But as Trey began scratching his guitar, the band took notice, setting up a sparser pattern through which Trey led them into a series of crack-like Phish grooves, eventually blending into a surprise appearance of “Cities.” Moving more briskly than any European rendition, the band played a more authentically paced version of the cover. 17 minutes into a dynamic “Bowie,” the band broke down their chaotic communication into a rhythmic realm that seemed to suggest a new segment of the jam. Emerging out of “Bowie” and sliding right back into the larger song, Phish made the transitions in and out of “Cities” patiently and masterfully. While “Cities” popped out across the pond, its US comeback came in the middle of one of Summer ’97’s eternal highlights – “Bowie > Cities > Bowie,” from Ventura, CA. “ Bowie > Cities > Bowie“ 7.30.97 II Ventura, CA After reaching a segment of distorted guitar-led jamming, the band settled into “Gin’s” structure for a few measures before moving into a slow funk jam that, minutes later, morphed into “Cities.” As slow as they come, and moving beyond mere groove, this version is quintessesntial Europe ’97. In its combination with “Bathtub Gin,” the song showcased Phish’s excessively slow-paced jamming that typified their ground-breaking European vacation. This version from Paradiso was the last rendition before the band returned stateside. Appearing four times over their three-week tour, “Cities” nudged its way into rotation with its dripping grooves. “Cities” proved to be a perfect vehicle to explore these new overtly rhythmic textures.
Phish began 1997’s summer tour in Europe, exploring the molasses-funk they had discovered just months before. “ Bathtub Gin > Cities” 7.1.97 Amsterdam, NL Here, in chronological order, are some of the most significant versions of “Cities” ever played. But when the song re-emerged, it remained in the band’s loose rotation for the late ’90s, providing more than a few outrageous dance parties and diverse escapades. “Cities” didn’t see the stage lights again until Summer 1994 when the band, completely out of nowhere, broke it out in Ottawa, Ontario for a four-minute stint, never to be seen again until 1997. Phish featured The Talking Heads’ cover in the summer of 1988 somewhat frequently, but shelved the song before the year ended.
Boasting significant versions all summer long and in the years to come, “Cities” represented one of the greatest song developments during the era of groove. In addition to these originals, the band also revived two ancient covers – “Sneakin Sally” and, more significantly, “Cities.” Upon its inclusion in Europe’s setlists during Summer ’97, “Cities” immediately became a fitting musical springboard with its slowed-down, bass-led grooves. “Ghost,” and “Twist” provided, open-ended jams, and “Black-Eyed Katy” provided a vehicle for straight funk improv. Songs like “ Free,” “ Gumbo,” and “ Wolfman’s” took on completely new musical contours, while the band also added pieces to their repertoire that catered to their new rhythmic style. During the transformative year of 1997, Phish didn’t only make a seismic shift in musical style, they also revamped their song rotation, favoring vehicles for heavy grooves.