Set One:

Gotta love the slinky, slow introduction to All In Time. Bluesy, patient, playful. Great start to the night. Nice rocking jam in the middle of AIT. Lot's of pace, without being too heavy. And then slowly, the jam grows into this soaring jam. Perfectly. Kris driving it, Jake soloing beautifully, Joel laying on the organ . . . Wow. Took me by surprise. And then it drops into a metal-like riff. Covering all sorts of ground in this opening (unfinished) AIT.

Say what you will, but I don't mind Gulf Stream. I do enjoy the melody and Brendan's vocals. This version changes key during the closing jam, it seems, and takes on a different feeling. And then the song dissolves into a Atmosfarag-sounding section with Jake beat boxing in the background. Oh, wait, it is Atmosfarag.

Atmosfarag dissolves out (with a tease of "Love Hurts," maybe, or some other hard rock ballad?) as Andy's Last Beer kicks in. The Andy's is pretty standard and essentially stops before the "Jimmy Stewart" kicks in -- the improv starts with Andy on bongos, alone. Until you slowly start to hear Jake jump in, following the rhythm/meter; then Kris on kick drum; then Ryan, and Brendan. Great way to start the jam -- much like with the rest of the run, everyone is patient. Has a bit of a "Se A Cabo" feel, not only because of the percussion. The jam turns a bit of a corner into something much more dance oriented. (Can't help but bob my head listening back.) The dance vibe continues until it turns into something bluesy, reminiscent of the Rolling Stones in a way -- only Umphrey's . . . Lots of runs by Joel on piano.

The "Stewart" fades away for the opening notes of Hajimemashite. The beauty of Haji is quickly disrupted by the appearance of the "Zsa Zsa Gabor" riff. And that ends the set . . .

Set Two:

The Triple Wide gets the set on the road . . . Since the run started off with a Moog Fest, one shouldn't be surprised with how many times Joel went to the Moog this run in the middle of jams. Some great spiraling guitar from Jake to match Joel's keys work. Nice example of a Triple Wide that doesn't rely on being overly dancey. Really smooth transition into "(Don't Fear) The Reaper," as they go back and forth between the song and Triple Wide. Again, patience. This happens a few times before they start singing. Then seamlessly back into The Triple Wide, with another "Reaper" tease for good measure. Before moving to The Floor -- just a perfect choice of song. It seems like so many fans talk about "flow" these days, and most of it I don't get to be honest. But to my ears, the beginning of this set has great "flow."

Pause. Breather. Jake handles some introductions as they kick into Miss Tinkle's Overture. As with a number of other songs from this run, the middle section opens up a bit. Joel on organ, and the guitarists playing off of each other. Really enjoyable, and not as heavy or standard as other Tinkle's you might hear.

Let me just say that Kula does not get played enough. Such a great drive to this song from every band member. Needs to pop up in setlists more often than it does now, that's for sure. This one slows down, to a little bit of drums, into something with a Push the Pig sort of vibe. Which actually becomes Waist Down -- interesting pairing. I haven't listened to this in some time; I kind of like the soaring nature of the chorus.

Waist Down ends with Kris f'n around with some e-drums. Until they successfully start The Fuzz. Gets a little funky. And then fades out . . . into Black Sabbath > War Pigs. Rock. (Voice crack, BB.) Bit of an anticlimactic way to send the set.

I have always been a sucker for The Fussy Dutchman. (I miss the days when it would segue into Tomorrow Never Knows, though.) Ryan is really clear on the recording. Not really a segue, Dutchman ends and Peeps begins. With "Reaper" teases in the intro.

Unique show. The Triple Reaper is worth listening to, and the Andy's "Stewart."