Phish Strange Design Lyrics

Table Of Content

• Inside the Creative Direction for Phish’s Sphere Residency: ‘Trying to Design the Unpredictable’
• Welcome to the Spotify Machine: Podcasts, Audiobooks, Video, Education — And, Yes, Music
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• NFL Draft Day 2 Reactions: WR Hits and Misses, the Tepper Tantrum, and Biggest Steals
• Coventry Music

A month after that, in The New York Times, music critic Kelefa Sanneh wrote about the end of an era in an article that began, “Phish is breaking up, and you probably don’t care” and asked, “Will Phish leave a scar? Or will the band just disappear, as if it were never here at all? ” That August, Phish scheduled a final festival in Coventry, Vermont, that went off with every possible hitch.

Inside the Creative Direction for Phish’s Sphere Residency: ‘Trying to Design the Unpredictable’

“Strange Design” can be interpreted in as many ways as Schrodinger’s Cat, but its reflections on life itself and the evolution of thought are notions that run throughout. Thematically, the song hints at an oft-repeated philosophy permeating Tom Marshall’s poetry as well as the band’s music…“Surrender to the flow”-- and even goes so far as to apply that concept to questions of mortality in the song's last refrains. The inaugural performance of “Theme,” “Ha Ha Ha,” and “Free” took place as well on that memorable day in May, which garnered the band enough respect and admiration to receive an introduction to the crowd by legendary women’s right’s advocate, Gloria Steinem. If you’re in the mood to piece apart the reality hologram of Tom Marshall’s dream-like ballad, you won’t be the first, nor the last. Unconfirmed rumors abound that Neil deGrasse Tyson’s next book will be based on Phish songs and their relation to maintaining the fabric of the Universe.

Welcome to the Spotify Machine: Podcasts, Audiobooks, Video, Education — And, Yes, Music

The first thing I noticed, as I joined the line to see Phish in Las Vegas one night this past weekend, was a trio of white-and-red-suited Elvises who were passing a vape around. An objectively absurd sight, to be sure, but one that also felt soothing in its regional specificity—like eating mushy peas in England, or overhearing someone holler, “Eyyy, I’m walkin’ here! And speaking of walking, the second thing I noticed was all the Hokas. So many Hokas, bulky and bright and mega-cushioned and present in a quantity that easily outnumbered the Tevas and Birks and Stan Smiths combined. “Whatever you do,” goes one cherished Phish lyric from the early ’90s, “take care of your shoes.” But for the phans who have been following the band since the early ’90s (or earlier!), the bigger priority these days appears to be taking care of your arch support.

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A four-person musical collective that was formed in the ’80s by a bunch of shaggy teenaged buddies in Vermont, Phish is at once an American cultural institution and a clichéd punch line, a religious experience and a niche act. Frontman Trey Anastasio, drummer Jon Fishman, pianist Page McConnell, and bassist Mike Gordon have played more shows at Madison Square Garden than anyone besides Billy Joel, having passed Elton John on the leaderboard last year. They routinely show up on annual lists of the year’s highest-grossing tours.

David Tepper made a fool of himself, the Raiders look smart, Howie Roseman restocked the Eagles’ secondary, and the Bills (finally) landed a wide receiver. Phish tours frequently and plays concerts all over the world. Check their website or social media pages for information on upcoming shows and ticket sales.

(Other discarded design concepts included “a muffin, a box and even a pyramid.”) It is a big-ass blank canvas with seemingly boundless creative potential. Which is why it was such a perfect match for the innovative eccentricity of Phish. A glimmering globe, a monocultural marvel, Sphere looks like a crystal ball on the outside and feels like a virtual reality visit to a combination Guggenheim-IMAX planetarium on the inside. Sphere opened in September after five years of construction and cost a reported $2.3 billion to build, which is probably why a humble pint of beer inside the arena will run you, like, $20.

Songs on Albums

“We’re basically VJ’ing on a 16,000-by-16,000-pixel ratio for Sphere,” Jean says. Phish is generally considered to be a jam band, with a style that draws on elements of rock, funk, jazz, and other genres. The band is known for their improvisational style and their live performances, which often involve extended jams and intricate musical interplay. The lyrics of “Strange Design” are open to interpretation, but there are a few key themes that emerge. The song’s opening lines, “Every strange design/Every new dream woven in/Is a ghost, a ghost in time” suggest that nothing lasts forever, and that all relationships go through periods of flux and transition. The second theme is the idea of acceptance and letting go.

Phish Plays Handful Of 2022 Debuts, Takes "Rise/Come Together" Type II For First Time In Raleigh [Video] - Live for Live Music

Phish Plays Handful Of 2022 Debuts, Takes "Rise/Come Together" Type II For First Time In Raleigh .

Posted: Sat, 30 Jul 2022 07:00:00 GMT [source]

That Phish will mix up its show for each gig on a four-night run — not repeating a single song — is a given; what that looks like in a venue with Sphere’s epic visual capabilities is less familiar territory. Some of Phish’s most popular songs include “Possum”, “Tweezer”, “Down with Disease”, “Backwards Down the Number Line”, and “Bouncing Around the Room”. These songs showcase Phish’s unique style and their mastery of complex musical arrangements and improvisational jamming. The origins of the band’s name are somewhat murky, but it is generally believed to be a reference to Trey Anastasio’s childhood nickname, “Treyfish”. The band played their first gig under the name “Blackwood Convention” before settling on the name Phish.

They have hundreds of songs in their live catalog—though only a small handful ever made it to mainstream radio. The band has appeared on Beavis & Butthead—the fellas approved! —and The Simpsons, where cartoon Phish plays “Run Like an Antelope” at a medicinal marijuana rally. Moment Factory contributed to the set design that ensured Kuroda’s lighting rig and Sphere’s screen could live in harmony. And furthermore, Sphere has provided an opportunity for the company to expand its early 2000s roots in multimedia to staggering proportions.

I wrote this song, um, and um, about, I think about three weeks before my wife and I were about to have our first child, which was incredibly 14 years ago. And, um, um, I wrote this, um, sitting, kind of leaning on my back against the wall and kind of, um, thinking about making that strange step from being a non-parent to a parent and that, all the weird feeling and whatnot. Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.

Over the course of their four Sphere shows, Phish not only played 68 unique songs—the band also organized them into four guessable nightly themes that eventually coalesced, by the end of the run, into a whole overarching thing. But Phish has never been some anyband that just plays the hits—partly because, and I say this with reverence, Phish doesn’t really have hits, at least not in the conventional, played-constantly-on-FM-radio sense. Ask 10 different phans to recommend a starter song and you’ll get about seven different answers, and all of them will be right. It’s a party of abundance where everyone present leaves with a gift. Phish’s penchant for newness is, in Holmes’ estimation, what will define the band’s Sphere run — and it explains why the booking appealed to the band in the first place. It’s a marked contrast from U2, which kept its show more or less the same for each of the 40 nights it played Sphere, and designed impressive song-specific visuals for several key tracks.

A tropical storm had left so much ankle-deep, squelchy mud behind that most cars weren’t able to drive onto the grounds. Many fans abandoned hope, but others walked for, like, 10 miles on the side of the road with their coolers and their tents to get into the venue for one last goodbye. As the band began the contemplative ballad “Wading in the Velvet Sea,” McConnell broke down in tears and could barely continue.

The lights went up, and this time the walkout song of choice was the Buggles’ “Video Killed the Radio Star”—once upon a time the very first music video to air on MTV. It was a nice wink to the 160,000-square-foot Sphere screen, which had just spent several days dominating phans’ fields of sight and senses of scale and depths of imagination. And in the end, it was a clever reminder that Phish really doesn’t slot neatly into common industry trends and tropes and aphorisms and stereotypes. Phish was never really much of a “radio star.” Which is maybe why, all these years later, the band is as alive as ever, still discovering—and providing—new highs. Before a COVID-rescheduled set of shows brought the band to Madison Square Garden on that date in 2022, Phish hadn’t played on 4/20 since 1994, when Dave Matthews Band opened for it at a venue called Virginia Horse Center, which featured a dirt floor and cost $16.50 to enter.

Anastasio sings, “I’d like to think the world is at my fingertips/I’m feeling tip-top, don’t want to stop, to jeopardize my harmony”. This suggests that he wants to embrace the changes in his relationship, rather than fight against them. Finally, the song is also about the power of love to transcend all obstacles. The chorus, with its refrain of “Love is won, love is lost”, suggests that love is a force that can survive even the toughest of trials and tribulations. The band was touring in Europe at the time and made the painful decision there – in Italy or France I think. It was a bizarre version that no one ever really got used to….

According to Anastasio, the song was inspired by his relationship with his wife, Sue. The lyrics describe the feeling of being in love with someone who is constantly changing and evolving, and how challenging it can be to adapt to these changes. Anastasio has described the song as “a love letter to my wife, but also a message to myself to try to be more open and understanding”. The heartfelt lyrics, combined with Anastasio’s soaring guitar work, make “Strange Design” one of Phish’s most emotional and enduring songs. The band nevertheless recorded a handful of studio versions of the song, one of which ended up on the B-side to the European CD Single for “Free” (a slightly more atmospheric version vaguely reminiscent of King Crimson). An mp3 of this studio version was readily available for download from the February, 1996 installment of “This Month in Phishtory” at