Countdown Rewind: Celebrating the 2004 NYE Run - 12/28/04 Boston

The Avalon Ballroom was living on borrowed time. Just a few years later, this iconic venue would be replaced by the House of Blues, but on this crisp December night, it was home to the second chapter of the Disco Biscuits’ 2004 New Year’s Run. The energy in Boston was magnetic - brimming with a sense of anticipation that seemed to hum in every note played. Boston offered a different vibe from Albany’s opener the night before. Where Albany felt cozy and reflective, Boston was sharper and more unpredictable. The setlist leaned into the adventurous, brimming with unexpected twists that felt perfectly suited for a city where old and new collide on every cobblestone street.

The band kicked things off with “Wet,” a light-hearted opener that hinted at the night’s playfulness. From there, “Mulberry’s Dream” painted the room with style, pulling the crowd into a dreamy, surreal space. The first set’s centerpiece was the dazzling sequence of ‘Kamaole Sands > Munchkin Invasion >< Aquatic Ape,’ a rare journey that felt like walking a tightrope between chaos and elegance. This performance is the only time ‘Munchkin Invasion’ has segued into an “Aquatic Ape,” making it a special moment that Biscuits lore holds in high regard. The first set wrapped up with “Kamaole Sands > Bernstein and Chasnoff (dys),” a pairing that hadn’t been seen often and hasn’t been played since. The interplay between Magner’s keys and Barber’s guitar created a perfect balance, like a dialogue between opposites—soft yet assertive, whimsical yet deliberate.

The second set wasted no time in grabbing the audience’s attention. “Reactor > Munchkin Invasion” opened with electrifying energy, setting the stage for some of the night’s most dynamic jams. The transitions were smooth yet thrilling, with Magner’s playful keyboard leads and Sammy’s laser-focused drumming keeping the momentum alive.

“Shem-Rah Boo > Down to the Bottom > Kamaole Sands” showcased the band’s ability to blend deep grooves with emotional resonance. “Down to the Bottom” remained unfinished, leaving the crowd suspended in an almost magical state of wonder. We wouldn’t see ‘Down to the Bottom’ again live until the 2/15/07 show in Sayreville. Then came “Confrontation > Safety Dance > Reactor,” a playful and clever stretch that perfectly captured the Biscuits’ knack for blending humor and artistry. The cheeky arrival of “Safety Dance” mid-jam felt like a delightful wink, a moment of levity that brought smiles across the room.

For the encore, the band circled back to themes from earlier in the night with “Bernstein and Chasnoff (dys) > Confrontation.” It was a fitting and satisfying way to close the show, offering a sense of completion to a night filled with rare transitions and bold choices.

This show, at times overlooked compared to the rest of the run, is a treasure chest of hidden gems. Rare pairings and unique segues, like the final occurrence of “Down to the Bottom > Kamaole Sands” and the singular “Munchkin >< Aquatic Ape”, make it a standout for devoted fans. It’s a performance that feels like it belongs to a category all its own, defying easy comparisons to the rest of the Biscuits’ sprawling catalog.

The true magic of this night wasn’t just in the stats or the rare setlist choices, though. It was in the atmosphere—the balance of lighthearted joy and focused creativity. The band played with a looseness that felt refreshing yet stayed grounded in intention, crafting a show that felt both deeply personal and universally electrifying.

In hindsight, Boston’s stop on the 2004 New Year’s Run might be the unsung hero of the stretch, a night where the Biscuits embraced their quirks, leaned into the unexpected, and created something that left the crowd buzzing with energy and awe. Those lucky enough to have been there witnessed a slice of magic that felt as fleeting as the Avalon itself.