Helping Friendly Podcast – "Mt. Rushmore: Slave to the Traffic Light"

Date: December 11, 2025
Hosts: Brian Brinkman & Megan Glionna (Osiris Media)

Episode Overview

In this episode, Brian and Megan take a deep dive into Phish’s revered song, “Slave to the Traffic Light”, using their recurring “Mount Rushmore” format to select and discuss the four best live versions of the song. They explore the emotional core of Phish’s music, discuss the song’s evolution from its origins in the 1980s through its peak in the ‘90s, and its position in more recent years. Drawing on personal experiences and fan culture, they also address ticket anxiety, tour rumors, and the catharsis Phish offers its fan base, before wrapping up with a preview of future episodes.

Key Discussion Points & Insights

The Emotional Power and Role of "Slave"

• Traffic and Tension as Metaphor (01:06–04:25)
  • The hosts open with a playful discussion about being "stuck at the traffic light", drawing a parallel to the song’s themes of waiting, tension, and eventual release.
  • Brian: "That feeling of being trapped… like, what is the point of it all is kind of what I asked myself… That’s how I try to deal with a traffic light."
• Phish’s Unmatched Ability for Catharsis (05:01–06:54)
  • Megan highlights how “Slave” has helped her through stressful periods:

    "There’s something about this song that… it just totally shifted my perspective. There are very few bands that can do what Phish does the way they do that…" (05:52)

  • The conversation emphasizes how essential songs like Slave are to giving Phish emotional depth, moving them beyond just cerebral or technical display.
• Songs as Safe Spaces for Emotion (10:44–11:57)
  • Megan observes that jam band spaces are rare, safe venues for men to access and process emotion publicly:

    "This song and songs like this… they do allow… men… to feel cathartic about their emotions and also tap into that. People don’t talk about that enough." (10:44)

  • Brian connects this insight to broader cultural needs, referencing Scott Galloway’s work on masculinity and community.

Phish Fandom: Sphere Ticket Drama & Tour Speculation

• Both hosts discuss recent experiences with the high-stakes lottery for tickets to Phish's Sphere shows in Vegas (13:10–17:42).
  • Megan scores some Sphere tickets, Brian recounts a streak of luck and disappointment, interweaves Cubs fandom as another lesson in waiting and managing expectations.
  • Discussion on how show location and timing influence the specialness or expectations for a given run (17:03–18:47).
• Speculation about the rumored 2026 summer tour dates and Brian’s reactions to certain venues, especially his desire for Colorado (Dicks) to retain its place as the closer (19:00–20:40).

"Slave to the Traffic Light" – Song History & Anatomy

• Song Origins and Evolution (21:57–26:16)

  • Megan delivers a detailed chronology, from its first performance at Nectar’s in 1984, its periods of dormancy and revivals, through its transition into a jam vehicle and set-closer in the 90s.

    “It’s a four-chord masterpiece and it has really stayed within the exact same structure since its first performance…with the intro and the jam segment stretching out…” (21:57)

  • Highlights the patience and dynamics of mid-90s versions, the darkness that emerges in later years, and the enduring emotional resonance.

• The Slave Jam: Leadership, Group Builds, and the Value of Space (27:28–31:30)

  • A nuanced debate about whether the most powerful versions are led melodically by Trey Anastasio, or are “full band builds” with Trey hanging back.
  • Brian:

    “Inadvertently, when it was written, [Slave] was designed for the transition the band would go through…in becoming a much more democratic full band unit… That to me indicates a band that is really listening in the silence.” (28:16)

Segment: Mount Rushmore – The Four Greatest "Slave" Performances

Note: Instead of discussing only “context” or “fan favorites”, the hosts focus on especially patient, emotional, and/or experimental performances where the song both soars and takes genuine risks.

1. 7/13/1994 – Big Birch, Patterson, NY

Timestamps: 34:51–42:25

• Regarded as perhaps the “greatest Slave of all time”.
• Key features: Orchestral patience, audience clapping, outstanding Mike Gordon bass, gradual full-band build with a phenomenal peak.
• Megan:

  “This version is perfect… the band comes in so sweetly and so patiently, and then it just builds to this peak that is absolutely incredible.” (38:04)

• Context: Second-to-last song, a defining moment at a now-legendary show.

2. 12/7/1995 – Niagara Falls, NY (Official Release: Niagara Falls Box Set)

Timestamps: 42:25–48:40

• Unusual placement: Mid first set, not the typical closer.
• Noted for its percussive, jazzy buildup, exceptional tension and release, and band energy untethered from end-of-show fatigue.
• Brian:

  “The silence that they sit in, the darkness that you hear early on, that then builds to this just, like, remarkable, massive, massive peak… really sets you up for what’s to come.” (44:57)

• This selection wins out over the also-beloved 12/14/95, which operates more as a suite segment.

3. 8/17/1996 – Clifford Ball, Plattsburgh, NY (Festival set closer)

Timestamps: 50:12–56:08

• Festival context: Emotional resonance of the band’s first true festival.
• Features a dark, heavy metal-infused intro, full-band collaborative build, and cathartic, peak emotional release.
• Megan:

  “This is, to me, the true moment they start to embrace the darkness inherent in this song… It’s less clean from Trey in the build, but… it works really, really well.” (51:27)

• Brian:

  “There’s so much power associated with this…This version has all of that.” (54:45)

4. 11/14/1997 – Salt Lake City, UT

Timestamps: 56:08–64:22

• Represents the final era where Slave is still an experimental jam vehicle.
• Very slow, mournful, stretching the song’s structure toward darkness and dissonance before ultimately delivering a satisfying, anthemic peak.
• Brian:

  “You don’t have to reinvent the wheel here. Just give us all the feels over [an] elongated period in time.” (59:48)

• Megan:

  “It’s really delicate. The jam is super slow and mournful in a way they could only do as they moved past into the later...90s, because they started to have more darkness in the universe.” (60:36)

• This version edges out the highly experimental (and unfinished) 12/5/97 Slave, as “Slave needs a peak”.

Honorable Mentions & Further Listening

Timestamps: 63:30–65:55

• 12/30/93 – Portland, ME: Highly regarded, but more for its context and fan impact than pure musical content.
• 5/3/94 – Starwood Amphitheater, TN: Megan’s personal favorite for its floating, patient build.
• 12/5/97 – Cleveland, OH & 7/4/2000 – Camden, NJ: Unique setlist context or transitions, but miss the essential "Slave peak".
• Recent (3.0/4.0) standouts: 9/6/15, 1/17/16, 10/16/21, 8/14/22, and especially 2/25/03 (Philly – angry and dark), and 9/6/15 (Dick’s – beautiful phrasing).

Notable Quotes & Memorable Moments

• Brian on Phish’s emotional core:

  "[Without Slave,] Phish would have just come off as very funny and smart and cerebral... but not hooked me the way they did..." (08:34)

• Megan on emotional accessibility:

  “There’s a lot of these versions that have a deep well of melancholy that they’re tapping into, and it’s really beautiful.” (11:39)

• Brian on the Mount Rushmore process:

  "Part of the fun is proving yourself wrong and listening to a version you definitely thought was going on and being like, I don't know if this says as much as I thought it would..." (52:57)

• Brian on concert etiquette:

  "I have nothing to say to any of you at a Phish show… aside from 'that was pretty great…'"
  (47:29)

Time-Stamped Highlights

• 01:06 – Opening metaphor: traffic lights, modern life, and Phish’s universal themes.
• 05:52 – Megan’s personal testimony: Slave as comfort during stressful reports week.
• 10:44–11:57 – Safe emotional space for men, catharsis of Phish and sports.
• 21:57–26:16 – Deep history of "Slave"; importance in catalogue, patience, dynamic development.
• 34:51–42:25 – Big Birch 7/13/94 deep-dive: emotional highpoint of all versions.
• 42:25–48:40 – Niagara Falls 12/7/95: why placement matters; peak “Slave” when band is fresh.
• 50:12–56:08 – Clifford Ball 8/17/96: festivals, darkness, and the power of scale.
• 56:08–64:22 – 11/14/97 SLC: late-era experimentation and the necessity of musical catharsis.
• 65:15 – Context vs. content: "You do have to finish Slave…" (on why unfinished versions don’t make the cut).
• 67:01 – Preview: Next week’s NYE Run Draft with guest podcasters; final Rushmore of the year will be "You Enjoy Myself".

Original Language, Tone, and Atmosphere

The discussion is lively, self-effacing, and steeped in the good-natured, obsessive camaraderie of long-time Phish fans. Brian and Megan combine personal anecdotes and rigorous musical analysis, often poking fun at themselves and the quirks of Phish culture. There is a recurring theme of embracing both the highs and emotional valleys of fandom, and repeated reminders of how Phish’s more emotional, triumphant songs provide unique outlets for their fans.

Summary Table: Mount Rushmore – "Slave to the Traffic Light"

| Date | Venue | Era | Notable Features | Timestamp | |--------------|----------------------------|------|-----------------------------------------------|------------| | 7/13/1994 | Big Birch, Patterson, NY | 1.0 | Ultimate patience, best peak, fan-favored | 34:51 | | 12/7/1995 | Niagara Falls, NY | 1.0 | 1st set placement, dark & intense, full band | 42:25 | | 8/17/1996 | Clifford Ball, Plattsburgh | 1.0 | Festival atmosphere, darkness, catharsis | 50:12 | | 11/14/1997 | Salt Lake City, UT | 1.0 | Lengthy, mournful build, late-era innovation | 56:08 |

Closing

The episode wraps with anticipation for the next "draft" episode, details on holiday shows, and hints that “You Enjoy Myself” will close out the Rushmore series—foreshadowing another deep-dive into one of Phish’s most iconic songs.

For new fans or those unfamiliar with “Slave to the Traffic Light,” this episode functions as both a loving exegesis and a playlist recommendation of essential versions. It’s an ode to musical patience, emotional release, and the timelessness of Phish’s live experience.