Phish’s Page McConnell Plays ‘Largest Musical Instrument On Earth’ At Boardwalk Hall Finale

By Megan Glionna Oct 5, 2026 • 7:46 am PDT

Jim Whelan Boardwalk Hall, a national historic landmark, was built in the late-1920s and is one of the few original buildings from early 20th-century Atlantic City. The distinct barrel ceiling is designed after a Roman bath and covered in painted aluminum tiles.

The room has a feeling you rarely get in America: a sense of history and place. The historic venue has held performances from Judy Garland, The Beatles, The Rolling Stones, Bruce Springsteen and, of course, Phish’s memorable Halloween performances in 2010 and 2013.

Phish took the stage Sunday evening to close out a strong tour-opening, three-show run. A heavy touring year and less time off between tours have benefited the band.

“David Bowie” opened the concert, a setlist move used earlier this summer at their excellent show in Savannah, but before that it was fairly rare and hadn’t happened since 2010. Last night’s version showcased repetitive melodic playing, an exercise that has been fruitful and led to some inventive spaces in improvisation.

From an unlikely show opener to a song in a very familiar spot, “The Moma Dance” dropped in slot two. This version crossed the 20-minute mark with a soaring bliss peak, guitarist Trey Anastasio playing tight trills and keyboardist Page McConnell adding some shimmery synth space lasers.

Playing longer jams in the first set is a development that continues from the summer and has greatly improved the quality and enjoyment of first sets. They have been playing fewer songs, but doing more with them.

“Sigma Oasis” had its 53rd performance last night, and once the lyrics ended, Anastasio quickly jumped on his percussion mini-kit. Bassist Mike Gordon stepped into a stronger position with a bouncy bass line, and McConnell kept the quartet grounded with some blues piano. These percussive jams have been a staple in every show since Anastasio reintroduced the mini-kit during the Madison Square Garden shows this summer. After a few minutes, Anastasio returned to his day job on the guitar and led toward an optimistic peak in a song that has become a fairly reliable jam vehicle.

During “Blaze On,” Anastasio played contemplatively using the effect pedal, while McConnell layered soundscape synths, developing a dark mood right off the bat. This reflects a current trend: the band isn’t shying away from exploratory playing in the first set and taking risks with improvisation more typically seen in the second set (see Friday’s tour opening show, specifically “Pillow Jets”).

A smooth return to the song signaled the end of the jam, and “Halley’s Comet” brought the spinning white lights from lighting designer Chris Kuroda as Phish played a wildly energetic peak. The pace of these shows in Atlantic City has been notable and impressive, with the group playing at a high tempo and with incredible vigor.

Speaking of energy, “Wilson” was the third song played in the set that debuted in 1986. Except for “Sigma Oasis” and “Blaze On,” all of the other songs played debuted in the 1980s or 1990s, bringing the vintage of the set down (at set break, the average debut year was 1996).

But before set break, something special was in store. The end of “Squirming Coil” features McConnell playing a solo and his bandmates leaving the stage. As McConnell’s solo approached last night, he left the piano and walked over to the world’s largest organ (according to the Guinness Book of World Records).

Built in the late 1920s-early 1930s, the Poseidon Midmer-Losh pipe organ has withstood hurricanes and was damaged during renovations. Its preservation is an ongoing project supported by the WaterWheel Foundation (Phish’s philanthropic organization).

The organ has over 33,000 pipes, and McConnell played his set-closing solo on the organ, becoming the first artist to play the instrument as part of a show in the venue’s history. McConnell clasped his hands and took a bow before leaving the stage, crafting an unforgettable close to the 86-minute first set.

Set two opened with “Split Open And Melt” making its fifth appearance of the year. Drummer Jon Fishman pursued a propulsive energy and Anastasio’s hypnotic playing kept the band tighter than the usual cacophonous “Split Open And Melt” jam. The song has had a great year, with a memorable version from the aforementioned Savannah show, where it also opened the second set.

“No Men In No Man’s Land” took off when McConnell added texture and the others played rhythm behind him. Anastasio peeled off with soulful blues guitar riffs, and his solo gained momentum as Gordon backed him with a rich melody. Anastasio’s performance at Eric Clapton’s Crossroads Guitar Festival paid dividends this entire weekend. His dexterity and joyful ripping up and down the neck of his guitar led to a huge, satisfying climax. A great example of what Carlos Santana coined “hose,” fitting since Anastasio quoted “Oye Como Va” on Saturday night.

2026 has been a great year for Phish, and one reason is their commitment to adjusting the setlist. The average show gap has shrunk over the past few years, with the band playing the same songs more often, but this year they have played songs considered “bangers” more frequently. These songs lend themselves best to long-form improvisation, and the shows have increased the time spent exploring.

Choosing to play “Simple” at this point in the show last night is a great example of this in action. Fishman created a spacious tempo, and his bandmates responded with a thoughtful, minor chord space where they could experiment and settle into a quieter dynamic. McConnell played eerie synths, and Anastasio set a guitar loop before making his way back to his mini-kit. Fishman played rolling drums, and Gordon built a syrupy bass line.

Anastasio played his e-drum pad, adding effects to the deeply layered jam, then crescendoed with a giant rock-star peak on guitar to close. Fishman and Anastasio slowly wound down the peak playing in tandem for a powerful and fun ending. For the second time this year, “Simple” pushed past the 30-minute mark, and this performance was the 9th jam that went over 30 minutes this year.

“Lonely Trip” provided a slowdown for the first time all night. Phish then closed the set with their unofficial theme song, “You Enjoy Myself,” picking their instruments up after the vocal jam.

“Carini” took the encore slot with a commanding and aggressive version. Strong playing from Fishman and Gordon kept the intensity high while McConnell laid down atmospheric synths and Anastasio had one last go on his mini-kit. The powerful ending was an exclamation point on a show defined by great flow and committed improvisation.

After a weekend full of Phish originals (no cover songs all weekend!) and long jams that pushed the boundaries, the quartet from Vermont continues their Fall Tour 2026 with two shows in Richmond, Virginia, on Tuesday and Wednesday of this week.

Livestreams of Phish Fall Tour 2026 shows are available with a LivePhish With subscription.

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