Night two of Phish’s annual Madison Square Garden run has a certain kind of pressure baked into it. It’s not the chaos of the 12/31 gag or the opener’s sense of anticipation — it’s the prove-it night. December 29th is where a run shows its real hand. On this Monday night in Midtown Manhattan, Phish didn’t just prove it — they delivered one of the most thoughtfully paced, musically coherent, and emotionally satisfying MSG shows of the year.
With a sold-out Garden buzzing and the lights dropping right at 8:00 p.m., the band wasted no time making their intentions clear.
Set One: Slow Burn, Big Peaks, Smart Choices
“Carini” was an inspired opener and a bold one. Instead of detonating immediately, Phish leaned into a slower, funkier groove, letting the song breathe before building toward its inevitable snarl. Page McConnell sounded immaculate from the jump, his keys crisp and commanding, while Mike Gordon’s pedal effects quickly became a defining feature of the night. This version felt patient, deliberate, and confident — a band comfortable enough to let tension simmer.
That energy flowed seamlessly into “Plasma,” which felt less like a new song and more like a continuation of the same thought. Page and Trey traded subtle flourishes, Mike kept coloring the low end with effects, and Jon Fishman quietly reminded everyone why he’s one of the greatest drummers walking the planet. His cowbell and snare work didn’t dominate — it guided, paced, and stitched the jam together. When the band returned to finish “Carini,” it felt earned, cresting into a short but satisfying peak that capped a 20-plus-minute opening statement.
Then came the curveball.
“Quadrophonic Toppling” appeared like a ghost. Soft, atmospheric, and rarely played, its appearance sent a ripple of disbelief through the crowd. For many in attendance, this was a first — a Siket Disc deep cut that felt perfectly placed after the muscular opening sequence. Gentle, inquisitive, and beautifully restrained, it reset the room without killing momentum. Instead, it sharpened focus.
Phish answered that calm with pure electricity.
“The Curtain With” was met with an audible roar, and deservedly so. The composed section was pristine, Page again shining, while the Garden fell into reverent silence during the song’s quieter moments. When “With” finally emerged, Fishman drove the band forward, Trey responded with clarity and control, and the result was a glowing, classic peak that felt both technical and emotional.
That set the stage for the monster of Set One.
“Bathtub Gin” delivered the most relentless peak of the night — and maybe the run. After slipping into open territory around the six-minute mark, the jam locked onto one mission: lift the roof. Trey found a melodic idea and refused to let it go, building, stretching, and climbing while the lights flashed and the crowd pushed back with equal intensity. The initial peak hit hard, then somehow just… kept going. This wasn’t about complexity; it was about commitment. A sub-15-minute “Gin” that absolutely punched above its weight.
“NICU” followed, brisk and upbeat, before easing into a quieter stretch with “Evolve” and “Mountains in the Mist.” While both songs were played beautifully, the back-to-back slowdown did momentarily pull the dance floor energy down. Still, “Evolve” continues to show lyrical depth, and “Mountains” wrapped the room in a shared, contemplative calm.
Phish knew exactly how to fix that.
“Fluffhead” closed the set in triumphant fashion, reminding everyone why it’s an MSG staple. Every section landed cleanly, every peak was met with cheers, and the Garden exploded during the final ascent. Set One ended at 9:26 p.m. feeling complete, cohesive, and purposeful — a carefully crafted journey rather than a collection of songs.
Set Two: Confidence, Patience, and a Big Centerpiece
After a relaxed setbreak filled with first-show celebrations, bathroom logistics, and classic MSG chatter, the lights dropped again at 9:51.
“Mike’s Song” kicked off Set Two with immediate authority. The band leaned into a softer, groove-based jam rather than brute force, allowing Page and Trey to explore melodic space while Mike and Fishman anchored the rhythm. When the band snapped back into the song proper, it felt tight and intentional — a strong opener that set a collaborative tone.
“The Final Hurrah” was a clever and welcome follow-up. Jazzy, danceable, and creative, it built naturally from “Mike’s,” even sneaking in a Blaze On tease before later nodding toward “Sand.” Mike’s bass was particularly clear and muscular here, driving the jam to a warm, satisfying payoff.
“Weekapaug Groove” wrapped the sequence with a slightly slower-than-usual pace, but it worked. Trey introduced an early riff that stuck around long enough to feel deliberate, channeling a bit of Allman Brothers-style patience. Not massive, but effective — a reminder that Phish doesn’t always need length to make a point.
Then came the heart of the show.
“A Wave of Hope” stretched into a sprawling, 20-minute exploration that showcased everything Phish still does best in 2025. Beginning in a quiet, spacey zone dominated by Page’s keys, the band gradually transformed the jam into a rock-forward, peak-heavy monster. Mike locked into a bassline and dared the others to follow — and they did. Multiple peaks arrived, dissolved, and rebuilt, while Kuroda painted the room in shifting color. Trey’s playing here was his best of the night: confident, melodic, and emotional without excess. This wasn’t the biggest “WOPE” ever, but it was thoughtful, dynamic, and deeply satisfying.
“Twenty Years Later” followed, initially met with some skepticism, but the band rewarded patience. Its oceanic, underwater feel offered a darker, introspective counterpoint to the brightness before it. Not flashy, but effective — and better than its reputation might suggest.
Momentum returned in full with “Golden Age,” the lone cover of the night. While not the year’s best version, it delivered a well-paced Type I jam with hints of Talking Heads-style groove and blissful Trey melodies. The band found a repeating riff late in the jam that tied everything together before pivoting cleanly into the closer.
“Character Zero” did exactly what it’s supposed to do: send the Garden into one last frenzy. Loud, cathartic, and communal, it ended Set Two at 11:13 p.m. with smiles everywhere.
Encore: Beauty, Then Chaos
After the previous night’s single-song encore, hopes were high — and rewarded.
“The Lizards” opened the encore, and the Garden fell into reverent silence. Trey’s solo was flawless, heartfelt, and unhurried — one of those moments that reminds you why this band inspires lifelong devotion. In a rare encore slot, it felt special.
“Possum” followed to close the night, kicking the doors back open for one final release. Loud, rowdy, and joyous, it sent 20,000 people spilling into Penn Station grinning.
At 11:36 p.m., it was over.
This wasn’t the wildest show Phish has ever played at MSG. It didn’t rely on shock value or marathon jams. Instead, 12/29/25 was a masterclass in pacing, placement, and trust — a band confident in its voice, its audience, and its ability to let moments develop naturally. Writing about nights like this never gets easier, but it never stops being worth it.
Thank Icculus for music.
Setlist
SET 1:
Carini -> Plasma > Carini, Quadrophonic Toppling, The Curtain With > Bathtub Gin, NICU, Evolve, Mountains in the Mist, Fluffhead
SET 2:
Mike’s Song > The Final Hurrah > Weekapaug Groove, A Wave of Hope, Twenty Years Later > Golden Age > Character Zero
ENCORE:
The Lizards, Possum