On November 2, 1998, at the E Center in West Valley City, Utah, the Vermont-based jam band Phish delivered one of the most iconic performances in their storied history: a full, surprise cover of Pink Floyd’s seminal 1973 album The Dark Side of the Moon. This unexpected event, nestled within their 1998 Fall Tour, remains a landmark moment in Phish’s legacy, celebrated for its spontaneity, audacity, and the sheer brilliance of its execution. This article delves into the context, preparation, performance, and lasting impact of that unforgettable night, drawing from fan accounts, historical records, and the band’s own reflections.
The Context: Phish’s 1998 Fall Tour and the “You Snooze, You Lose” Ethos
By 1998, Phish had solidified their reputation as a band capable of delivering transcendent live performances, blending intricate compositions, improvisational wizardry, and a penchant for surprise. Their 1998 Fall Tour was already generating buzz, particularly after their Halloween show in Las Vegas on October 31, where they covered The Velvet Underground’s Loaded in its entirety as part of their “musical costume” tradition. The Las Vegas shows were high-energy affairs, drawing large crowds to the Thomas & Mack Center. However, the subsequent show in West Valley City, Utah, was a different story.
The E Center, a relatively new venue at the time, was significantly under-attended compared to the Vegas performances. Many fans, perhaps exhausted from the Halloween weekend or deterred by the trek to Utah, opted to skip the show and head straight to Denver for the tour’s next stop on November 4. This sparse attendance set the stage for what Phish fans would later refer to as a “you snooze, you lose” show—a performance so extraordinary that those who missed it were left with deep regret.
Phish had a history of making under-attended shows special, almost as a reward for the dedicated fans who made the journey. The decision to cover Dark Side of the Moon was reportedly spurred by this ethos. According to Parke Puterbaugh’s 2009 authorized biography of the band, road manager Brad Sands and crew member Eric Larson noticed the low ticket sales—only about 3,200 attendees in a venue that could hold far more—and suggested to guitarist Trey Anastasio that they “hurt ’em good” by doing something monumental. Anastasio, ever the showman, agreed, and the idea to perform Dark Side was born.
The Preparation: A Last-Minute Masterclass
What makes the November 2, 1998, performance particularly remarkable is the minimal preparation time. According to accounts, the band decided to cover Dark Side of the Moon on the day of the show. With just 90 minutes to showtime, they requested a copy of the album and retreated to a backstage practice room to learn it note-for-note. This was no small feat. Pink Floyd’s Dark Side is a complex, meticulously crafted work, blending rock, jazz, and experimental elements with intricate transitions and emotive dynamics. For Phish, a band known for their improvisational prowess, tackling such a structured album with so little rehearsal was a bold gamble.
The band’s ability to pull this off speaks to their musical versatility and deep understanding of each other’s playing. Trey Anastasio (guitar), Mike Gordon (bass), Jon Fishman (drums), and Page McConnell (keyboards) were at the peak of their collaborative powers in 1998, having honed their chemistry over more than a decade of performing together. Their preparation, though hasty, was informed by their familiarity with Pink Floyd’s work—some songs, like “The Great Gig in the Sky,” had been played by Phish before (last performed on July 5, 1994), and “Breathe” had been jammed in 1995. Still, most of the album’s tracks were Phish debuts, making the performance a high-wire act of musicianship.
The Show: A Night of Surprises
The E Center show began with a first set that, while strong, gave little indication of the seismic event to come. The set opened with a fiery 45-minute sequence of “Tube” into “Drowned” (a Who cover with a “San-Ho-Zay” tease) into “Jesus Just Left Chicago” (a ZZ Top cover), showcasing Phish’s ability to weave covers into their own material seamlessly. This was followed by two acoustic numbers, “Driver” and “Bittersweet Motel,” both performed by Anastasio on acoustic guitar. “Driver” was dedicated to “Wendy and Lisa,” while “Bittersweet Motel” was a nod to the Dead Goat Saloon in Salt Lake City, where Anastasio and Gordon had played an impromptu open-mic set the previous night to a crowd of about 20 people. The set closed with fan favorites “Limb By Limb,” “Wading in the Velvet Sea,” and “Sample in a Jar,” delivering a high-energy but relatively standard Phish set.
The second set, however, was where the magic happened. It opened with a robust “Down with Disease,” followed by “The Mango Song” and “The Moma Dance” (which included “Monkey Man” teases from the Rolling Stones). A sprawling “You Enjoy Myself” set the stage for the night’s centerpiece: a performance of “Harpua,” a Phish original known for its narrative interludes and improvisational flexibility. Anastasio used the “Harpua” narration to weave a story about the song’s protagonist, Jimmy, who, overwhelmed by the chaos of Las Vegas, hitched a ride to Salt Lake City. The driver, according to the tale, was listening to Dark Side of the Moon on the car stereo, providing a narrative segue into the album’s performance.
The Performance: Dark Side of the Moon in Full
With the stage set by the “Harpua” narration, Phish launched into Dark Side of the Moon, performing the album in its entirety within the framework of the “Harpua” jam. The setlist included:
- Harpua (Opening)
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Speak to Me
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Breathe
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On the Run
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Time
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The Great Gig in the Sky
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Money
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Us and Them
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Any Colour You Like
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Brain Damage
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Eclipse
- Harpua (Closing)
The performance was a revelation. Despite the rushed preparation, Phish captured the essence of Dark Side with remarkable fidelity. “Speak to Me” set the tone with its atmospheric soundscape, leading into the languid, emotive “Breathe.” “On the Run” showcased the band’s ability to handle the album’s experimental edge, with its frenetic synth-driven pace. “Time” was a standout, with Anastasio’s guitar work echoing David Gilmour’s iconic solos, while McConnell’s keyboards added the necessary texture. “The Great Gig in the Sky,” with its soaring vocal improvisations, was a particular challenge, but Phish infused it with their own energy, making it a highlight of the set.
“Money” brought a funky, Phish-ified groove, with Gordon’s basslines locking in tightly with Fishman’s drumming. “Us and Them,” described by Phish.net as the album’s “most elegant and ethereal tune,” tested the band’s ability to balance passion and restraint, and they rose to the occasion with a performance that was both faithful and distinctly their own. The instrumental “Any Colour You Like” allowed for some of Phish’s signature improvisation, while “Brain Damage” and “Eclipse” closed the album with a powerful, anthemic flourish. The performance then returned to the “Harpua” theme, completing the narrative arc.
The encore was yet another surprise: a cover of Nirvana’s “Smells Like Teen Spirit,” also a Phish debut. While the performance was admittedly rough—Anastasio later noted that the lyrics, taped to his monitor, fell off, leading to some miscues—it added to the night’s sense of reckless abandon. Fans in attendance were left in awe, fully aware they had witnessed something historic.
The Reception: Shockwaves Through the Phish Community
The performance sent shockwaves through the Phish community. In an era before widespread internet streaming, news of the Dark Side cover spread through word-of-mouth, fan message boards, and tape-trading networks. Those who had skipped the show were left reeling, and the “you snooze, you lose” mantra became cemented in Phish lore. The show’s rarity was amplified by the fact that it was one of the only times Phish covered an entire album by another artist outside of their Halloween tradition.
Fan reviews on Phish.net gave the show an overall rating of 4.626 out of 5, based on over 50 ratings, reflecting its near-mythical status. The setlist, with its blend of Phish staples, rare covers, and the Dark Side performance, was a masterclass in showmanship. The audio quality of circulating recordings, often sourced from minidisc or tape, is not pristine, but the energy and audacity of the performance shine through. Video footage is scarce, with only snippets of “Breathe,” “On the Run,” and “Time” shown by archivist Kevin Shapiro at Phish’s Festival 8 in 2009, captured by a fan named Raj who pointed his camera at the screen.
The Legacy: A Defining Moment
The November 2, 1998, performance of Dark Side of the Moon remains a defining moment in Phish’s history. It encapsulates the band’s willingness to take risks, their ability to connect with their audience through surprise, and their mastery of both improvisation and structured composition. The show is often cited alongside other legendary Phish performances, such as the 1995 Clifford Ball or the 1994 Halloween White Album cover, as a testament to their unpredictability and creativity.
For fans, the show reinforced the importance of attending every Phish concert, no matter how obscure the venue. The “you snooze, you lose” ethos became a rallying cry, reminding fans that any show could yield something extraordinary. The performance also highlighted Phish’s deep respect for musical influences like Pink Floyd, whose conceptual and experimental approach resonated with Phish’s own ethos.
Critical Reflection: Was It Perfect?
While the performance was a triumph, it wasn’t flawless. The rushed preparation led to some rough edges, particularly in the encore’s “Smells Like Teen Spirit.” Some fans noted that “Us and Them” and “The Great Gig in the Sky” were challenging for Phish to replicate perfectly, given their vocal and emotional complexity. However, these imperfections only added to the charm of the performance, showcasing Phish’s willingness to embrace the moment and take risks. As Phish.net notes, the band’s ability to imbue Dark Side with their own personality while staying true to the original was a testament to their skill.
Conclusion: A Night to Remember
Phish’s performance of Dark Side of the Moon on November 2, 1998, at the E Center in West Valley City, Utah, is a cornerstone of their legacy. It was a night defined by spontaneity, camaraderie, and musical bravery, leaving an indelible mark on those fortunate enough to be in attendance. For the Phish community, it’s a reminder of the magic that happens when a band and its fans come together in a moment of shared creativity. As Trey Anastasio said in the “Harpua” narration, the driver’s choice of Dark Side was “beautiful music” for the journey—and for one unforgettable night, Phish made it their own.
Show Download
If you’d like to download the entire show in MP3 format, you can do that HERE
SET 1: Tube -> Drowned -> Jesus Just Left Chicago, Driver[1], Bittersweet Motel[1], Limb By Limb, Wading in the Velvet Sea > Sample in a Jar
SET 2: Down with Disease, The Mango Song > The Moma Dance, You Enjoy Myself, Harpua[2] > Speak to Me[3] -> Breathe[3] > On The Run[3], Time[3] > The Great Gig in the Sky > Money[3] > Us and Them[3] -> Any Colour You Like[3] -> Brain Damage[3] -> Eclipse[3] > Harpua
ENCORE: Smells Like Teen Spirit[3]
[1] Trey on acoustic guitar.
[2] Narration picked up where December 6, 1996 Harpua ended; Jimmy hitched a ride from Vegas to Salt Lake City and the driver was playing Dark Side of the Moon.
[3] Phish debut.
Trey teased San-Ho-Zay in Drowned. Driver was dedicated to “Wendy and Lisa,” and Bittersweet Motel was dedicated to the folks at The Dead Goat Saloon (the site of an open mic night appearance by Trey and Mike one night earlier). Driver and Bittersweet Motel featured Trey on acoustic guitar. Bittersweet Motel also contained a Free Bird-style ending. Moma Dance included Monkey Man (Rolling Stones) teases. The Harpua narration picked up where the December 6, 1996 Harpua ended; Jimmy hitched a ride from Vegas to Salt Lake City and the driver was playing Dark Side of the Moon. Dark Side was reportedly chosen the day of the show, partially based on sluggish ticket sales for this one venue compared to the rest of the tour. All the Dark Side songs were Phish debuts except for Great Gig (last played July 5, 1994, or 333 shows), although the original album version of Speak to Me was piped through the P.A. on Halloween, 1994 and Breathe was jammed on October 25, 1995. Smells Like Teen Spirit was also a Phish debut.
