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Setlist at Irvine Auditorium Philadelphia, PA on Oct 29, 1999
Set One
Helicopters
555
Plan B
658
Mr. Don
941
The Very Moon (fakeout)
134
Pygmy Twylyte
771
Magellan (ending only)
735
Set Two
Banter
185
Stone
189
The Devil's Waltz
705
House Dog Party Favor
1281
Jigsaw Earth
1175
Little Shimmy In A Conga Line
1249
Bernstein and Chasnoff
945
Encore
Mulberry's Dream
583
Helicopters
570
Irvine Auditorium
Philadelphia, PA
Oct 29, 1999
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Setlist at Irvine Auditorium Philadelphia, PA on Oct 29, 1999
Set One
Helicopters
555
Plan B
658
Mr. Don
941
The Very Moon (fakeout)
134
Pygmy Twylyte
771
Magellan (ending only)
735
Set Two
Banter
185
Stone
189
The Devil's Waltz
705
House Dog Party Favor
1281
Jigsaw Earth
1175
Little Shimmy In A Conga Line
1249
Bernstein and Chasnoff
945
Encore
Mulberry's Dream
583
Helicopters
570
Reviews
Trace Armstrong — 12/7/2023 11:19:06 AM
"Nice review below, but could have written just as much for the Shimmy alone! No mention of how brownie more or less created an entire new style of jamming in one standalone rendition. "
Madgellin — 10/30/2019 12:51:16 PM
"Not my work but wanted to post this review from a megafan that I wholeheartedly agree with: The Helicopters jam is a thematic and triumphant trance explosion. It begins to break down around 7:30-8; Magner moves away from the celebratory synths and begins to introduce more somber and spooky ones as the rhythm section begins to lead into Plan B. Plan B is standard, but I’m partial to this Barber solo. The Don intro has Magner harmonizing the Don intro synths with the standard electric organ sounds, to cool effect. The main Don jam is pretty much a Barber showcase, featuring some of his best playing ever. He shapes the jam using a simple riff while Magner hangs in the background until around 8:45. At this point we are treated to some truly phenomenal interplay between Magner and Barber. By 9:30 Barber has developed the riff that he hangs on to with almost no variation until the twelve minute mark, as the jam gradually comes back entirely under his control. We are then treated to the most blissful, gorgeous and triumphant Very Moon peak ever played, at the time and to this date. It’s almost hard to believe that this jam is pulled off as smoothly as it is, especially when considering the overall roughness of the Very Moon jam inside the Helicopters from 10/27/99. After the Very Moon peak, the band turns on a dime and drops into Pygmy. Pygmy jam is mellow the whole way through. It starts off in the standard funk, and moves into easy-going trance rock. It breaks down around the seven minute mark. Just shy of ten minutes, Barber comes up with a very catchy riff that forms the backbone of the rest of the track. By the twelve minute mark, Sammy begins moving the jam towards Magellan tempo. The build up to the ending is fantastic. A flawless set overall. The Waltz here is a particularly strong version. This is widely considered the best Waltz of the year, and maybe ever, but to my ears I prefer 9/13/99. Excellent House Dog jam, with solid thematic build and patient peaking. Barber kind of f**** up the peak riff (likely on purpose, but it still doesn’t sound great), but that doesn’t take away from the great jam. The Party Favor jam is absolutely fantastic, delving into a type two bliss theme and only returning to the dark chaos of the composition as the band sings the closing lyrics. The uncomposed peak Barber hits just after the nineteen minute mark is heart-wrenching emotional stuff. Probably the strongest House Dog to date. Jigsaw, still in its nascent form, begins as a plodding dub jam build around the intro riff, but quickly abandons this territory for a trance jam more typical of the modern Jigsaw. Despite being the old format, this is a very forward feeling Jigsaw, with the main jam hinting at the awesome potential the song would reach in the next year. The second jam is an infectious groove. Great Barber work here, especially in the riff leading into the second chase, and great interplay with Sammy. This Jigsaw has a third jam, a pretty straightforward dub session that segues back into the ending. Shimmy is super patient and sinister. Magner provides the perfect atmosphere in the first half of the jam, and Barber absolutely murders the peak. B&C quickly leaves the bliss territory of the song and enters a very tense and haunting passage. A chaotic mindfuck of a jam develops out of this theme. Great return to bliss and great type one before the peak. Easily the best standalone version of the tour, and one of the best ever. Maybe it’s the overall high caliber of the show, but the usually standard Mulberry’s is a monster out the gate. Magner beats the crap out of his keyboard during his solo. Barber’s solo pretty instantly turns into a minimalist trance jam. Gradually builds into a bliss theme. Barber’s very simple riff in the Helicopters track is absolutely infectious, and builds to a phenomenal Helicopters peak."
