, each issued and outstanding share of Ticketmaster common stock will be cancelled and converted into the right to receive a number of shares of Live Nation common stock such that Ticketmaster stockholders will receive approximately 50.01% of the voting power of the combined company. Subject to final confirmation, the companies expect each share of Ticketmaster common stock to be cancelled and converted into the right to receive 1.474 shares of Live Nation common stock in connection with the merger and for Live Nation to issue approximately 84,613,661 shares of Live Nation common stock to Ticketmaster stockholders in the aggregate.

The combined company will be led by Michael Rapino as CEO and President of Live Nation Entertainment and Irving Azoff as Executive Chairman of Live Nation Entertainment and CEO of Front Line. Barry Diller will serve as Chairman of the Board of Live Nation Entertainment. The Board will consist of 14 directors, seven from each company.

Gorillaz New Album Details Revealed

Full details for the Gorillaz new album have been released. "The band have taken up residence, recording on a secret floating island deep in the South Pacific, a Plastic Beach HQ, made up of the detritus, debris and washed up remnants of humanity. This Plastic Beach is the furthest point from any landmass on Earth; the most deserted spot on the planet." Guests on the album include Snoop Dogg, Lou Reed, De La Soul, Mark E. Smith from the Fall, Gruff Rhys of Super Furry Animals, and Mick Jones and Paul Simonon of the Clash.
The full tracklist, along with the "Stylo" single cover, is below.

Plastic Beach:

01 Orchestral Intro (ft. Sinfonia ViVA)
02 Welcome to the World of the Plastic Beach (ft. Snoop Dogg and Hypnotic Brass Ensemble)
03 White Flag (ft. Kano, Bashy, and the National Orchestra for Arabic Music)
04 Rhinestone Eyes
05 Stylo (ft. Bobby Womack and Mos Def)
06 Superfast Jellyfish (ft. Gruff Rhys and De La Soul)
07 Empire Ants (ft. Little Dragon)
08 Glitter Freeze (ft. Mark E Smith)
09 Some Kind Of Nature (ft. Lou Reed)
10 On Melancholy Hill
11 Broken
12 Sweepstakes (ft. Mos Def and Hypnotic Brass Ensemble)
13 Plastic Beach (ft. Mick Jones and Paul Simonon)
14 To Binge (ft. Little Dragon)
15 Cloud of Unknowing (ft. Bobby Womack and Sinfonia ViVA)
16 Pirate Jet

Here's the first single from the album http://www.youtube.com/watch?v=-SxlD74hvRk

Exclusive Interview: Warren Spicer of Plants And Animals

This weekend, on an unseasonably mild Saturday afternoon in Montreal, I had the pleasure of sitting down with Warren Spicer from the Montreal based indie-rock band Plants And Animals. The group received much praise from both the indie and the jamband worlds after releasing their debut album, Parc Avenue in 2008. Pleasing both of these musical crowds is no easy task, as each seems to be snobbier than the next. The indie crowd only loves top-notch unique music and the jamband scene generally digs psychedelic music that can be extended in a live setting. Plants And Animals found a happy medium, creating diverse music that's both catchy, complex and conducive to improvisation when played live. Two years later, after much touring and some time off of the road to record new songs, Plants And Animals is releasing their follow up album titled La La Land. Mr. Spicer was kind enough to take some time out of his busy schedule to sit down with me in a breakfast dive in the Mile End area of Montreal to have a few coffees and talk about the up-coming record and a whole lot more.

Parc Avenue was a very big album, rich in instrumentation and varied in song style and structure. What can listeners expect to hear on your new album, La La Land which is being released on April 20?

WS: I guess we haven’t done anything insanely, drastically different than what we did on Parc Avenue its just kind of a continuation of what we were into. I guess we kind of got back into more loud rock music because we had been touring so much, and when we made Parc Avenue we didn’t really tour a lot so we were kind of just rehearsing and playing in our apartments more. That record kind of came out with more acoustic guitars and quieter stuff. Then we started touring and we ended up playing a lot louder and with more electric guitars and rocking out so even the songs on Parc Avenue changed quite a bit when we played them live. We came back and started working on new stuff and it just started to sound more like what we sounded like live. Its maybe a little darker, this new record, but its classic P&A (laughs).

Can you talk a bit about the Montreal music scene and how it has influenced La La Land? I’ve heard The Slip’s Brad Barr and the Arcade Fire horn section are featured on the album. Are there any other guest contributors?


WS: We had a few different people in doing things, some stuff worked, some stuff didn’t work. In terms of the music scene I think Brad, he lives in the same apartment building as me and he is just a pretty incredible musician. He’s been busy ever since he showed up in Montreal and as soon as he got here I met him and we started hanging out. I feel like the Montreal music scene, I think when you are a newer band starting out, like before we had released Parc Avenue, maybe I was more connected to the scene because I was out at bars more checking out other bands. Then as things progressed you start enjoying your own time when you come home. You don’t go out to bars, I don’t even know who the hot bands are in this town anymore. But I have my group of friends and Brad is part of them. You know, musical friends and we all end up helping each other out at recordings and jamming whenever we get the chance to. The scene for me has a lot more to do with my own scene rather than “the scene” because I don’t really know what that is anymore. In terms of shaping the new record, we kind of just had the studio booked for two weeks here and there and kind of did whatever we felt like. If someone happened to be around, like I always wanted to do something with Brad and he came in and ended up playing some piano. We just kind of hung out and figured out what worked and low and behold. Colin who plays sax for the Arcade Fire he is Sarah’s boyfriend and she’s the violinist for the Arcade Fire and she played on our first record and we went to school together. It’s more just a web of friends who all play music together.

Your debut album Parc Avenue was named after the street it was recorded on. What’s the significance behind the dreamy title of La La Land?

WS: There’s no huge significance, Parc Avenue just fell into place right away we didn’t have to think about it very much. We had worked on this record and maybe also looking back in hindsight things seemed to have fit together more logically in that album when it was all finished. Finishing this record was kind of a mad dash; everything went haywire as we approached the deadline of when we were supposed to deliver it. We didn’t have a title, we didn’t know what the artwork was going to look like, and we didn’t know anything. When you get stuck in a position like that you start trying to brainstorm and everything sounds bad. Every idea you come up with sounds terrible. The list of absolutely hilarious bad names is wildly long (laughs). We should probably put that up on our website, there’s some gold in there. There’s a reference in a song, the second song “Swinging Bells” which is loosely about L.A. We were worried that people would think it has too much to do with L.A. but most people don’t really connect La La Land with L.A. but some people do, its more of an actor thing. It just kind of made sense. There’s kind of this dreaminess about the record, it’s not that specific it doesn’t lock us into anything, it’s open-ended

That being said, Parc Avenue felt like a really cohesive, flowing album. Is La La Land a little more scattered?

WS: No, it’s still built the same way. That’s how we make records. We make records that flow from start to finish. I think it’s less epic; it’s a shorter, tighter album. Parc Avenue is almost an hour long. If you can have that kind of attention span, that’s awesome and it was our first album too so you put a lot of your life into that first record because you have never had the chance to do anything like that before. It kind of made sense that Parc Avenue was that long and I’m glad we made that record that long. We toured and we tightened up and then we wanted to crystallize things a little bit more and I wanted to write some shorter, tighter, poppy songs. That’s always a challenge too, it’s not easy to write a shorter song when you’re not used to that. It’s a different challenge.

The band’s sound really seems to embody the Canadian music scene. Parc Avenue had tender ballads, tripped out jams, and epic progressive rock tunes. What are some of the band’s influences? Are there any Canadian bands in particular that have had a strong impact on the group and its sound?


WS: Yah, actually last year I saw Neil Young twice. Once at the Bell Center here in Montreal and then once in Barcelona at a festival we played called the Prima Vera Festival. There’s something about seeing him live, it was like everything I thought about Neil Young, how original the guy is…just to hear his electric guitar. There is something about electric guitars that I just wanted to get back into. Also, I kind of went on a rampage this winter trying to find old Hendrix bootlegs and this weird Hendrix stuff and now there’s some fuzz on the record that’s kind of a direct result of just listening to more of the sound that’s playing. It’s not just fuzzed-out blues solos it’s more just outer-space, fuzz thing that Hendrix can do. Those are two pretty classic references but they kind of popped up again in my mind this year. It all depends on the song, you kind of write a song and you have a very specific idea of that you want to do something that’s already been done but in your own way. The new song we released, “Tom Cruz” it’s got a very kind of Neil Young-y as I could get on guitar solos. I wasn’t really trying but after the fact I thought that it kind of sounds like that, that insanely ballsy guitar sound.

Plants And Animals are a band that strongly bridges the continually thinning divide between indie rock and jamband. You’ve been featured on indie-dedicated sites such as Pitchfork.com as well as jam friendly sites such as jambase.com and jambands.com. Why do you think that is?


WS: I guess because we can do it both if we want to. You kind of choose what you want to do and how you want to market yourself and typically in the indie world it hasn’t been hip to be a jamband. But you know, who cares it doesn’t really make a difference. I think we might have started out a bit more jammy, that’s where our roots come from, just getting together and playing and things are slowly tightening and narrowing and now it’s our least jammy stuff. There is still some extended tunes on this record, which will potentially be extended more during live sets. You also want to play to your audience; if we did a festival like Bonnaroo it would be fun to extend things. You have to know whose watching you. The group comes from a pretty educated musical background as well and we’ve worked really hard on learning how to play. Even if we don’t really showcase that on a three-minute pop-song, the chops are still there even if it’s hidden in the rhythm. The time we’ve spent learning how to play is in their in the groove.

I noticed you guys were featured on La Blogotheque’s Take Away Shows. It seems that all the biggest indie-blog-buzz bands have been featured on this site. Was performing bare bones versions of your songs in a unique location a refreshing change from the typical club or bar setting?


WS: We recorded half the record in Paris at that location in those shots. It’s a big mansion half an hour outside of Paris, it’s this old chateau with a wicked recording studio in it. We went there and recorded for five days and we lived there in the mansion. We ate there and all the windows are open and you’re playing and there’s old bookshelves full of vinyl’s and the basement is filled with the recording gear. It’s a pretty magical place to work. We were there working and the Blogotheque guys came out for an afternoon and we were already making music all day long and they walked in and we were like “sure we can play some more music because that’s all we’re doing”. Sometimes those things can be a bit weird, when it’s more contrived. There’s the Black Cab one where you get in a cab and I could see some of those being fun but a pain in the ass. The one in Paris was great though because we were already doing it. There are instruments everywhere and more than anything we were comfortable and that’s great because if you’re not there’s a good chance those things can suck.

While the band has played smaller and mid-sized festivals including the London Ontario Live Arts Festival (LOLA Fest) and the Pitchfork Music Festival, can we expect to see you playing at some of the festival giants such as Bonnaroo or Rothbury in the coming year?


WS: I certainly hope so. I don’t know what we have scheduled right now but we would love to step it up as much as possible. I think Bonnaroo might be out unfortunately. We’ve been quiet for a very long time, our blip on the radar has kind of disappeared. We were working on the new record and not touring that much so our buzz is kind of gone and forgotten. It’s kind of hard to start booking the North American stuff pre-release because people are like “oh yah I heard about you guys back then”. It’s all timing and unfortunately people are booking bands now for the summer and our album doesn’t come out until April. It might be a different story once the record comes out and we get a bunch of media attention. We’ll have to see what happens then. We will definitely play some festivals though. Some of the best festivals are the smaller ones. What you think is the best festival, the biggest ones, don’t always turn out to be the best. The most fun I’ve ever had was when we played a tiny festival in Yellowknife called Folk On The Rocks. The stages were made out of plywood and the PA was tiny and it was just awesome. The big, mega-festivals with the huge headliners and the thousands of people, that’s one thing but I think I’d much rather play a small festival run by volunteers where everyone gets to hang out and be normal. At the big, mega-ones things kind of get out of control and it’s their own thing. I wouldn’t pit the two against each other; the small mom and pop operations are certainly more relaxed and normal. The whole idea of a festival is for people to come together and it feels more normal at small ones. The corporate festivals claim to want that but you get there and everyone is compartmentalized and every band has a trailer and you never talk to anyone. You play your set and your done and you don’t talk to anyone. Higher profile is good for business but it is not necessarily the most enjoyable time.

Head over to www.plantsandanimals.ca to listen to "Tom Cruz", the band's first release off of the up-coming record La La Land, and for everything else Plants And Animals.

Here's the song "Feedback In The Field" from the aforementioned La Blogotheque filming session

Plants and Animals - A Take Away Show - Feedback in the Field from La Blogotheque on Vimeo.

More Plants And Animals News

As I reported yesterday, Plants And Animals are releasing their new record La La Land on the worldwide stoner's holiday, April 20. In some additional information about the album, The Slip's Brad Barr, a close friend of the group has contributed guitar work to the album and the Arcade Fire horn section is featured on La La Land as well.

Dr. Dog New Album and Tour

Dr. Dog will release its next studio album on April 6 via Anti- Records. The band switched things up with Shame, Shame by working in a professional studio and with an outside producer (Rob Schnapf). The album is said to peel away the group’s trademark layers of strings and horns to focus on the core band. Shame, Shame is also said to feature a darker tone “whose themes of doubt, confusion and unanswered questions are soothed by bright harmonies, taut guitar riffs and soaring melodies.” Dr. Dog will tour throughout the winter and spring, including a run of domestic May dates with Deer Tick.

The band’s upcoming shows include:

January 27 Troy, NY—Revolution Hall
January 28 Burlington, VT—Higher Ground
January 29 Providence, RI—Lupo’s
January 30 Syracuse, NY—Westcott Theatre
February 1 Buffalo, NY—Mohawk Place
February 3 Pontiac, MI—The Pike Room
February 4 Milwaukee, WI—Turner Hall
February 5 Madison, WI—High Noon Saloon
February 6 Iowa City, IA—The Mill
February 8 Omaha, NE—Waiting Room
February 9 Rock Island, IL—Rock Island Brewing Co.
February 10 Cleveland, OH—Case Western University
February 11 Bloomington, IN—Video Saloon
February 12 N Columbus, OH—Newport Music Hall
February 13 State College, PA—State Theatre
April 14 Toronto, ON— Lee’s Place
April 15 Ann Arbor, MI—Blind Pig
April 16 Chicago, IL—Metro
April 17 Minneapolis, MN— Fine Line
April 19 Aspen, CO—Belly Up
April 20 Denver, CO—Gothic Theatre
April 22 Boise, ID—Neuroluz
April 23 Portland, OR—Wonder Ballroom
April 24-25 Great American Music Hall San Francisco, CA
April 27 Los Angeles, CA—Henry Fonda
April 29 Santa Fe, NM—Santa Fe Brewing Company
April 30 Dallas, TX—The Loft
May 1 Austin, TX—Emo’s Outside
May 2 Houston, TX –Warehouse Live Studio
May 3 Fayetteville, AR—Majestic
May 5 W Birmingham, AL—Workplay
May 6 C Nashville, TN—Cannery Ballroom
May 7 Louisville, KY—Headliners
May 11-12 Boston, MA—Paradise
May 13 Philadelphia, PA—Electric Factory
May 14 Washington, DC—9:30 Club
May 15 New York, NY—Terminal 5
May 23 Berlin, Germany—Magnet
May 24 Koln, Germany—Blue Shell
May 25 Amsterdam, Neth.-—Paradiso
May 26 London, UK—Tabernacle
May 27 Paris, FR—Nouveau Casino
May 29 Barcelona, Spain—Primavera Sound

Plants And Animals To Release New Album

Plants And Animals, the kings of the Montreal indie rock scene are set to release their new record La La Land on April 20. The band will also play a number of shows before kicking off a North American tour. Also, head to www.plantsandanimals.ca to listen to the first song on the album "Tom Cruz".

Dates:
January 23 La Flèche D’or PARIS, FR
January 26 MIDEM – Morrison’s Lounge CANNES, FR
January 28 Paragon Theatre HALIFAX, CA
January 29 L’Osmose – U de Moncton MONCTON, CA
January 30 The Capital FREDERICTON, CA
March 17-21 SXSW AUSTIN, TX
April 22 La Tulipe MONTREAL,CA

Big Light Studio Album

Psych-pop band Big Light will release Animals In Bloom, its first studio album, on March 2. The band will celebrate Animals In Bloom‘s release with a performance at San Francisco’s The Independent on March 4. The band will also play a California shows with The Mothers Hips, including stops in Santa Cruz (1/29-30) and Petaluma (2/5). Big Light’s next headlining show will take place at Berkeley, CA’s Starry Plough on January 21 (from jambands.com)

New Jimi Hendrix Album

On March 8 Jimi Hendrix's estate will release a new album featuring a slew of unheard studio material. Tracks featured on 'Valleys Of Neptune', which is produced by Hendrix's stepsister Janie, along with John McDermott and Eddie Kramer, include covers of Cream's 'Sunshine Of Your Love' and Elmore James' 'Bleeding Heart'.

The original version of The Jimi Hendrix Experience rendition of 'Hear My Train A Comin'', along with alternate cuts of 'Ships Passing Through The Night' and 'Lullaby For The Summer' are also included on the album, which was recorded at several studios in London and the US between 1968 and 1970.

Janie Hendrix said that the album offers a "deep insight into [Jimi's] mastery of the recording process and demonstrates the fact that he was as unparalleled a recording innovator as he was a guitarist."

The tracklisting for 'Valleys of Neptune' is:

'Stone Free'
'Valleys Of Neptune'
'Bleeding Heart'
'Hear My Train A Comin’'
'Mr. Bad Luck'
'Sunshine Of Your Love'
'Lover Man'
'Ships Passing Through The Night'
'Fire'
'Red House'
'Lullaby For The Summer'
'Crying Blue Rain'

Jim James Solo/New MMJ & MOF Album

Looking for a great Valentine's Day date? Take your special someone to hear the soaring, angelical voice of My Morning Jacket's leading man, Jim James for this Hallmark created holiday. The performance will take place at Louisville’s Rathskeller and will also feature Boosty Ann. Cocktail attire is encouraged and everyone in attendance will receive a special Valentine’s Day rose courtesy of Jim James. Look at that, you don't even need to buy your significant other a present!

In other Jim James news, My Morning Jacket is currently working on a new studio album, while James' side supergroup Monsters of Folk is once again reported to be working on a follow up to 2009s debut album as well.

Watch James pump one out on his omnichord

Jeff Tweedy to Produce Mavis Staples Album

Soul legend Mavis Staples is currently working on a new album, and has enlisted the help of Wilco frontman Jeff Tweedy as her producer. According to Billboard, Tweedy and Staples are working together at Wilco's Chicago studio, the Wilco Loft. And they've recruited a couple of other high-wattage singers to join the sessions: Nora O'Connor and Kelly Hogan, who have worked with Neko Case. The album should come out on Anti- this year. If any one has seen The Last Waltz, and I recommend everyone watch it at least once, Mavis Staples & The Staples Singers join The Band on their classic "The Weight".

The Allman Brothers New March Home

It seems that virtually every March the legendary blues-rock band The Allman Brothers have taken a nice and lengthy residency at one of NYC finest concert venues, the Beacon Theater. Not all traditions last however, and seeing as how Cirque du Soleil's new show "Banana Shpeel" will be housed at the Beacon, the Allmans were forced to find a new home for their annual March run. After much deliberation, the group ultimately settled on the controversial United Palace, which is infamous for its echoey acoustics. To this fact, Gregg Allman stated “with our sound system, we’ll make our own damn acoustics.” That being said, the band will likely return to the Beacon in 2011, and we all know just how good they sound in that joint.
Here's a nice video of the Allmans playing the Dead's "Sugaree" with Phil Lesh and Bob Weir

Trey Anastasio Solo Tour

Guess what! More Phish news for all you fans out there. Well kind of, Trey Anastasio, lead guitarist and singer for Phish will be embarking on a solo tour in February. This tour will feature the classic TAB with the addition of a three piece horn section. For this run of shows Anastasio will be backed by Classic TAB members Tony Markellis on bass, Russ Lawton on drums and Ray Paczkowski on keyboards as well as a three-piece horn section featuring Jennifer Hartswick, Russ Remington and Natalie Cressman.

The Tour Dates:

02/08/2010 Jefferson Theatre, Charlottesville VA
02/09/2010 9:30 Club, Washington DC
02/11/2010 Electric Factory, Philadelphia PA
02/12/2010 House Of Blues, Boston MA
02/13/2010 Oakdale Theatre, Wallingford CT
02/14/2010 Count Basie Theater, Red Bank NJ
02/16/2010 Terminal 5, New York NY
02/18/2010 Pabst Theater, Milwaukee WI
02/19/2010 The Riviera, Chicago IL
02/20/2010 State Theatre, Minneapolis MN
02/21/2010 Uptown Theatre, Kansas City KS
02/23/2010 The Pageant, St. Louis MO
02/25/2010 Ryman Auditorium, Nashville TN
02/26/2010 The Fillmore, Charlotte NC
02/27/2010 The Tabernacle, Atlanta GA
02/28/2010 Tennessee Theatre, Knoxville TN

Here's a larger version of the TAB playing "Push On 'Till The Day" at Bonnaroo a few years back

Phish NYE Run Night #4

Set 1: AC/DC Bag[1], 46 Days, Water in the Sky, Bathtub Gin, Punch You In the Eye, The Moma Dance, Guyute, Swept Away > Steep, Demand > Seven Below, Lawn Boy, Julius

Set 2: Rock and Roll > Piper, Simple > Theme From the Bottom, Shine a Light, Ghost[1] -> NO2, Suzy Greenberg

Set 3: Party Time > Auld Lang Syne > Down with Disease, Fluffhead, Joy, The Squirming Coil, You Enjoy Myself

Encore: Blue Moon[2], Loving Cup

[1] Auld Lang Syne tease
[2] Phish debut

Bag and Ghost contained Auld Lang Syne teases. Swept Away and Steep were played for the first time since July 1, 2000 (145 shows). Demand was played for the first time since November 14, 1996 (392 shows). N02 was played for the first time since July 13, 1999 (219 shows). Blue Moon was a Phish debut and was played while Trey thanked the entire crew. From the staff at phish.net, a very happy 10th anniversary to the Big Cypress celebration and a Happy New Year to all!

This should put a smile on your faces

Phish - New Year's Eve 12/31/09 - Miami, FL from Phish on Vimeo.