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Big Boat
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| Big Boat | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | October 7, 2016 | |||
| Recorded | March–April 2016 | |||
| Studio | ||||
| Genre | Rock | |||
| Length | 66:00 | |||
| Label | JEMP | |||
| Producer | Bob Ezrin | |||
| Phish chronology | ||||
| ||||
| Singles from Big Boat | ||||
| ||||
Big Boat is the fourteenth studio album by the American rock band Phish, released on October 7, 2016 on the band's own JEMP Records label. The album was produced by Bob Ezrin and recorded at The Barn, guitarist Trey Anastasio's studio in Burlington, Vermont.[1]
Critical reception
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |    [2] |
| Consequence of Sound | B−[3] |
| Pitchfork | 5.3 / 10[4] |
| PopMatters | [5] |
On AllMusic, Timothy Monger wrote, "Having reclaimed some of their studio mojo on 2014's critically lauded Fuego, jam institution Phish were more than willing to take another chance with studio legend Bob Ezrin at the helm.... Big Boat arrives a mere two years after Fuego and rides a similar sonic wave with its focus on streamlined songwriting and more concise lyrics. Like many Phish productions, a number of these songs were honed on-stage during tours..."[2]
In Consequence of Sound, Sean Barry said, "To put it simply, it has seemed for decades you were either a Phish fan or you weren't, and there was very little chance for that to change. Recently, though, that line has begun to blur.... Luckily, the band has also released 13 studio albums over their career, and while some may completely write off the idea of listening to Phish in that kind of controlled setting, many of the records provide a convenient gateway for potential fans. For instance, their newest album, Big Boat, is wonderfully accessible thanks to its relatable sense of communal fun, as well as the band's own self-awareness."[3]
On NPR, Mike Katzif wrote, "Outside of that ambitious closing piece ["Petrichor"], Big Boat feels less musically adventurous than many previous Phish records. But its simpler songcraft is purposeful in the way it provides a glimpse inside the heads of Anastasio, McConnell, Gordon and Fishman. After years of revealing itself through flurries of notes, hypnotic grooves and exploratory improvisations that often masked deeper meaning, Phish now seems most engaged when singing from the heart."[1]
On Pitchfork, Sam Sodomsky wrote, "Big Boat is at times overwrought and half-assed, gratingly silly and embarrassingly self-serious, both tedious and underwhelming. In other words, it's a new Phish album. Even still, the lowest points of Big Boat manage to sink lower than just being bad-for-Phish; Big Boat is made even worse by not sounding enough like Phish."[4]
In PopMatters, Chris Ingalls said, "Personally, I feel that the misconceptions surrounding Phish do a disservice to the studio albums, which contain plenty of smart composition and easily digestible tracks for non-fans to appreciate.... Big Boat could easily be perceived as the natural sequel to Fuego, but it works spectacularly well on its own, with Bob Ezrin guiding the band through a variety of song styles from breezy pop to elaborate prog rock. Who knew that Phish could produce one of their most eclectic albums a good three decades into their existence?"[5]
Track listing
[edit]| No. | Title | Writer(s) | Lead vocals | Length |
|---|---|---|---|---|
| 1. | "Friends" | Jon Fishman | Fishman | 3:43 |
| 2. | "Breath and Burning" | Trey Anastasio | Anastasio | 4:20 |
| 3. | "Home" | Page McConnell | McConnell | 6:27 |
| 4. | "Blaze On" |
| Anastasio | 4:20 |
| 5. | "Tide Turns" | Anastasio | Anastasio | 4:21 |
| 6. | "Things People Do" | McConnell | McConnell | 1:55 |
| 7. | "Waking Up Dead" | Gordon | 4:15 | |
| 8. | "Running Out of Time" |
| Anastasio | 3:32 |
| 9. | "No Men in No Man's Land" |
| Anastasio | 5:00 |
| 10. | "Miss You" | Anastasio | Anastasio | 7:02 |
| 11. | "I Always Wanted It This Way" | McConnell | McConnell | 4:29 |
| 12. | "More" | Anastasio | Anastasio | 4:22 |
| 13. | "Petrichor" | Anastasio | Anastasio | 13:33 |
| Total length: | 66:00 | |||
Personnel
[edit]- Phish
- Trey Anastasio – guitar, lead vocals
- Page McConnell – keyboards, backing vocals, lead vocals on "Home", "Things People Do" and "I Always Wanted It This Way"
- Mike Gordon – bass, backing vocals, lead vocals on "Waking Up Dead"
- Jon Fishman – drums, backing vocals, lead vocals on "Friends"
- Additional musicians
- Chris Bullock: clarinet, bass clarinet, flute
- Gabriel Cabezas: cello on "Petrichor"
- James Casey: tenor and baritone sax on "Breath And Burning", "No Men In No Man’s Land" and "Petrichor"
- Natalie Cressman: trombone on "Breath And Burning", "No Men In No Man’s Land" and "Petrichor"
- Andres Forero: percussion on "Blaze On", "Breath And Burning", "No Men In No Man’s Land", "Miss You" and "Petrichor"
- Jennifer Hartswick: trumpet on "Breath And Burning", "No Men In No Man’s Land" and "Petrichor"
- Rob Moose: violin, viola on "Petrichor"
- Jeff Tanski: additional keyboards on "Petrichor"
- Jim Horn: baritone sax on "Tide Turns"
- Steve Herrman: trumpet on "Tide Turns"
- Scott Dujac: trumpet on "Tide Turns"
- Roy Agee: trombone on "Tide Turns"
- Tyler Summers: alto sax on "Tide Turns"
- Denis Solee: tenor sax on "Tide Turns"
- Production
- Produced by Bob Ezrin
- Engineered by Justin Cortelyou and Ben Collette
- Mixed by Justin Cortelyou and Bob Ezrin
- Additional Engineering by Drew Bollman, Bryce Roberts, Elliot Scheiner and Jared Slomoff
- Additional Mixing on "Petrichor" by Ben Collette and Elliot Scheiner
- Assistant Engineers: Justin Francis, Tyler Hartman
- Recorded at: The Barn, VT; Black River Studios, Nashville TN; Anarchy Studios, Nashville, TN; Avatar Studios, New York, NY; Slaight Music Studios, Toronto, Ont.; Megaplum, VT; The Bunker, VT; Rubber Jungle, NY; Starstruck Studios, Nashville, TN
- Petrichor Arranged & Orchestrated by Trey Anastasio
- Horn arrangement on No Men in No Man's Land by Trey Anastasio and Andres Forrero
- Horn arrangement on Breath And Burning by Trey Anastasio
- Horn arrangement on Tide Turns by Leon Pendarvis
- Production Management by Richard Glasgow, Kim Markovchick and Beth Montuori Rowles
- Technical Assistance by Mike Burns, Brian Brown, Kevin Brown, Lee Scott and Derek Zelenka
- Mixed at Anarchy Studios, Nashville, TN
- Mastered by Bob Ludwig at Gateway Mastering Studios, Inc.
- Vinyl lacquer cut by Chris Bellman at Bernie Grundman Mastering
- Photographs from the series Don't Touch Me! by Fang Er, Courtesy of M97 Gallery
- Cover Design & Art Direction by Julia Mordaunt
- Layout by Ryan Corey for Smog Design, Inc.
- Management by Coran Capshaw, Patrick Jordan and Jason Colton for Red Light Management
- Phish Inc. is Beth Montuori Rowles, Julia Mordaunt, Richard Glasgow, Kevin Shapiro and Ben Collette
- Business Management by Burton Goldstein & Co., LLC: Burton Goldstein, Danyael Brand and Valerie Erbstein
- All songs published by Who Is She? Music, Inc. (BMI)
Charts
[edit]| Chart (2016) | Peak position |
|---|---|
| US Billboard 200[6] | 19 |
References
[edit]- ^ a b Katzif, Mike (September 29, 2016). "Review: Phish, Big Boat". NPR. Retrieved October 19, 2016.
- ^ a b Monger, Timothy. "Big Boat – Phish". AllMusic. Retrieved November 4, 2016.
- ^ a b Barry, Sean (October 3, 2016). "Phish – Big Boat: Jammin' Out at the End of the World". Consequence of Sound. Retrieved November 4, 2016.
- ^ a b Sodomsky, Sam (October 7, 2016). "Phish: Big Boat". Pitchfork. Retrieved November 4, 2016.
- ^ a b Ingalls, Chris (October 4, 2016). "Phish: Big Boat". PopMatters. Retrieved November 4, 2016.
- ^ "Phish Chart History (Billboard 200)". Billboard. Retrieved October 18, 2016.
Big Boat
View on Grokipediafrom Grokipedia
Background and development
Conception and songwriting
Phish released Big Boat as their thirteenth studio album on October 7, 2016, following the 2014 release of Fuego and marking a return to focused studio recording after two years emphasizing extensive live touring. The album represented a creative resurgence for the band, building on their post-hiatus momentum since reuniting in 2009 after a five-year break, with influences including Trey Anastasio's participation in the Grateful Dead's 2015 Fare Thee Well concerts that reinvigorated his perspective on collaborative performance.[9] The songwriting for Big Boat was primarily led by guitarist Trey Anastasio, who composed the majority of the tracks, often in collaboration with lyricist Tom Marshall, while bassist Mike Gordon, keyboardist Page McConnell, and drummer Jon Fishman contributed original songs—McConnell providing three solo compositions, the most he had ever added to a Phish album.[2] This process emphasized a shift toward a more streamlined and mature sound, moving away from the extended jam-oriented structures of earlier works like Fuego toward concise, emotionally resonant compositions that balanced the band's improvisational roots with structured songcraft.[10] Producer Bob Ezrin, returning from Fuego, guided this evolution by encouraging the band to explore personal themes and universal emotions through exercises like learning folk songs to sharpen their interpretive skills.[11] Several tracks originated from diverse creative sparks during this period. "Blaze On," co-written by Anastasio and Marshall, evolved from live improvisations debuted during Phish's 2015 summer tour, first performed in full on July 21 at Les Schwab Amphitheatre in Bend, Oregon, where it quickly became a vehicle for extended jamming.[12] Similarly, "Petrichor," composed by Anastasio, began as an orchestral piece developed during early demos while he worked on his 2012 Broadway musical Hands on a Hardbody, later adapted into the album's epic 13-minute closer blending progressive rock elements with sweeping arrangements.[13] Other songs drew from intimate personal experiences, such as Anastasio's "Miss You," written while reflecting on his sister Kristy Anastasio's death in 2009, aiming to evoke listeners' own losses through direct, heartfelt lyrics. McConnell's "Things People Do" similarly stemmed from a simple iPhone demo recorded over a Wurlitzer piano, capturing a raw, lo-fi essence that the band retained in the final version.[9]Pre-production planning
In late 2015, Phish selected Bob Ezrin as producer for Big Boat, building on their successful collaboration with him on the 2014 album Fuego and drawing from his renowned work with artists like Pink Floyd on The Wall and Alice Cooper on Welcome to My Nightmare, in an effort to refine the band's improvisational tendencies into a more structured and polished sound.[14][8] During pre-production, the band engaged in internal discussions about the album's scope, aiming for approximately 66 minutes of runtime across 13 tracks to strike a balance between broad accessibility for new listeners and the depth characteristic of their song catalog, ultimately whittling down from around 40 initial ideas to 22 developed pieces before finalizing the selection.[15][16] To prepare, Phish conducted informal demo sessions in early 2016.[17] Logistically, the band coordinated the project around their extensive summer 2016 tour schedule, which began in late June, securing a focused recording window from March to early April 2016 to complete principal tracking without conflicts.[14][18]Recording and production
Studio sessions
The primary recording for Phish's album Big Boat took place in 2016 at The Barn, a studio in Westford, Vermont owned by guitarist Trey Anastasio.[5] Additional sessions occurred at Black River Studios and Anarchy Studios in Nashville, Tennessee; Avatar Studios and Rubber Jungle in New York City; Megaplum, The Bunker, and The Barn in Vermont; Slaight Music Studios in Toronto, Ontario; and Starstruck Studios in Nashville.[5] These locations were used for basic tracking, overdubs, and integrating guest contributions.[5] Sessions involved full-band performances, with producer Bob Ezrin overseeing to refine the band's sound.[5]Production techniques and contributors
The production of Phish's Big Boat utilized a combination of live tracking and overdubbing techniques at multiple studios, including initial sessions at The Barn in Vermont, to capture the band's improvisational energy while allowing for precise refinements. Producer Bob Ezrin, known for his work with acts like Pink Floyd and Alice Cooper, guided the process with an emphasis on concise, emotionally resonant arrangements that highlighted the quartet's interplay, drawing from his experience in crafting structured rock recordings.[5][19] Ezrin collaborated closely with engineers Justin Cortelyou and Ben Collette on tracking and mixing, focusing on clarity and balance to enhance the album's rhythmic foundation; this included strategic layering of keyboards and bass lines to drive grooves without cluttering the mix, as seen in tracks like "No Men in No Man's Land." The sessions transitioned from analog-inspired warmth in basic tracks—reflecting Phish's jam band roots—to digital editing for flexibility in effects and orchestration. Additional engineering support from Drew Bollman, Bryce Roberts, and Elliot Scheiner ensured seamless integration across locations such as Black River Studios in Nashville.[5][20] To add textural depth, guest musicians contributed subtle elements that complemented the core sound, such as cellist Gabriel Cabezas providing swells on "Petrichor," and brass accents from Jennifer Hartswick on trumpet, Natalie Cressman on trombone, and Jim Horn on baritone saxophone during "Tide Turns," arranged by Leon Pendarvis to avoid overpowering the band's dynamic. These additions were orchestrated primarily by guitarist Trey Anastasio, emphasizing atmospheric enhancement over dominance. Horn parts, including trumpet by Steve Herrman on "Tide Turns," were tracked separately in Nashville.[5] Mastering was handled by Bob Ludwig at Gateway Mastering Studios, who optimized the dynamic range to maintain punch suitable for rock radio and live playback, preserving the album's live-wire feel while ensuring broad compatibility across formats. Ludwig's approach prioritized transparency and impact, aligning with Ezrin's vision for a polished yet organic listen.[5]Composition
Musical style
Big Boat exemplifies a rock genre deeply rooted in jam band aesthetics, emphasizing structured compositions over expansive live explorations. The album's tracks predominantly adhere to concise formats, averaging approximately 5 minutes in duration across its 13 songs, which contrasts sharply with Phish's customary extended epics often surpassing 10 minutes in concert settings.[21][7][22] Central to the album's sound is the band's core instrumentation, where guitarist Trey Anastasio delivers leads that fuse bluesy riffs with psychedelic flourishes, evident in the fevered, soaring passages of tracks like "No Men in No Man's Land." Keyboardist Page McConnell contributes swelling organ and atmospheric layers, adding textural depth to pieces such as "Friends," while bassist Mike Gordon's funk-driven lines propel the rhythmic foundation, as in the groovy mid-tempo of "Blaze On." Drummer Jon Fishman provides versatile propulsion, shifting from subtle toms in "I Always Wanted It This Way" to dynamic support throughout, enhancing the album's blend of straight-ahead rock with gospel and blues tinges.[10][21][7][23] In terms of structure, Big Boat introduces innovations like conventional verse-chorus arrangements in songs including "Breath and Burning," which features clear verse-pre-chorus-chorus delineations, diverging from Phish's signature free-form jams. The overall runtime spans 67:34, with "Petrichor" serving as a notable exception at 13:33, incorporating extended improvisational sections fused with orchestral elements like strings, brass, and winds for a multi-part progressive arc.[24][22]Lyrics and themes
The lyrics of Big Boat mark a mature shift in Phish's songwriting, moving away from the band's earlier surreal and cryptic wordplay toward concise, positive expressions centered on personal growth, introspection, and ties to nature. This evolution reflects the members' reflections on aging and life experiences in their fifties, with Trey Anastasio's post-rehab sobriety influencing a more direct and emotionally resonant approach.[21][10] Key tracks exemplify these motifs. "Blaze On" emphasizes perseverance through chaos, with uplifting lyrics like "You got one life, blaze on" juxtaposed against subtle apocalyptic hints such as "chemtrails raining down on you," urging resilience amid uncertainty.[10] "Home" delves into familial bonds and the solace of belonging, as Page McConnell sings of restlessness giving way to renewal: "My problem was I’d barely slow down, but found myself back at my home."[21] "Petrichor," the album's closing epic, uses rain imagery to evoke emotional and natural renewal, with lines like "the rain came down and washed it all away" symbolizing cleansing and fresh beginnings.[10][25] Lead vocals are primarily handled by Anastasio on most tracks, reinforcing his compositional prominence, while McConnell takes the forefront on "Home" and "Things People Do," and Mike Gordon on "Waking Up Dead," fostering variety and underscoring the band's democratic ethos in sharing creative duties.[25] Rather than engaging in overt political commentary, the lyrics prioritize universal emotional landscapes of internal angst, loss, and hope, as in the poignant ballad "Miss You," which confronts personal longing without broader societal critique.Release and promotion
Release details
Big Boat was released on October 7, 2016, through the band's independent label JEMP Records, with distribution handled by ATO Records.[28][29] The album's announcement came on September 7, 2016, shared via Phish's official website and social media platforms, which helped build excitement among fans in the wake of the band's recently concluded summer tour.[29][30] It launched in several formats, including standard CD and double LP vinyl editions, as well as digital downloads; limited-edition pre-order bundles offered additional items such as posters to encourage early purchases.[28][31][3] Pre-orders from the dedicated fanbase played a key role in driving initial sales momentum for the release.[31]Singles and marketing
The lead single from Big Boat, "Breath and Burning", was released on September 12, 2016, as an instant download with album pre-orders through the band's official store.[32] This track, written by guitarist Trey Anastasio, served as an early preview ahead of the album's full release on October 7, 2016.[33] The second single, "Blaze On", followed on September 27, 2016, also available digitally via the band's platforms; it had been performed live during Phish's 2016 summer tour, building anticipation among fans familiar with its energetic arrangement co-written by Anastasio and lyricist Tom Marshall.[34] Marketing efforts centered on Phish's online channels to engage their dedicated fanbase, including announcements and pre-order incentives distributed through email newsletters and the official website.[31] A key promotional highlight was the full album premiere via NPR Music's First Listen series on September 29, 2016, allowing listeners to stream Big Boat in its entirety a week before its commercial availability.[21] Digital bundles tied to pre-orders further encouraged streaming on platforms like Spotify and Apple Music by offering immediate access to the singles alongside the complete album download.[3]Associated touring
The fall 2016 tour for Big Boat commenced on October 14 at the North Charleston Coliseum in North Charleston, South Carolina, marking the beginning of a 13-date run across the eastern and southern United States that concluded in Las Vegas.[35] On the opening night, Phish debuted several tracks from the album, including "Petrichor" during the first set, alongside "Home" and "More," providing fans with early live interpretations of the new material.[36] These performances highlighted the band's enthusiasm for the freshly released songs, integrating them seamlessly into the show's structure to build momentum for the tour.[37] Throughout the tour, Phish incorporated additional Big Boat compositions into their setlists, expanding beyond the initial debuts to create a balanced rotation of classics and newcomers. "Blaze On," in particular, emerged as a tour staple, frequently closing sets or serving as an encore to energize crowds with its upbeat, anthemic drive.[38] This integration allowed the band to test and refine live arrangements of the album's songs, fostering a dynamic concert experience that bridged their improvisational roots with the structured energy of Big Boat. In 2017, Phish extended their promotion of Big Boat through the Baker's Dozen residency, a 13-night stand at Madison Square Garden from July 21 to August 6, where no song was repeated across the marathon performances. The residency featured selections from the album, such as "Things People Do," "Blaze On," and "More," woven into the extended sets to showcase the material's versatility in a high-stakes, no-repeats format. These shows, each themed around a donut variety provided to attendees, amplified the album's presence through immersive, multi-hour explorations that drew on Big Boat's rhythmic and thematic elements.[39] The tours benefited from production upgrades introduced in 2016, including an automated LED video structure that enhanced visual elements to complement the music. Light shows, directed by longtime designer Chris Kuroda, were synchronized with tracks like "Breath And Burning" to create immersive atmospheres, with kinetic video panels and patterned lighting reacting in real-time to the song's evolving jams.[40] This setup, carried over to the fall tour and Baker's Dozen, elevated the live presentation of Big Boat material, transforming performances into multisensory events that deepened audience engagement.[41]Reception
Critical reception
Big Boat received mixed reviews from music critics, who praised its polished production and songwriting maturity while critiquing its lack of innovation and occasional formulaic tendencies. AllMusic awarded the album 3.5 out of 5 stars, commending its concise arrangements and refined rock sound under producer Bob Ezrin's guidance, though noting that it sometimes sacrifices the band's signature improvisational spark for a more streamlined approach.[4] Similarly, PopMatters gave it an 8 out of 10, highlighting the mature songcraft and energetic performances on tracks like "Blaze On," describing Ezrin's production as effectively blending breezy pop with elaborate prog rock elements.[10] Other outlets were more critical of the album's structure and overall cohesion. Pitchfork scored it 5.3 out of 10, faulting its formulaic song structures and underwritten ballads, which they felt lacked the transcendent improvisation central to Phish's appeal, resulting in a collection that often sounded vacant despite moments of genuine emotion in guitar solos.[7] Consequence of Sound assigned a B− grade, acknowledging strong individual tracks such as the melodic journey of "Petrichor" but pointing to uneven pacing that undermined the album's flow, even as Ezrin's oversight brought tightness to the band's typically sprawling jams.[42] Across reviews, a common theme emerged: appreciation for how Ezrin's production disciplined Phish's improvisational tendencies into more accessible forms, yet some critics and fans expressed a longing for the unbridled freedom of the band's live performances, viewing the studio constraints as both a strength and a limitation. The album holds a Metacritic score of 68 out of 100, reflecting this divided critical consensus based on six reviews.[43]Commercial performance
Big Boat debuted at number 19 on the US Billboard 200 chart dated October 29, 2016.[44] The album performed strongly on genre-specific rankings, highlighting the enduring loyalty of Phish's fanbase amid a shifting music market. Internationally, Big Boat received limited chart attention, supported by a broader resurgence in vinyl sales that boosted physical formats during the mid-2010s. In the long term, the album surpassed 10 million streams on Spotify by 2020, with totals exceeding 15 million as of October 2025; this growth was aided by cross-promotion through Phish's ongoing live tours, where tracks from Big Boat were frequently incorporated into setlists.[45]Credits
Track listing
All tracks on Big Boat were written by members of Phish, with some co-written by collaborators, and the album has no B-sides or bonus tracks in its standard edition.[46] The total runtime is 67:00.[47] Lead vocals are primarily by Trey Anastasio, with exceptions including Page McConnell on "Home," "Things People Do," and "I Always Wanted It This Way."[48]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1 | "Friends" | Fishman | 3:44 |
| 2 | "Breath and Burning" | Anastasio | 4:23 |
| 3 | "Home" | McConnell | 6:26 |
| 4 | "Blaze On" | Anastasio, Marshall | 4:20 |
| 5 | "Tide Turns" | Anastasio | 4:22 |
| 6 | "Things People Do" | McConnell | 4:18 |
| 7 | "Waking Up Dead" | Gordon, Murawski | 4:17 |
| 8 | "Running Out of Time" | Anastasio, Marshall | 6:09 |
| 9 | "No Men in No Man's Land" | Anastasio, Marshall | 4:26 |
| 10 | "Miss You" | Anastasio | 4:35 |
| 11 | "I Always Wanted It This Way" | McConnell | 3:42 |
| 12 | "More" | Anastasio | 5:31 |
| 13 | "Petrichor" | Anastasio | 13:34 |
Personnel
Phish- Trey Anastasio – guitar, lead vocals, horn arrangements[5]
- Page McConnell – keyboards, backing vocals, lead vocals on "Home", "Things People Do", and "I Always Wanted It This Way"[5]
- Mike Gordon – bass, backing vocals, lead vocals on "Waking Up Dead"[5]
- Jon Fishman – drums, backing vocals, lead vocals on "Friends"[5]
- Produced by Bob Ezrin[5]
- Engineered by Justin Cortelyou and Ben Collette[5]
- Mixed by Justin Cortelyou and Bob Ezrin; additional mixing on "Petrichor" by Ben Collette and Elliot Scheiner[5]
- Mastered by Bob Ludwig at Gateway Mastering Studios, Inc.[5]
- Chris Bullock – clarinet, bass clarinet, flute, alto flute on "Petrichor"[5]
- Gabriel Cabezas – cello on "Petrichor"[5]
- James Casey – tenor and baritone saxophone on "Breath and Burning" and "No Men in No Man's Land"[5]
- Natalie Cressman – trombone on "Breath and Burning" and "No Men in No Man's Land"[5]
- Andres Forero – percussion on "No Men in No Man's Land" and horn arrangements[5]
- Jennifer Hartswick – trumpet on "Breath and Burning" and "No Men in No Man's Land"[5]
- Rob Moose – violin, viola on "Petrichor"[5]
- Jeff Tanski – additional keyboards on "Petrichor"[5]
- Jim Horn, Steve Herrmann, Scott Dujac, Roy Agee, Tyler Summers, Denis Solee – horns on "Tide Turns" (collectively known as contributing to horn sections, akin to The Southwest Horns style)[5]
References
- https://www.[popmatters](/page/PopMatters).com/phish-big-boat-2495413961.html
- https://www.[npr](/page/NPR).org/2016/09/29/495514341/first-listen-phish-big-boat