Over the weekend, The Disco Biscuits performed three late-night shows at Brooklyn Bowl Las Vegas. This wasn’t the first time that the Biscuits played a late-night run at Brooklyn Bowl Las Vegas during Phish‘s run at the MGM Grand Garden Arena, and it certainly won’t be the last. Fans from all over the country flew in to witness what they expected to be three nights of madness. Well, they got what they were looking for.

The band kicked things off on Thursday night with “Confrontation” > “I Feel Love” (Donna Summer) > “Confrontation”. It was a good way to ease the Phish fans in attendance into the Biscuits and their style of playing. Next, “After Midnight” > “Basis For a Day” > “Necromancer” > “Basis For a Day” contained some of the best trance-fusion of the night. The final “Basis” jam was blissed-out while still possessing high energy “untz,” but it was only the first night and the band had a lot more to offer fans during the sets that followed.

The Disco Biscuits kicked off the second set of night one off with one of their classics, “Crystal Ball”. Keyboardist Aron Magner took the lead during the improvisation, which produced a handful of thoroughly exciting moments. Next up was “Little Shimmy in a Conga Line” > “Tempest” > “Little Shimmy in a Conga Line”, a hands-down highlight of the night. The band was clicking and pushing musical boundaries in a way that is now expected by their fans. It’s segments like this that keep the band’s diehard fans coming back for more. The sandwich featured some tasteful riffs from guitarist Jon “Barber” Gutwillig, and bassist Marc “Brownie” Brownstein was right behind him. They ended the second set with a Las Vegas-appropriate cover of Elvis’ “Suspicious Minds”.

Night 2 started off with a cover of Prince’s “1999”. The Biscuits did the classic song justice and they laid down some premier space funk during the jam. A twenty-six-minute version of “Astronaut” came next, marking one of the most ferocious improvisational highlights of the run. “Jigsaw Earth” > “Triumph” > “Jigsaw Earth” followed, serving as a prime example of the Biscuits’ use of contrast. It got dark and heavy, but also bubbly and light-hearted showcasing opposite ends of the spectrum of their musical range.

The following featured just three songs, starting off with a twenty-one-minute version of Men Without Hats‘ “Safety Dance”, a classic cover that’s been in their repertoire for years. As the band gets older, songs like “Little Betty Boop” have truly begun to shine, and they executed this one with patience and purpose. “Spraypaint” closed out the set with twenty minutes of power that echoed throughout Brooklyn Bowl Las Vegas. They encored with “Floes”, a song written by their original drummer Sam Altman. All in all, Night 2 was good—but the best was yet to come.

The third and final night of the run was by far the best of the bunch. The jams got deeper and the band was communicating on a near-telepathic level. The “Little Lai” > “Fifth of Beethoven” got the crowd warmed up and pumping, and the “Digital Buddha” > “Pilin’ It Higher” > “Abraxas” > “Digital Buddha” that closed set one was easily the best segment of the entire run. From blissco to relentless drum n’ bass, the entire band was soaring—they could not miss. If you missed the run, go back and listen to this chunk at all costs.

Trance-fusion is a style of music that can be replicated, but only one band can execute it at the highest level, and that’s The Disco Biscuits. The final set of the weekend started with a twenty-two-minute rendition of the Gutwillig classic, “Hot Air Balloon”. That jammed straight into an inverted “Bernstein and Chasnoff”, an impressive change-up for hardcore fans as the song is usually used as a drop-segue. Next came one of Brownstein’s new songs, “Miracles”. A lot of fans have mixed feelings about the song, but the lyrics are strong and it has continued to earn its stripes as a jam vehicle. This one got dark and dirty before transitioning into Pink Floyd’s “Run Like Hell”. And then… boom! The band jammed back into “Hot Air Balloon” to bookend the set. Finally, the band encored with LCD Soundsystem’s “Home”, which made its way back through “Run Like Hell” to close out the run with style and swagger.

In all, this was a successful weekend that definitely outshined the previous Worchester run, but the best is still yet to come. Their shows at The Palace Theater on November 23rd and 24th are going to give fans an example to see top shelf fall Biscuits. After that, the band has a three-night run in the mountains of Colorado at a brand-new venue in Frisco, followed by Holidaze, an event whose potential for greatness is self-explanatory. But the most anticipated run of them all is their return to Philadelphia for New Year’s Eve over four nights at The Fillmore starting on December 28th. The Disco Biscuits are playing more and more dates, and whether you love them or hate them, go catch one and witness their live show. There is nothing else like it in the scene.

You can watch full pro-shot video of The Disco Biscuits at Brooklyn Bowl Las Vegas on November 2nd below via the band’s YouTube page:

The Disco Biscuits – 11/2/18 – Full Show

[Video: The Disco Biscuits]

For a full list of The Disco Biscuits’ upcoming shows, head to the band’s website.

Setlist: The Disco Biscuits | Brooklyn Bowl | Las Vegas, NV | 11/1/18

I: Confrontation-> I Feel Love-> Confrontation, After Midnight-> Basis for a Day-> Neck Romancer-> Basis for a Day

II: Crystal Ball, Little Shimmy in a Conga Line-> Tempest-> Little Shimmy in a Conga Line, Suspicious Minds

E: Munchkin Invasion

Setlist: The Disco Biscuits | Brooklyn Bowl | Las Vegas, NV | 11/2/18

I: 1999-> Astronaut, Jigsaw Earth-> Triumph-> Jigsaw Earth

II: Safety Dance-> Little Betty Boop (inverted)-> Spraypaint Victory

E: Floes

Setlist: The Disco Biscuits | Brooklyn Bowl | Las Vegas, NV | 11/3/18

I: Little Lai-> Fifth of Beethoven, Digital Buddha-> Pilin’ it Higher-> Abraxas-> Digital Buddha

II: Hot Air Balloon-> Bernstein & Chasnoff (inverted)-> Miracles-> Run Like Hell-> Hot Air Balloon

E: Home-> Run Like Hell