For my particular Phishy tastes, this is without a doubt a keeper. Highlights galore, great playing throughout, beautiful peaks and lots of dark, dark, evil chaotic Phish. If you like dissonance-filled and chaotic, unpredictable jamming, this show may be for you. Highlights:

1) Bathtub Gin: Merely sets the stage for everything to come. Great playing and a nice little jam that fades into bliss before becoming Sparkle
2) Down with Disease: Out the gate, Trey's playing is full of frenzy and energy that continuously lands. Trey's instincts are on fire. Stellar Type I jam
3)*Split Open & Melt*: I imagine that this is on the soundtrack that plays in Hell's lobby. A chaotic SOAM jam that never loses coherence, we get lots of evil, rabies-infested Phish with a brief interlude of helium bliss, only to explode back into more insane noise-filled dissonance. And at the conclusion, the band sticks the landing back into the SOAM theme. Stellar jam
4)*Harry Hood*: The patient yet insistent building to this peaks is worth the price of admission. It's like the band is pissing in my ears, and I have a golden shower fetish. Hose city.
5)*Cities*: Funky vibing to start set II. At this point, I'm just a little gravy ball in this '97 crowd,. Put me on some biscuits, let's get soggy. At ~16, the jam transitions from gravy funk to some Sunny D brightness. Uplifiting and bright, Page really shines in this part of the jam. Breakfast of Champs
6)*Good Times, Bad Times->Rotation Jam*: How did this bluesy rocker melt so quickly into a snaking psychedlic romp? Oh hold the phone, cause Page is going to the Theremin!? And Trey is playing nasty melodies of the undead?! And this zombie groove... yeah this is some satanic seance shit. Wondeful! Let's dance in goat blood!
7) Rock A William: All the preceding noises set this creepy number up well
8)*David Bowie*: The extended build up here is just fun, and the delay loops keep it interesting. Once the song starts, the jam gets to this pretty contemplative place fairly quickly, and I'm happy to meander here for a while. But then around ~14 min, Trey plays this venom-laced chord to transition a motion to murkier waters, and at ~18:30 Trey & Page are trading percussive attacks before the whole band growls back into the Bowie theme. Beautiful version