Spent the whole show standing in seemingly the exact spot Trey likes to stare when he's tearing a rift through time with his riffing, and boy was this a great start to the weekend. Most of this review is adapted from my notes from that spot, when I could find the time between dancing.

Set 1

Torn and Frayed opened was a great nod to Charlie Watts, and an appreciated switchup from the Loving Cup I was expecting for this role. (Though maybe theres still time for that Sunday night encore?). This song is a great thesis about a band getting old, but the only part of the lyrics that really caught me was the refrain of "as long as the guitar plays on".

No Men got the funk started, and is largely responsible for the groove I settled into the that is making my legs sore—though of course that walked back to the tents also contributed. I will never not be happy that they're here when they play this one.
Leaves was a nice and emotional followup, and it really felt like it was looking back on the last year when they couldn't be here.

The rest of the set seemed to alternate between nice and sentimental songs and burning dance parties. Some fun rare ones, with Alaska > Golgi being the big highlight for me, though I have a huge soft spot for Shade. The banter between Trey and Fish before Split Open and Melt was hugely fun too.

Set 2

Sigma Oasis kicks off the after sunset act, before lithely slipping into my favorite Siket Disc track of What's the Use? This track pushed us into low earth orbit, getting ready for the orbital transfer that was

Blaze On, which touched on grounds that were as out there as Strauss's appropriated ode to the obelisk. This jam cemented the feel of the set into space funk, reminiscent of my favorite run of summer 2000. We were taken faraway from any song structure and treated to some deep type 2 jamming.

Lifeboy was built out of the cosmic goo slowly, if a bit prematurely, with a somewhat sloppy dismount but once everyone got back on the same page, it felt nice, and well placed just before the

dirty Camel, adding some darkness. The band teased an early ending and made us beg for more until Trey kicked it back off for a second jam that reminded me a lot of the Gorge Crosseyed from 2018.

Chalkdust Torture similarly was built up, with Fishman driving drums into a nice marching order. Well played, but perhaps just short of ground breaking, as it retreads some ground on its way to make a pass back into ambient type 2. a tightly locked in rhythm section gives the melody time to be molded, until even the rhythm falls away following a tremolo picked run leading straight into a clean but subtle break for

Slave to the Traffic Light. while Trey had a great time playing up the guitar god act with hammy guitar gun dances on Golgi, he seemed to have more fun in Slave by proving that it wasn't just an act. perfectly played, high energy solo to bring the set to a close.

An important shout out to Chris Kuroda, as the lights through the second set invoked at times stars and at others waves, always in cool sea and space tones. was this responsive to or responsible for the atmosphere of the music? I think the answer can only be said by quoting the opener: neither and both.

Encore

Drift While You're Sleeping is always a fun encore pick for me, because it's basically two songs in one. this largely composed song was also an excellent chance for Trey to show off his sweet, sweet tone, that he seems to have brought out from his Manhatten apartment with a new focus. he gives us one last soaring solo and by the last chorus, even the Columbia River herself was singing along. This was my third time catching it, and it's gotten better each time.

Overall, it seems the band has a new found appreciation for getting to do this for and with us. Lots of chatter in the first set, and they were clearly having a great time throughout, while trying to show us that they appreciate the role we play in their existence as a band. Very easily the best show I've gotten to see, though I can only today say that number fills up two hands.