C (2:40)

You know, our car left and we had to go catch a bus 11 miles away from Coventry. That took us to Springfield, Massachusetts, and then to Albany, New York.

B (2:51)

And it's fantastic.

C (2:54)

I forget the bar we went to, but my buddy Rob and I went to a bar. We were underage. They served us twice a week apart. Very, very lovely people just outside of just near the airport in Albany. Thank you guys for 20 years ago, taking care of to. I think we were 19 at that point in time. Maybe 20. No, I was 20 at that point in time. I was close enough, close enough, close enough.

B (3:19)

It's all about rounding up. We actually, we were talking about rounding up today in, in math class. And you know, it's sort of like same thing. You're 20, you're basically 21. If you were 20.5. If you were 20.5, you would be 21.

C (3:31)

I am remembering now it was 2004, so I was actually 19. So like the law had a little bit more of an argument. But like, I'd already been in college, I was already doing it.

A (3:40)

You know, just if you were in Europe, it's fine.

C (3:46)

I told my parents that for years. They were like, I don't care, you're not in Europe.

A (3:50)

I know, right?

B (3:52)

I just want to say that someone commented. I don't know if it was in a voicemail. We will get to the voicemails. We're going to do a mailbag episode. Someone commented about why I can't eat food before the show and why I have to eat. Why do I have to eat while we're recording? And I just got home, I got home one minute before I came up here and we're recording and sometimes I just don't have time to get a snack. So that's just how it goes. So that's the answer.

A (4:14)

Maybe. Maybe the problem is the peanut butter and jelly. I think the cashews seem to be like, not an issue, but the peanut butter and jelly, you go today. It's an odd choice for podcasting because peanut butter is just so sticky and gooey. And now you're not going to be able to talk for like two minutes. Brian's going to have to answer my.

B (4:33)

Comment because, Megan, I've been doing this for a long time. Been doing this for a long time.

C (4:39)

12 years.

B (4:40)

12 years.

A (4:41)

12 years. You can even eat peanut butter. Maybe in eight more years I'll be able to eat peanut butter and cherries while I record. We'll see. We should try to aim for.

B (4:49)

Yeah, that'll be a great day. Okay, so we're going to talk about those five shows. We are going to do a mailbag episode. Brian, when is that exactly? Is it in like a few weeks?

C (4:58)

Two weeks? Next week we're talking Hampton plus. What did we get wrong about the first five shows of the eight show tour? I'm just kidding. Probably won't do that. But you know, I was going to.

B (5:11)

Say that sounds so Fun. Can we just do that now?

C (5:14)

What was like, if Hampton is just amazing, we're like, whoa, we were not valuing this band a day enough. Or if Hampton's a total dud. Take your pick. Going in, we may have to be like, wow, this tour wasn't as good as we felt like it was. Five shows in, we're gonna have to figure that out. You know, we don't know how this story ends. We're only 75% of the way through.

A (5:35)

Wow, that's exciting.

C (5:37)

But the next week, we're gonna do a mailbag, which is when we will answer, why do you guys get tours wrong in the middle of them?

B (5:46)

We could do that today where you guys tell me what you think of the shows, and I can tell you if you're right or wrong. We don't just do that, like, for.

C (5:53)

The shows that happen or the shows that are about to happen. Either. You can do either. This is a good new game.

A (6:02)

Yeah, this is fun.

B (6:03)

Mailbag episode in two weeks. So send us your questions, your observations, your thoughts to call 484-416-0488. Or you can email us. I don't know how people got our email address, but you can go to the Osiris website and email. That'll come through. One thing I want to say is that my friend Chris Pandolfi, his podcast, Inside the Musician's Brain, is back, season six, which is really awesome.

A (6:27)

Nice.

B (6:28)

Yeah, he's partnering with voluum.com which we've done a bunch of stuff with, and they are going to put all of his back catalog up on voluum.com, like, all the video interviews, including his really long interview with Mike Gordon. So you guys might be interested in that. So check out Inside the Musician's Brain with Chris Vandolfi. He gets great guests. He talked to G Love this week. He just really, like, gets. Because he's a musician, he really gets in deep with these guys, and it's a lot of fun.

C (6:58)

Yeah, he's amazing at talking about kind of what you feel like as a musician on stage, playing music, especially improvisational music. I feel like he is. Sometimes you ask people questions in this space, and they're like, I don't know, man. I was just kind of lost. And, like, he actually gets into the nitty gritty about, like, what he felt, and it's so awesome to listen to him. And his band is killer, too.

B (7:22)

Yeah, the String Dusters. They're awesome. If you haven't heard of them, you should Check them out. Okay. So that. So send us voicemails and messages and we'll get to them in two weeks. Today we have five shows to talk about, and we're going to do it in an efficient manner, as always. Brian, Playoffs, man, is ready. We got playoffs on the back, baby. We're back. So back. It looks like at this point, if the season ended today, then we wouldn't. We wouldn't probably meet the Phillies, wouldn't meet the Cubs until the nlcs.

C (7:52)

So it really seems to all depend on if you guys can leapfrog the brewers for best record in the National League, which I don't know if you can. I'm hoping you can. You had a tough series against la. That's crazy to play LA this late in the season.

B (8:08)

It is three games we took two or three in la. I mean, I'm tim, like, what else are you gonna do?

C (8:13)

They're kind of crazy games.

A (8:14)

That's good.

B (8:15)

Yeah, they were crazy. Totally crazy game. Really crazy games, all three of them. We. We're going to be talking about playoff baseball a lot because we're not even there yet and we're already talking about it. Okay.

A (8:27)

Can't wait.

B (8:28)

Tell. Tell everyone or everyone, tell us what your. If you have baseball thoughts, you know, you can include those in the mailbag, the calls and stuff. Okay, Brian, do you want to kick us off here with your. One of your, like, just overall thoughts about these last five shows?

C (8:48)

Where to begin? I wasn't prepared to be the lead off here. Usually I'm complimentary in this sort of case. All right, why don't I go big, Big, big picture, all right, this tour right now, this is why there should be a fall tour every single year. We should be contractually obligated to have a fall tour each year. Of course, more fish is better, you know, that's better for everyone. We all want tour dates on the horizon. We all want, you know, when's the next webcast that we get to watch, when's the next show I get to go to, when are the next jams I get to analyze and think about. But to me, I was thinking about this over the last couple of days. We talked at the end of summer tour that it was this really consistent tour that didn't necessarily blow our minds in the way that summer 2024 did, which had a lot of transgressive music in it, a lot of risk taking, some really amazing set lists. But I think we all felt really good coming out of Summer Tour, especially those last five shows. Those last five shows are high quality Fish all the way through. One of us compared them to 729 to 83 2003, which is like as high of a compliment as you can offer in this space. About the band Fish, but I think if we had ended the tour with an excellent show at Spock, even if we had dicks or not, and we had this like break until msg, it would kind of be this unanswered. What exactly is Fish 2025 at this point in time? And I think that this tour showcases that when a fall tour happens within weeks or months of the band concluding their summer tour, you get almost that answer to what was happening during the tour. You get these ideas that were kind of pushed across and tested out and some of them worked and some of them may not refined in a really interesting way. Obviously the best example of this historically is you get this really unique Summer Europe tour, Summer 97 tour throughout the summer of 1997. Totally brand new sound, kind of blown people's minds. Fantastic festival to close things out. That feels really historic. And the band comes back a couple months later and they're playing in a very similar style of music, but it's got a little bit of a softer edge, it's a little bit more introspective at times. They're willing to like dive into the groove based jamming. It's not like this kind of scary little, you know, idea that they have that's popping its head into random songs. It's now taking over entire sets and entire shows. And so that like that year for so many reasons is great to look back on, but you know, I think it showcases the complement of a fall tour to a summer tour. I think we're getting that right now. We're going to get into a lot of details but like I think right now we're getting this marrying of the melodic plane that Trey was really pushing forward. These very straightforward, simplest way to describe it as kind of Allman Brothers esque peak jams during summer tour that kind of turned in on their head with the Spack, shocked us, torture with the Spack, down with disease and now has kind of rippled through the entire band. We've got like a four headed monster at play right now. Fishman is playing in a much more elegant, staccatoed, you know, really deep listening manner than he was throughout parts of summer tour. And it's really unlocked something. So long answer to a short question. Why should there be a fall tour every single year? I'll yield to you guys, and see where you go with this.

B (12:48)

I mean, I can't argue with that. Who's gonna argue with that? Fall tour is the best. I mean, culture is the best. Let me. Can I just pull up our. Our top tours.

C (12:58)

Yeah.

B (12:59)

And our top. Our top two were. Our top two were obviously fall. Right. I mean, do we have more in.

C (13:07)

The top five in terms of fall?

B (13:10)

Yeah.

C (13:12)

Pulling up right now. We got fall 94 at three.

A (13:16)

Yeah.

B (13:17)

Right. Top three.

C (13:18)

Top three are all fall.

A (13:20)

Yeah.

C (13:22)

And then before that, summer 98. And then it's a bunch of summer tours four through seven. And then we go into fall 21 at number eight. So that's four.

B (13:45)

For the top 10.

C (13:46)

At least for the top 10, which, you know, is not a majority, but it's close enough.

B (13:50)

It is, but the top three and those are all kind of interchangeable, I think. I think the top three. Fall's the best. Fall's the best, I guess.

A (13:57)

The best. Yeah, I agree. And I think it's interesting about this summer. I think it. Historically, we're going to think it's. It was closer to 24 than maybe we feel right now. I thought it was really, really amazing. And I think we all agreed it would make the top 25 tours this summer. Would have. And we kind of debated where. But thinking about their commitment to like deep jamming this summer. And I think it definitely. I think that was really well said, Brian, about how it kind of shifted throughout the summer and made such a big change at the end. And my hope kind of going into this tour was that they were going to continue exploring these new sounds and pushing the boundaries of their jamming. And I was really hoping for less bust outs and more exploratory jamming. And I really. That were getting that I was looking a lot at. You know, I'm obsessed with this show gap thing now and looking at these numbers a lot. And I was looking at what I think are the three best sets of the run so far. And they have a consistently low average show gap for the songs. So I was looking at Alpharetta Night two, set two. So last night's show, absolutely banger, that second set. First set, just whatever. But second set, absolutely. Just perfect.

C (15:15)

Fish.

A (15:16)

The average show gap in that set is 4.6. So they're playing songs that they've been playing like really commonly. Alabama night one. So the Saturday show set to 4.5 show gap in that set. And then if you look at Alabama Night one, set one, which I think was just an unbelievable first set that Saturday night set one was perfect, which is why that show is amazing too. That is a Show gap of 6.1. So these, the best sets that they're playing have really low show gaps. And I think that that is a trend we saw through the summer as well. And it's interesting that it's continuing now. I really think that when Trey kind of whittles down the set list and is playing a tighter rotation, he feels freer and the band feels looser and they play deeper jams and it's exciting to see and it's interesting. And I think that it's funny because I think there are a lot of people that do chase bust outs and that want to hear songs that aren't played that often. And I feel like I'm becoming the opposite because I think the music has just been so much more intriguing when they're playing with a tighter show gap.

B (16:23)

Yeah, that's great. Look at that. Look at those stats.

A (16:26)

I know, I'm like a stat nerd now. I don't know what happens.

C (16:29)

Stat girl.

A (16:30)

Yeah, yeah.

B (16:30)

Bringing the numbers. The only thing I want to add is just. Or I guess what I would add to what you both said. I think. Well, ev dude here says that summer 24 and it is better than 25 is a hot take. Not sure he buys it. I'm not sure I do either.

A (16:46)

I think it's tight.

C (16:47)

Really? Yeah.

B (16:48)

I like this summer more interesting. I don't. And I don't know. I don't know why.

A (16:54)

I don't know if I do. I have. I'd have to like think about him and listen to them back to back. It's hard because I feel like this summer was also. It ended so strongly like it peaked at the end. Yeah, you know, that's true actually. But last year, I don't know.

C (17:11)

I mean, I think.

A (17:11)

I think.

C (17:11)

I think this start summer, it's true. I guess for me it comes down to I really like the kind of challenging jam space that they found themselves in in the. In the 4.0 era. And you hear that really at like a maximal level across summer 2024. You think about all the big 40 minute jams. You think about like the. What's going through your mind from on the Green, that Tweezer Pillow jets, second set from Bethel and then whatever happened at Dick's. Whereas there were parts of this summer tour like Charleston and Columbus, which I really liked for the most part, but it really sounded like they were playing within songs just for a long time rather than like Challenging the edges of them. Obviously that changed with Forest Hills and Spock. Either way, like this. This is making our. Our. Our list. Like, this is not.

A (18:06)

Yeah, yeah, yeah, exactly. I mean, you have three out of the 10 longest jams in 4.0 played this summer. They're. They're like, so deeply. And I do think that. The other thing I wanted to mention that you brought up, Brian, that I think really sticks out from this tour, is that they all seem to be playing at an equal level. I do think this summer you pointed this out in one of our recaps about Fishman, and once you said it, I couldn't unhear it. And that compared to summer 24, like, Fishman was playing better in summer 24. But then this fall. You know, it's funny, I was listening to all these jams, like last night's, and especially the jams from Saturday Night in Alabama. And you can. I would start to write a note to be like, how one person was doing the best part of that jam, and then I would be immediately kind of counteracted in the next moment because someone else is doing something just as great. I think they're all playing really strongly right now, and they're just listening at an incredible level. I mean, their jams are so textured and layered right now, and it's just. It's pretty thrilling to listen to them. And especially they hold up on relisten, especially if you're listening to them on headphones. It's crazy what's going on in these jams. It's absolutely crazy.

C (19:17)

Yeah.

B (19:18)

I mean, I think that for me, the biggest thing is just like, patience being a virtue of all five of these shows. I mean, just starting from that first show, the Choctaw's torture from the first night, really like kind of, you know, a bunch of diverse sections. And I mean that you talked about that Birmingham first show. I mean, that, like, there's so that bet of gin. There's just like kind of just sitting in those spaces, you know. And then from like last night, I felt like in parts of light, Paige, like, sounded like he was like, playing like, free jazz in Amsterdam in the 70s. And then like 100.

A (19:57)

So jazzy. So good.

B (20:00)

And then I thought the other thing I was thinking about with the patience is it reminds me of like, 99 in some ways. Like the. Maybe just because the. The sand last night was like. Reminded me of 99. Like super stretched out lasers. Not really. Not really, like, in a rush to go anywhere, but like those. I mean, every good gem from the past five shows has just been. They've just been like in no. No rush to get anywhere, you know, but not in a bad way.

A (20:27)

Yeah, I totally agree.

C (20:30)

Yeah. I mean, I was thinking about it last night. I think I texted you guys. Like, it felt like they weren't even above a simmer during the carini. It wasn't. There was no real urgency to peak. It was. It was mellow, but with like kind of a driving force forward. It's almost the difference between what we heard from them in 99 versus parts of 2000 where like they would play in this kind of melodic groove space. But in 99 there was a lot more going on below the surface. In 2000 they were kind of working as like, what's the quickest groove we can jump on and kind of stretch this out for a period in time. Yeah. I mean, one of my notes was this is what full band communication sounds like. And I think that was something we talked a lot about during the summer, was that it felt as though Trey, kind of surprisingly for the Sarah Fish, was pulling the rest of the band along.

A (21:26)

Yeah.

C (21:28)

Right now when they fall into a jam space that's working, it seems like they're all. And last night's second set, Saturday night in Birmingham, I think the two best examples. It doesn't really matter what style of music they're playing in. Rather that's the 70s jazz RJ was talking about. Whether it's a full peaking jam with like Fishmen kind of playing like an eight armed beast, you know, behind Trey, like there's just a lot of different styles of music that they can play together in a way that it doesn't feel like there's any competition. It's very seamless.

A (22:06)

Yeah. I was thinking that last night during that carini when Trey is like climbing these like really blissy peaks at the end, but Paige is on the synths just like wailing. And it sounds so incredible. Like they're just. Paige has just been doing so much in these jams and Mike too. It's hard to isolate one of them. And that's really where you want them to be. It's exciting to listen to them right now. I think they're jamming. This fall is a step up even. It's really. They really continued. I think what they found particularly. It's back.

B (22:41)

Yeah. Having these like first set gems also just is so like. It's just such a great way to, you know, to. For the fans, obviously, but also just. I think for them, like just getting into those I mean, you had like the Wolfmans in the first set of the first show, but they're. They pretty much all have something.

A (22:58)

You know, the cities from Alabama Night one is so good that that funk part of that is like exactly what I always want them to play. It's so sticky. I just want to live there. But it's. And then kind of builds to a big crescendo and like fades to a shooting star. It's so pretty. And I think that that's one of my themes too is that they're really nailing the 14 to 18 minute jams here. Like, they get a lot done like that. Down With Disease is incredible. From Birmingham Night one is probably one of my favorite jams from this whole tour. And it is like 14 minutes, but they're just accomplishing so much in these short jams. I think the Carini from Louisville is a really good example of that too. Really excellent jam and not that long.

B (23:45)

Can we. Can we talk about the. We texted about this a little better. At least I did that. The kind of how two shows can have a similar looking second set on paper, but sound totally different. Like the two nights, the two nights of Birmingham, like they. They kind of. Both those second sets look like they were like. They both look amazing. But I just. I found like this the second night so much less interesting than the first night.

A (24:12)

The jams just didn't go as deep the second night, I think. You know, I think they just didn't. They just didn't. They weren't as diverse. They weren't as deep, like. Because I think so you got like almost 18 minute wave of hope and an almost 18 minute was going through your mind. Like you see that as the opener. You're like, that should be amazing. But. And it was really great set listing and the gems are pretty tight, but they just didn't really go far off the path, especially compared to the night before. I think anytime you play a show as strong as Birmingham Night one, you know, you've gotta. You set yourself out. I actually thought they were gonna meet it too because that show opened so great. Birmingham Night two, it's like tons of energy. They come out and they. I just thought it was like such a strong opener with like punch. How it has that like extended intro now. That's just so exciting. And then there's a really, really great mics. It's nothing like incredible, but it's good. And I thought it was going to. I was like, this could actually go pretty deep. But yeah, there's something about either of those jams that they're really good. The Wave of Hope and the what's going through your mind. But they just. They kind of pale in comparison to the jams the night before, I think.

C (25:20)

Yeah, I mean, it's interesting to look at them because. You're absolutely right, rj. From a set list standpoint, they both look great. I think it's notable that both nights are completely centered around relatively new songs. This is just a phenomenon that will never get old to me. One Sigma, obviously you have a disease, but then Life Saving Gun and Pillow jets within that segment. And then night two, Wave of Hope. What's going through your mind, Mercury? I still think of that as a new song. Golden age, relatively. You know, like you just have like these sets that are built around now, which is, I think part of the reason why we are hearing so many new ideas, so like so much development on such a quick basis with this band is because they continue to write songs that they then want to insert into really important slots in the set list. And they just. They work. They click. Yeah. I think, you know, it's interesting not to make this a grievance based podcast, but like the second night of Birmingham, that second set almost reminds me of the July 4th second set from Boulder, which on paper was awesome. Musically, was really good stuff, flowed really nicely together, but none of it ever went like super deep. And I think that, you know, that that is the different, like it's. It's a different bar at this point in time between, you know, when you think about when they just came back in 09, people just wanted to hear them play a set list like that that flowed really well. Didn't have any duds, didn't have any, like, okay, Trey needs 10 minutes to sing a couple ballads. Like, you know, they really just wanted sets that flowed. Sets now flow almost without any sort of effort. It takes a lot for the band to like not connect in some way from a flow standpoint. But the next level is what you heard on night one, where there is a depth and a kind of reenter reinterpretation about what these songs are like that Sigma Oasis. I'm sorry, we have to redo the entire Rushmore. That's a Rushmore Sigma Oasis.

A (27:26)

So good.

C (27:27)

Without question.

A (27:29)

It's like ancestral. It's so pretty.

C (27:31)

Yeah. That is probably the best life Saving gun that has been played thus far. Probably the only competition is Columbus Shout Out Buckeyes, you know, on night two, Wave of Hope and what's going through your mind are by far from the strongest versions we've ever heard of either song. But that is like pretty telling of how great those songs are right now that these two relatively new Fish songs have almost taken over. You know, the way that the band plays that when we hear them, you know, they're not played, they're expanded upon, but there's not like a dynamism to what's going on there. The same way that we heard the night before. And so there is like a little space for criticism about what happened. But it's an interesting point, rj, because you'd want them to play both of those sets. But definitely if you're going to recommend to someone what they have to listen to, it's that first hour of Saturday night.

A (28:27)

And I also think far be it for me to complain about a what's the use? Good times, bad times. That is perfect fourth quarter. But I do think I was thinking when I was listening to the Way of Hope and now that we have a jam chart member on our team, we can ask this question. But I was thinking it will probably make the jam chart because the song's fairly new, but if this was like a Tweezer version 20 years into the song, it probably wouldn't make the jam chart because the bar for A Wave of Hope is high and is also just going to continue to get higher because they jam that song so often and also they do a lot with it. This would be like the 17th entry on the jam chart and that would make it almost a 47% chance of jamming the song. So it has to go big. And I was curious. There's going to come a time when Wave of Hopes aren't going to make the jam chart unless they do something super special. And I was thinking if this one did or not, it has post peak jamming, which is really cool. It's Chansey and groove bass after which I love. But I don't know, Interesting.

C (29:33)

I think I'm just more into confidentiality processes going on.

A (29:37)

Yeah, I'm not asking you to divulge that, but I'm asking you to think about that concept. How about that?

C (29:41)

Well, I have thought about it. It's a really good question I will just throw out from where I'm at. It is in my what I call my promotional eligible segment, which means it has not yet made my top 50 list. It could on relisten after the tour. It's really good. But I think to your point, there is a very high bar and you have to take that in countless of These songs that, like, we've heard, like the April 20 version, the June 21 version, the July 9 version, most notably, like, we've heard some really inventive. I mean, obviously Mexico last year, we've heard some really inventive versions of a wave of hope that, you know, the idea that just because it goes 16 minutes, it should be recognized historically, it's a. These are very big questions that we were not asking 10, 15 years ago.

B (30:32)

Yeah, I also just want to. I think when you said that the jams didn't go as deep, I think we both, like, we kind of talked about that. I think that when they don't go as deep, if. If anyone is like wondering what we mean by that, or at least what I think is that they end up in much more of like kind of a blues based rock space, you know, where it's just kind of like. Yeah, it kind of like resolves to like a blues jam, you know, that's. That's what I heard a lot of on that second night.

C (30:58)

Are you talking about the Lakewood Ghost?

A (31:00)

I knew. I knew you were gonna say that.

B (31:02)

I never would.

A (31:03)

I just want all the listeners to know the amount of like Lakewood Ghost just complete digs at me that it's still happening on our text change. So I'm still. I'm still getting it. Guys. You should just know that I just.

B (31:14)

I want to highlight a listener or a viewer chat here, but first I want to say that this is in the spirit of something that is so awful and great where like, for example, if you were born the year I was born, then you're. You're the same distance from now as you would be to 1933 if you go backwards.

A (31:33)

What? I hate that. I hate that. That's horrible.

B (31:36)

I know.

C (31:36)

It's so bad.

B (31:39)

You know, the beginning of the. The beginning of the Great Depression, but. Or the middle, I guess. Okay, so. But anyway, he said Ed says Mercury is older than Ghost was at it.

A (31:50)

Dang, that's crazy. Yeah, that's very crazy.

C (31:53)

Rightly feel called out for. Can still consider that a new song. I still consider Fuego and Kill Devil Falls new songs. I don't know what to tell.

B (32:00)

Yeah, I mean, yeah, I mean, it.

C (32:03)

Was pretty new, but that is kind of crazy. Like, I think it was probably. This is like why perspective is so interesting. Like, I. I probably. I think I viewed ghost as a fish song when I first got into them in 2001. 2002. But yeah, it was only like four or five years old at that point in time it just like it was.

A (32:25)

Yeah, sure.

C (32:27)

There's someone who's getting a fish now who thinks that Soul Planet is an old classic.

B (32:33)

Ed's follow up is that he said, I went to my first show in 95 and I still consider Limb by Lim a new song.

C (32:38)

Okay, there we go.

A (32:39)

Exactly. Exactly. Walls of the cave. Totally.

B (32:43)

Yep. Hey, Jackson. Jackson says, I still think of walls of a cave as a new so we all got them. Okay. What else do you got? Actually, you know, let's do a quick break and then we'll come back and hear some more. Some more thematic analysis.

A (32:59)

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B (33:56)

All right, what else you guys got?

C (33:59)

I got a question. Possibly not an insane amount of of stats to back this up, but I think just enough and notably enough that we should at least debate it. Shout out to Jackson Richards. Soul Planet may not be old, but it certainly is a classic. That's true. I believe that classic jam vehicle Classic Jam vehicle is Saturday, the new Sunday. Now this is a hard argument to make and I realize I'm. I'm making this with like one hand tied behind my back. Seen as the Sunday night at Spock is potentially the best show. 4.0, blah blah blah. Whatever we want to say. But 726 and 913 I would argue and I, and I, I don't think that this is one of the best shows of the year, but night two in Chicago I thought was the most interesting show of that run. Night three in Boulder was probably the most interesting show of that run. That was a Saturday night. 726 has this just astounding second set and I mean a first set that I thought was absolutely incredible as well. I'm slowly but surely working my way back to it from the gap chart, which is never the most efficient way to do it. But Saturday night, 7:26, you got oblivion, disease, light, life saving gun, waste, fluff head. And then 9, 9 13, this is where we have the Sigma disease, life saving gun, pillow jets. And then we get the beautiful segue into mountains in the mist, blaze on and a really, really fascinating ghost to end this at. Both of these shows have made my top, my top tier of shows for the year. I think that they are the type of shows that you want to re listen to in full. Not every show exists like that, but sometimes there's those shows that you want to just press play from set one and ride it all the way through. Sunday nights have also, aside from a few glaring examples here, 6:22, 7:27. Obviously Sunday nights haven't been the spectacle that they once were. They haven't been the you have to see or hear this show type of vibe that they were in kind of the mid 2010s. So I'm curious, am I just overthinking this and trying to find a debate angle here or do you guys hear any truth here?

A (36:28)

I sort of agree and I sort of think of it the way I think of 12:30 right now.

C (36:33)

Like sometimes 12:29 is the new 12:30.

A (36:35)

Yeah, 12:29 is kind of seeming like the new 30. I mean it's been at least two years in a row that, that is 100% true. And I'm just starting to wonder if these shows that people expect to be something so special don't always turn out to be that way. So I don't know. You know, I, I definitely. That 7:26 show was my favorite show I've seen in so long because I obviously wasn't there on 7 27. Just kind of devastating. But, but yeah, I don't know. It's interesting to think about. I, I put a lot less kind of belief into the Sunday night show these days and 12:30 now I just go to have a good time. Like I'm like on the floor. That's my night on the floor. And I just go to have a good time and I don't get mad if they don't blow my mind because they just did the night before. So I guess it's okay.

B (37:25)

Yeah, I mean I think the Sunday thing just like is over. Yeah, I mean not, not like that there won't be great shows. But just for a while there we had quite a, quite a run where like almost every Sunday show would be amazing. Not every, but like, you had a 60% chance of seeing an amazing show. So I don't know. I feel like I don't feel that way at all anymore.

A (37:45)

Yeah.

B (37:46)

If I had to bet on the best show of this run, I would probably bet on Friday. But it seems like I would bet on, like, Friday, then Saturday, then Sunday.

C (37:56)

Yeah, yeah.

A (37:57)

Oh, for Hampton, you mean? Coming up? Yeah, Yeah, I think. Yeah, I have a feeling Saturday. I don't know. I think it's hard when they play a show as good as last, like, the second set, as good as last night. Is Friday going to be as good as that? I don't know. Maybe. Maybe they'll be so excited. I don't know. So hard.

C (38:15)

Hampton, first time in Hampton.

A (38:17)

Yeah.

C (38:17)

Seven years. They still haven't played Tweezer on this tour or Return of Tweezer Prize since the Spock show. Like, you got to imagine those are going to be kind of big fun moments. Plus, they're just not really. We would hear this on recent spring eight show runs where you wouldn't hear a repeat until the second weekend. You know, whatever they played the first weekend wouldn't come during the week, and that was out. They just don't seem to be worried about repeats right now.

A (38:47)

What's that show Gap. It's so tight, you know, it's very tight.

C (38:51)

So, like, there's probably, you know, life saving. Gun's probably back on the table. Disease can be back on the table. Ghosts, like, all these big songs can be. What's going through your mind can probably be back on the table.

A (39:00)

Wave of Hope, you know, that's coming. Trey's definitely not going to go this weekend without playing what's going through your mind. He loves that song.

C (39:06)

He does. And then the segue from Wave of hope into that was a really, really cool moment.

A (39:11)

Yeah.

C (39:12)

They just feel like they're very comfortable playing that song. But I don't know. I mean, I may just be making fodder here. No, I think I just was thinking about it.

A (39:19)

I think you're right. I think you're right.

B (39:20)

Yeah, I do, too. And I think there. There is a. You know, I don't want to talk about the sensitive topic of age, but, like, there's an age thing, you know, it's like, yeah, you play three shows in a row for, you know, three hours each. You know, by the third night, you might be, like, a little bit tired. I would be, for sure.

A (39:40)

Absolutely. I think that's. I mean, I'm tired doing my job, and it's not that Hard as them. Although maybe, I don't know, it might be in a different way. But yeah, I think that, I think there's something to that for sure.

C (39:51)

I bet Trey would be a really good third grade teacher.

A (39:54)

He would rule, people would love him. He'd be like, hey guys, come on over here. Let's just like play this, this with this thing right now. Let's like see what happens with it. He'd probably super. He really good at everything.

C (40:06)

But it's a good point. Like I don't drink anymore and I don't really party at shows, you know, like a little bit to get to that, that, that space. And just the experience of going to a fish show exhausts me.

A (40:19)

Yeah.

C (40:21)

I'm 20 years younger than all of these guys and they play every one of these, which I've got to imagine, like exerts a little bit more effort than even when I'm putting in like anxiety driven trying to get to like the perfect spot. Like I realize I'm like exerting a lot of energy here for this thing, but it's not nearly as much as the guys who are like playing the 28 minute jam.

A (40:42)

Don't forget, Brian, you're also like timing every song. You're also like making sure you have the set list right. Like you're doing a lot. You're doing a lot.

C (40:49)

Plus I bring my kids now to shows so I can like make sure that they're good. Like I gotta teach my kid about like when number two is acceptable in set break, you know, I've got all that sort of stuff. That dude makes a really good point. And they're playing like four hour shows now like ever since last night. Last night's set was like 146.

A (41:08)

That's crazy for set two.

B (41:10)

It doesn't make any sense.

A (41:11)

What I'm like, I'm trying to for.

C (41:12)

Like a non special show, just like a regular Wednesday night show in Alpharetta, Georgia.

A (41:17)

And this is actually a really good segue into something else I wanted to talk about which is maybe sort of not that exciting. But the encores are so consistently long now. Do you know last night was the first single song encore since The Man Night 2. Wow, that was yem. Yes, and that was yem, which is longer. But if you were at that show, you know why they had to get off the stage. But that was the only single song encore of the whole summer. And then there were two single song encores on spring tour and one in Mexico. So only five shows have had Single song encores all year out of 40 shows that have been played so far. That's crazy. The encore now is like a third mini set with like at least two or regularly three songs. I was shocked when I started looking back at it. I was like, this is crazy.

B (42:06)

Yeah, I mean, that is very notable. I think the. Yeah, you know, we have to. Sometimes I just want the encore to be short.

A (42:16)

Like, night too. For sure.

B (42:18)

Even after a great show, I'm like, great, let's go. We got to go.

A (42:22)

Yeah. Well, I also don't fuck it up old school.

C (42:24)

Just like rocky top. Get out.

A (42:25)

Yeah, it's like, get out.

B (42:27)

Like, like 11:30. It's like, all right, guys. Like, I'm good. Like, I'm.

A (42:31)

I mean, yeah, we're usually tired. Like, you know, I'm usually been jumping up and down. I've been dancing. Like, we're done. You know, we're like, let us get home and get to bed by 11 o'.

B (42:40)

Clock. I'm just ready. Like, I'm ready. I'm ready. And I think there are. There are exceptions, obviously, but get in.

C (42:46)

The car, throw on. Tonight's a night. Go home and eat, like a slice.

A (42:49)

Of, you know, bowl of cereal.

C (42:51)

Bowl of cereal.

B (42:54)

Okay. What else are we going to talk about?

A (42:56)

Jams. We can talk about some jams.

C (43:00)

Well, yeah. Yeah. Two really quick things.

A (43:04)

Yeah, of course.

C (43:05)

Really quick things. I was thinking about this as well. This is in conjunction with my. There should always be a fall tour. I was thinking, and I was talking. I was texting with a couple friends about the desired annual year routing. I want to. I want you guys to hear my thoughts on this. I want to get your thoughts on it as well, because I think these eight show runs work really well. I think we would all agree this is awesome.

A (43:26)

So good.

C (43:28)

So wouldn't it take the stress out of planning our travel if we just knew for the foreseeable future this is what Fish was going to look like on an annual basis. Four shows in Mexico, eight show run through the spring. That mid April run. Now, summer tour could either be like a shorter, condensed version of itself or two eight show runs with a little bit of time in between. Dicks. A late September, early October, eight show run, four nights at the Spear over Halloween and four nights at MSG to close it out.

A (44:14)

Perfect. The only thing I would have, like, questions about would be the summer because I do feel like the momentum and the continued time does allow them to get to bigger places. That's definitely true improvisationally.

C (44:28)

That's definitely True. So maybe we give like, maybe it's like a four week tour. But like, I'm just thinking that like these eight show runs seem to be the exact amount of time for them to get out there immediately dive into things like Friday night at a festival in Louisville, Kentucky.

A (44:45)

Good.

C (44:46)

It is not the best show, but it is a shocking show for like a tour opener at a festival like that. And that Chalk the Chalk does like, really showcases a band that was like just ready to go from day one. Night two in Birmingham, the first night in Birmingham, one of the best shows of the year. Night two in Alpharetta, one of the best shows of the year. Night two in Birmingham and night one in Alpharetta. Not the greatest, but also like they had like moments that you want to go back to and now we get three shows to end it. Same sort of energy enthusiasm going into the Hampton run as we had going into the SPAC run. They could do this all geographically the way that they're doing it here. Really hit up regions, really focus on like classic venues, plus some new markets. I don't know. I think it adds maybe like 12 shows to their current calendar. So they probably wouldn't want to add much more. But it feels to me like a little bit more. Even Fish, but less is more throughout the year could be a benefit.

A (45:43)

Absolutely. And I also think there's something to be said for them playing shorter tours and just being able to kind of punch them out. And I also think a Sphere residency is like a must. Like, what are we doing having the Backstreet Boys play there? Like, let's get a band that actually can use this room and this space there regularly.

B (46:00)

Don't they already kind of have that schedule, Brian? Or you just want it like written, you just want it set.

A (46:05)

Fall has been inconsistent.

C (46:07)

I just want to. I want an announcement that we're going to come back to Dick's again. And I'm really nervous that's not gonna happen. It's just a long way of like getting us back there.

A (46:15)

I hope they're back there too. It doesn't seem right without it, but.

C (46:18)

No, I mean, you're right. This is relatively what we have. We do seem to have like an off year on year with like the fall. And I think as we were agreeing here, that fall tour just ha. It's. It's gotta be a must. Like it. It has to happen best.

A (46:31)

Like, even if they had to make their summer a little shorter, fall is good. And I do wish this was pushed back just a few weeks. I think we're getting the benefit of it being so close, but I do wish it was pushed back. It would give people a little more opportunity to go. And also just. I love indoor fall fish. Like that's like consistently indoor fish. Like that's the best. So I think.

B (46:53)

Yeah, you know, I would trade. I would trade like a short summer tour for a long fall tour any day. But I know that's controversial.

A (47:01)

Yeah, that's hard.

C (47:02)

No, I'm there with you. I'm there with you. Like what would your fall tour dates be? Yeah, yeah. Give me it. Give me October.

B (47:09)

October ending with Halloween. Yes, like ending with Halloween. You know, start at the mid beginning of October, end on November 1st or whatever.

C (47:18)

I mean it's really something we haven't had since fall. 21, an extended fall tour. And there really is something to that time of year when the band is playing. It's not that far into the season where it feels so distant from what happened in the summer. It's only seven weeks or so from dicks. It's interesting that in 22 we had nothing. 23 we had a little eight show run. Pretty uneven. 20. Yeah. 24 we had the Albany shows that nobody remembers. And 25 like we've got similar to what we had in 23 but it's just earlier in the calendar.

B (48:02)

Can we talk about some gems or.

C (48:04)

Yeah, do it.

B (48:05)

Well, I. I just want to say you guys have. I think probably I've only been through everything once which is sad and. But. But also cool because I have more listening to do. But I. I think the thing that sticks out the most to me is the life saving gun into Mountains in the Mist from Birmingham Night one like just in terms of like unique places that we didn't. That I didn't think us particular song would go just going into that like crazy space split open and melt kind of style and then into this like really beautiful end segment before transitioning into Pillow jets and then into Mountains in the Mist which because the pillow just kind of gets into that same space and then into Mountains in the Mist which as I text you guys reminded me of like a dark star landing into war frat or something that.

A (48:53)

Please.

B (48:54)

That life saving gun Pillow jets Mountains in the Mist is like. I mean that's wild. That's very unique and different and just ridiculous.

A (49:03)

Yeah, that's how you've. This whole set list is insane. I think just this whole set the flow and thematically going from Sigma with this like really grand, beautiful, orchestral, sophisticated jam into this like disease that's really soft and patient and gauzy and then gets really dark. Which has, I think one of the best narrative arcs of any jam, even though it's pretty short. And. And then you have this crazy life saving Gun, which just. There's just this sense of mystery to that jam. It becomes that like textured noise jam. But it's so loose on melody, but it's just so fascinating and so cool. And Pillow jets has that same darkness and that same kind of the soundscape and like the sheets of sound feeling. And yeah, the segue into mountains is incredible. And I can't believe because the set just keeps going on perfectly too. You've got like a blaze on and then this insane ghosts that get so raging at the end. It's absolutely just perfect set. And the Life Saving Gun is probably the most out there jam of any. The most risky jam of the whole tour for sure.

C (50:11)

Yeah, yeah, that whole segment. Sigma Disease, Life Saving Gun, Pillow Jets. That's right there for me with the Austin Golden Age as the best music I've heard the band play all year. I think you're absolutely right about Life Saving Gun. You kind of knew what the song was, what the potential was based on the song itself. It's such a unique approach songwriting wise. I still remember the first time I heard it being like, whoa. It was. It was almost like hearing. I always wanted it this way, where you were just like, okay. This band is tapping into elements of music that like they have not brought into the fold before. That kind of like European like craft work type of of playing that I'm a huge fan of. But a lot of Life Saving Guns almost evolved similar to a lot of golden ages in the early part of its existence, where it just kind of sounded like a 12 minute life saving gun, a 14 minute life saving gun. And this one just leaves completely the theme of Life Saving Gun behind and is in that melt territory. That's a great way to put it. It gets super weird. The type of stuff that is like. That's fall in your face failure music if it doesn't work out and they're just doing it in the middle of the second set. I love that level of risk taking. I think Pillow jets is like it's there with Beneath the Sea of Stars in terms of being the perfect ballad landing spot. But also, you know that the back end of it allows for exploration. Like we have a 23 minute version of Pillage jets from last summer because it has that ability. I love this segment. The other one, obviously from this tour, for me, the Karini, like, Karini from last night. I think we talked about it earlier, briefly, but, like, I. I was on double kid bedtime duty last night, and I had my AirPods in while I was reading stories, and I just had to, like, pause every, like, five minutes and, like, tell my kids, like, wow, this is. This is Fish at their absolute best. Can you just keep reading the story, dad? But, like, I don't know. They're. They're playing. It's not full band communication. We were talking about in both of these jams where, like, Trey is able to throw out clean melodies and really string together musical ideas. But with way Fishman is playing and the kind of freedom he's playing with right now as opposed to parts of summer tour, everything's held together, but also has that chance of breaking apart, if that makes sense. Like, he just plays with so much freedom. And then Mike and Paige can kind of just. Like, Mike can act like another guitar during those moments, and Paige can ride those synthesizers and just produce these beautiful sounds that complement the melodies Trey's putting out. It's. It's special, special stuff. I can't believe out of the first five shows this tour, we got two jam segments like that.

A (53:26)

Last night's blew me away. I was watching this dream, and I had promised myself I was going to go to bed early last night because I've been up really late and I'm tired. It's like the second week, full week of school with my students, and I just, like, couldn't go to bed because it was so good. This carini is like. I think you said it perfectly, both of you. But it's so delicate and melodic. The way that Trey's playing and the way that Fish is playing, so resonant and deep. It just bounces off each other in a way that is so sophisticated and incredible. And I love the light, too. I think it has. You called it jazzy. That's exactly what I called it. RJ2. And it's. Again, Fisherman is just doing really intriguing stuff. And the way that they build this distortion peak at the end, it's crazy. That peak is. I listened to it again today, and I just couldn't believe it. And then they drop right back into carini, like on a dime. I mean, it is, like, perfect. And then as the jam's winding down out of that carini, Fishman just won't stop, and he's just raises the temperature again. And you see Trey look over at him, and they're just, like, smiling all huge. And the jam has, like, the song that Carini kind of reprise has died. And Fishman just brings it all back, like, just back from the dead. It's so cool. And the sand after it is absolutely crazy. There's. You know, the textured funk section is so good, but then they end up in this, like, staccato sound that I've never really heard them play with before. Like, there's this melancholy vibe to it. And Trey's playing these kind of descending chords in a way that sounds abbreviated almost. And it's really interesting and I can't wait to listen to it again and again. And the best, though, is that jam is ending and then they're going into Piper and Fishman plays like, the Austin Powers sample. And apparently I didn't see this on the stream, but apparently Mike cut him a look, like, what the fuck, dude? Because it is like they played this really epic, sweeping. Three jams that are. Honestly, I'll go back to this so many times. And then Fishman just makes it dumb. It's just. Is so awesome.

C (55:37)

Fish right there.

A (55:38)

Yeah, exactly. Like, we can't take ourselves too seriously. But, yeah, that was. That blew my mind last night. And it's pretty thrilling stuff.

B (55:49)

Okay, so we got five shows. We've talked a little bit about all of them. What else. What else do you guys want to highlight?

C (56:02)

What else do I want to highlight?

B (56:04)

How about this, Brian?

C (56:05)

If.

B (56:06)

If you don't have something, a jam which you. You can share, obviously, or a segment, anything music wise. Or maybe the last thing would be, what set are you going to go back to? The most from these five.

C (56:22)

That is a hard question after last night for the longest time, about 72 hours. I was gonna go back to Saturday now.

A (56:33)

Longest time.

C (56:34)

We're so long. I think it's. I think. I think ultimately Saturday night too. If I had one. One set of music I could listen to for the remainder of time of Fish from this tour, it would be Saturday set to. Mainly because. Well, musically. But if we're going to get into like, the set listing, you know, aspects of this, I think that having a set built around relatively new songs that continue to showcase new ideas is kind of for me right now, from a preferential standpoint where I want to be with Fish. This is no Shade on Karini or Light Karini. I will note we would probably have to do another Rushmore for that because I think that that version is probably better than 7, 26, 23. No offense, RJ. Know that you were on location and you selected that?

B (57:35)

Yeah.

C (57:36)

Notice I am not saying anything about the 11:2809 ghost. All right, has anyone done their homework?

A (57:44)

Have we gotten any calls about it? No.

B (57:47)

Anymore? I'm still waiting.

C (57:49)

I think. I think the other difference is like. Like, Saturday night. Mike, you said this, but Saturday night set one is really unique. It's one of those shows that I don't think anyone would select those songs in a row in a draft for. Like, this is how you first set. But it's part of the magic of what happens when they play the music is sometimes the music exceeds the. The songwriting and then the. Or the song selection, and then the set works even more. Whereas I thought last night's first set, Night two of Alpharetta, I was a little concerned about where things were at at that point in time. The Wolfmans I loved, and then it kind of just felt like it went on autopilot. But the second set last night very much redeemed everything in my mind.

A (58:34)

Yeah, I think I'm the same. Same as you, I think. Definitely. This first set in Saturday in Birmingham, night one. Like, the cities we've talked about. One of my favorite jams of this tour so far. The theme is amazing. It builds to, like, a huge crescendo. It's absolutely beautiful. Like, perfect playing in that theme. And I'm a sucker for a great theme. And the gin is also one of my favorite jams of this tour. It's super creative from Feshman. Like, he's playing these really creative fills and roles that are just absolutely so interesting and so textured. And Paige is doing the, like, maybe we're the visitors vibe. It's just very rich and ethereal. And Trey solos for, like, a massive build at the end of that gin, and we're barely even talking about it because so much of the show is good. Even the gym is good. Like, if you go from bathtub gin all the way down through Sigma, Downward Disease, Life Saving, Gun, Pillow Jets, That's a crazy set of music. And you've already had two jams before, and then you have jams after that, too. It's like, this show is pretty perfect. I mean, I don't know how you do better. And then I think Shine a Light as an encore with Santos is like, absolutely. That is a perfect encore too. Like, probably one of my favorite Rolling Stone songs ever. And Santos, you know, one of the best fish songs ever written. Right, Brian? So, you know, good stuff. Good stuff. Yeah. But, I mean, last night set to really rocked me. Like, I definitely I definitely was into it, but the first set, I. I was watching it and I barely took any notes. I mean, the way I have anything.

C (60:17)

To say about it, no notes taken.

B (60:20)

The way that Saturday night set two ends with the ghost, which is so peaky. It's just, it's.

A (60:25)

It's.

B (60:25)

That would push it over the edge for me, which it. Which by the way, I forgot to mention earlier, they might be listening to the pod because we're getting like good fourth quarters.

A (60:34)

Yes.

C (60:35)

Yes.

A (60:36)

If we've done nothing else for the world, that is good. We'll take some good stuff.

B (60:42)

We'll take credit for that. So.

C (60:46)

Any thoughts as we head into Hampton?

B (60:51)

No, I'm really excited to listen to these shows on Saturday morning and Sunday morning and Monday morning because they're going to be great.

C (61:00)

I'm excited. It's a big return to a big venue, a lot of songs on the table, really well played. The Last really great three night run at Hampton was probably 2013, which ended with a tweezer that RJ and I are both truthers for, which may end up being the end of our friendship. If we have to draft tweezers and one of us takes that, there's not a lot of us. There's a lot of people that are just like, oh, come on, it's the Tahoe tweezer. Why aren't you just on the side of history? And I'm on the side of history, but I'm also on the side of what is the truly exploratory jam. And if we can hear anything strange for me to be requesting fish to sound the way that they did 12 years ago when they're playing as well as they are. But if we can hear anything on par with the Hampton tweezer this weekend, I'm all in.

A (61:59)

I can't wait to take that in a draft.

C (62:05)

We already did it.

B (62:06)

We already did a tweezer draft, so you guys are safe for now.

C (62:11)

Did we pick someone? Pick that.

B (62:13)

I'm sure I did. Or you? I mean, I'm sure I did. I don't know. I mean, it would be.

A (62:18)

I don't even remember what. What drafts we've done now. We've done so many.

B (62:24)

I know that no one took it. That's impossible.

A (62:29)

I guess you guys don't like it that much, but look at this. This is hilarious. Perfect speller. I heard Mike votes for Brian in the drafts and the rest of the band always votes for Meg.

B (62:38)

Yeah, that's definitely true.

A (62:42)

That's so hilarious.

C (62:43)

Oh, I took it I took it. I got it.

B (62:45)

I got it.

C (62:46)

That's right. I got it.

B (62:49)

These drafts are very stressful for Megan, everyone. So just keep Jonathan. Very stressful.

C (62:56)

Jonathan. Jonathan got the 731, 13 tweezer. The Tahoe tweezer. RJ did get the 12, 1699 tweezer. Oh, my God. Don't worry. Got the 12, 30, 19 tweezers. So we were.

A (63:08)

Don't worry, Brian. You won that draft.

C (63:10)

I believe she also got the 12, 28, 12 tweezer, which, you know, I guess that's. That's what you pick.

A (63:16)

Oh, my God. It's so brutal. It's so brutal. They do to me about these drafts.

B (63:22)

It's very hard.

A (63:23)

So hard.

B (63:24)

Okay, so we're going to be back on Thursday, Wednesday. To talk about Hampton.

A (63:29)

It's Wednesday, but I don't really know.

B (63:33)

But sometime I think it's. I think it's Wednesday. And also we. If you're following along with our other podcast, Library Card, we are bringing that back on Wednesday. We're going to talk about Intermezzo, which is a book that we all really loved. I think you could probably read it in a week.

A (63:49)

It's so good.

B (63:50)

I mean, it's.

A (63:51)

But I. I don't think I loved it as much as you two, so I'm excited to talk about it. I liked it. I loved it, but I didn't.

C (63:57)

Yeah, I waned slightly by the end. I'm very excited to talk about this because I started loving it. I waned a little bit. I still really love it. But we're gonna talk about it. We're gonna talk.

B (64:11)

Oh, man, I can't wait. I never waned. So we're gonna talk about it next week, and we're gonna talk about Hampton. Don't wane out there, people. We'll see you guys next week. No waning.

A (64:21)

Bye, everyone.

B (64:21)

Leave us. Leave us voicemails and stuff. Yeah, because we have the mailbag. Two weeks. All right, see you next week. Bye.

C (64:28)

Bye.

A (64:29)

Bye.

C (64:50)

Sa. Limu Emu. And Doug, here we have the limu emu in its natural habitat, helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally, Doug.

B (65:37)

Uh, Limu.

A (65:38)

Is that guy with the binoculars watching us?

B (65:40)

Cut the camera.

C (65:41)

They see us.

B (65:41)

Only pay for what you need@libertymutual.com Liberty. Liberty.

C (65:45)

Liberty Savings Fairy, underwritten by Liberty Mutual Insurance Company and affiliates. Excludes Massachusetts. Your sausage McMuffin with egg didn't change your receipt. Did the sausage McMuffin with egg extra value meal includes a hash brown and a small coffee for just $5 only at McDonald's for a limited time. Prices and participation may vary.