The Beacon Theatre in New York City is a venue steeped in history, and for fans of Trey Anastasio, it’s practically hallowed ground. In December 2025, Trey Anastasio Band (TAB) delivered a performance that reminded everyone why Anastasio remains one of the most inventive and expressive musicians of his generation. Over the course of two sets and a three-song encore, the night moved seamlessly between intimate acoustic moments, rich orchestrations with Rescue Squad Strings, and electrifying full-band jams that carried the audience from reflective serenity to ecstatic release. This was a show that wore its heart on its sleeve while never losing sight of musical adventure.
The evening began with the delicate strains of “Just a Touch,” a Trey solo acoustic number augmented by the TAB horn section on vocals and featuring the always-magnetic Jo Lampert. Dedicated to saxophonist James Casey, the performance was tender yet soulful, setting a tone of both reverence and joy. The way Anastasio’s guitar lines intertwined with the subtle horn arrangements was a reminder that, even stripped down, his music is inherently orchestrated and deeply expressive. Lampert’s presence brought an added warmth, and the crowd’s initial applause was immediate and enthusiastic.
Following the contemplative opener, “Cayman Review” maintained that intimate energy, with Lampert again joining Trey. The song’s narrative quality and acoustic charm highlighted the storytelling aspect of Anastasio’s solo work. It’s a testament to his ability to keep the audience captivated without relying on the full rock-band arsenal, a skill that only a musician of his caliber can pull off.
As the night progressed, TAB seamlessly shifted gears with “Back on the Train,” a Phish cover that instantly broadened the energy. The transition from the acoustic intimacy to a more driving groove was handled effortlessly, and the song felt both nostalgic and fresh. The band’s chemistry was palpable, each member anticipating the next move, particularly during the fluid instrumental breaks. Following that, “Simple Twist Up Dave” offered a signature Anastasio groove, blending his trademark rhythmic complexity with melodic sensitivity, a delicate balance that keeps his music accessible while never underestimating the listener.
One of the standout moments of the first set was “Slave to the Traffic Light.” Beginning solo acoustic with the TAB horn section for the first half before transitioning to electric, and then incorporating Jeff Tanski and Rescue Squad Strings, the performance demonstrated Anastasio’s masterful arrangement skills. The layered textures of strings, horns, and acoustic guitar created a haunting yet uplifting atmosphere, capturing both the longing and optimism embedded in the song’s lyrics.
The set continued to flow with “Let Me Lie” (featuring Lampert and the strings) and “Heavy Things,” the latter bringing a subtle groove that reminded the audience of Anastasio’s versatility in navigating between the tender and the kinetic. “Undermind” followed, keeping the momentum alive with a more rock-oriented punch, leading seamlessly into “Love Is What We Are” and “Burlap Sack and Pumps.” Both songs highlighted the band’s improvisational prowess while remaining grounded in strong melodic lines. The first set closed with “Shade” and “46 Days,” the latter bringing a joyous Phish favorite into the mix with strings that elevated it into something almost cinematic.
Set two opened with the politically charged “No Men in No Man’s Land,” immediately engaging the audience with its pointed lyrics and propulsive rhythm. This was followed by “Steam,” which carried a heavy, driving momentum, and “Lifeboy,” where Anastasio returned to solo acoustic with Rescue Squad Strings, creating a hauntingly intimate space in the middle of the second set. The ebb and flow between acoustic delicacy and full-band power was one of the night’s defining dynamics, showing TAB’s range and flexibility.
As the set continued, “Drifting” and “Night Speaks to a Woman” highlighted Lampert’s vocals alongside Anastasio’s expressive guitar work, creating some of the more introspective moments of the evening. “Liquid Time” built into a groove-heavy, almost hypnotic jam, enhanced by the horn section, before leading into “Tube.” Here, TAB added a playful moment quoting She Blinded Me With Science!, a cheeky nod that drew laughter and applause from the audience.
The evening then ventured into more avant-garde territory with “Curlew’s Call,” preceded by Cyro Baptista’s unique percussion solo. This performance was a reminder of Anastasio’s willingness to experiment with texture and rhythm, creating a sonic palette that extended beyond traditional rock or jam-band frameworks. The energy continued to build with “You Enjoy Myself,” which featured strings, Tanski, and Lampert, with lyrics altered to “boy, woman, god, shit.” It was a highlight that perfectly balanced humor, virtuosity, and sheer joyful chaos, showcasing the band’s cohesion and improvisational flair.
The encore began with “Brief Time,” a solo acoustic rendition of a Ghosts of the Forest track, which brought the crowd into a quieter, reflective space after the high-octane set two. This was followed by “More,” a Phish cover performed solo with Rescue Squad Strings, which brought a soaring, almost ethereal quality to the evening. The show concluded with “Push On ‘Til the Day,” a triumphant finale featuring both Lampert and the strings, leaving the audience on a high note, fully immersed in the emotional and musical journey that TAB had crafted.
What makes a Trey Anastasio Band show at Beacon Theatre particularly special is not just the music itself but the way the venue and the band interact with the audience. The acoustics of the Beacon, combined with Anastasio’s penchant for dynamics and texture, made every instrument—every breath of the horn section, every bow on the strings—feel intimate. Yet, despite the closeness, the band can erupt into full-blown jams that fill the theater with a wall of sound, proving that TAB thrives in both worlds: the personal and the expansive.
The collaboration with Rescue Squad Strings and Jo Lampert elevated many of the songs beyond what fans might expect from a standard jam-band performance. Anastasio has always been interested in arranging his music for different textures, and tonight that was on full display. The strings added a cinematic feel to the Phish covers and solo material alike, while Lampert’s vocals brought a soulful counterpoint to Anastasio’s expressive guitar lines. Even the horn section, often subtle in its presence, added a richness that reminded everyone of the depth of TAB’s sound.
Another standout aspect of the night was Anastasio’s ability to make every song feel deliberate and fresh, even when performing deep Phish cuts like “46 Days” or “You Enjoy Myself.” Rather than feeling like nostalgia, these songs were reinterpreted with inventive arrangements and improvisational flourishes, highlighting the ongoing evolution of his music. Likewise, newer solo pieces such as “Curlew’s Call” and “Night Speaks to a Woman” felt fully integrated into the setlist, bridging the past and present in a way that felt natural and organic.
The crowd at Beacon was fully engaged from start to finish, alternating between moments of quiet attentiveness during acoustic passages and eruptions of applause during jams. There’s a shared understanding in a TAB audience: this is music that rewards patience, that thrives on listening as much as on dancing or cheering. But when the band hit its peaks—particularly during “Tube” or the closing trio of the encore—the theater became electric, a sea of raised hands and uncontainable excitement.
Musically, the show had layers upon layers of nuance. Anastasio’s guitar work was both technically masterful and emotionally resonant, seamlessly shifting between fingerpicking delicacy and roaring, distorted leads. The rhythm section held everything together with impeccable timing, and the horns and strings provided color without ever overpowering the core of the music. Each song was a microcosm of TAB’s philosophy: meticulous composition meets fearless improvisation.
It’s also worth noting the humor and playful energy that Anastasio injected throughout the night. Quoting pop culture, tweaking lyrics, or interacting with bandmates, he maintained a connection with the audience that never felt forced. This balance of serious musicianship and joyful spontaneity is one of the hallmarks of a great TAB show, and it was on full display at Beacon.
In the end, Trey Anastasio Band’s performance in December 2025 at Beacon Theatre was a masterclass in musical storytelling. From solo acoustic intimacy to full-band explorations, from the intricate strings and horns to moments of avant-garde percussion experimentation, the show offered something for every type of fan—Phish veteran, TAB aficionado, or newcomer alike. Every element, from the setlist construction to the interactions with Lampert, the strings, and the horn section, felt intentional and thoughtful. The band’s ability to navigate so many textures, moods, and energies in a single night is a testament to their skill, creativity, and deep connection as a unit.
By the time the final notes of “Push On ‘Til the Day” rang out, the audience was left in awe, buzzing from both the technical brilliance and the emotional resonance of the evening. It was a show that demanded attention, rewarded patience, and ultimately celebrated the sheer joy of live music. The Beacon Theatre provided the perfect canvas for this performance, a venue that allowed every subtle nuance to shine while also accommodating the full sweep of TAB’s expansive sound.
For anyone who has followed Trey Anastasio from his Phish days to his solo work and the ever-evolving TAB lineup, this concert was a reminder of why he remains a central figure in modern music. The ability to honor past work, explore new territories, and deliver an experience that is both musically sophisticated and emotionally compelling is rare, and Trey Anastasio Band delivered it with apparent ease.
From start to finish, the December show at Beacon Theatre was a journey: introspective, playful, technically astonishing, and profoundly moving. It showcased everything fans love about Trey Anastasio—his genius as a guitarist, arranger, and songwriter—while also highlighting TAB as a fully realized ensemble capable of delivering a performance that feels both intimate and epic.
Setlist:
Set 1:
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Just a Touch (Trey Anastasio song, Trey solo acoustic with TAB horn section on vocals, dedicated to James Casey, with Jo Lampert)
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Cayman Review (Trey Anastasio song, with Jo Lampert)
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Back on the Train (Phish cover)
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Simple Twist Up Dave (Trey Anastasio song)
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Slave to the Traffic Light (Phish cover, with Rescue Squad Strings, Trey solo acoustic first half with TAB horn section, switched to electric, also with Jeff Tanski)
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Let Me Lie (Trey Anastasio song, with Rescue Squad Strings and Jo Lampert)
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Heavy Things (Phish cover, with Jo Lampert)
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Undermind (Phish cover)
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Love Is What We Are (Phish cover, with Jo Lampert)
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Burlap Sack and Pumps (Trey Anastasio song)
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Shade (Phish cover, with Rescue Squad Strings)
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46 Days (Phish cover)
Set 2:
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No Men in No Man’s Land (Phish cover)
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Steam (Phish cover)
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Lifeboy (Phish cover, with Rescue Squad Strings, Trey solo acoustic)
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Drifting (Trey Anastasio song, with Jo Lampert)
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Night Speaks to a Woman (Trey Anastasio song)
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Liquid Time (Phish cover, with Jo Lampert)
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Tube (Phish cover, with Jo Lampert, Trey + TAB horn section quoted “She Blinded Me With Science!”)
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If I Could (Phish cover, with Rescue Squad Strings, Trey solo acoustic, also with Jeff Tanski)
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Curlew’s Call (Trey Anastasio song, preceded by Cyro Baptista avant-garde percussion solo)
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You Enjoy Myself (Phish cover, with Rescue Squad Strings, also with Jeff Tanski and Jo Lampert, lyrics changed to “boy, woman, god, shit.”)
Encore:
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Brief Time (Ghosts of the Forest cover, Trey solo acoustic)
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More (Phish cover, with Rescue Squad Strings, Trey solo acoustic)
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Push On ‘Til the Day (Trey Anastasio song, with Rescue Squad Strings and Jo Lampert)
This performance was a masterful blend of past, present, and experimental future, leaving no doubt that Trey Anastasio and his band continue to set the standard for inventive and emotionally resonant live performances.