Phish has played sold-out arenas and festivals for the better part of two decades, amassing legions of adoring fans who call their best live performances "miracles." After four years apart, the Vermont foursome is happier than ever to be playing its transformative music again.
Phish's return to the studio has yielded a rhythmically and stylistically diverse album with the kind of explorative ingenuity usually reserved for live concerts. Clever, catchy songwriting combined with Trey Anastasio's striking lead guitar work make this accessible to fans both new and old. While the album, "Joy," cannot match the electricity of a live show, it comes closer than any of Phish's previous 13 studio albums, and this is its greatest victory.
The best tracks on "Joy" can accurately capture the positive energy of a Phish show. The song "Backwards Down the Number Line" has a celebratory feel, opening with the lines, "Happy, happy, oh my friends/ blow out the candles once again." Birthday party imagery courses through the song, a reference to both the band's reunion and the recent celebration of its 25th anniversary. An infectious, positive force seeps out of the song's spirit of retrospection and appreciation of fans. When the open section begins, the passion that each member feels for the music becomes audible.
In addition to positive energy, Phish shows are known for long and complex guitar solos. The song "Stealing Time from the Faulty Plan" features a stunning musical performance by Anastasio. The track is slow and bluesy, with a splashing, cymbal-driven beat. Piercing guitar licks surround the opening verses and spill over into an inspired solo section. Anastasio's trademark inflection and masterful use of complicated scales keep listeners hanging on every note.
The line "Got a blank space where my mind should be," echoes throughout the song. This may be a reference to Trey's intimacy with his instrument. The only mar on this song is that the jam seems to be cut short by the constraints of a studio album. These are four special musicians, and the 4:40 running time is clearly not enough to allow sufficient exploration.
Another noteworthy track is "Sugar Shack." This song combines a funk drum beat with occasional guitar assistance on upbeats. The syncopated-groove feel harkens back to Phish classics like "Bathtub Gin" (1990) and "Golgi Apparatus" (1989). As the lead guitar enters before the chorus, the song shifts playfully through keys and time signatures. The drum's bell hits and comically happy guitar melody are reminiscent of a circus — another reminder to listeners of how much fun Phish has making music.
The idea of joy in music is an underlying theme of the whole record. It is for this reason that "Joy" can recreate some of the magic felt in a live Phish show. The band understands how harmony between performer and audience can enhance a musical experience. The refrain of the title track decrees, "We want you to be happy/ 'cause this is your song too."
The closeness the band feels with the audience is mirrored in its music. It is impossible to hear a Phish studio album without comparing it to the emotions of a show, and "Joy" is the band's best attempt yet at reproducing those emotions. After 25 years together, the band members are doing what they love: beckoning "phans" to grab their hands and take a ride backwards down the numberline.
