Countdown Rewind: Celebrating the 2004 NYE Run - 12/29/2004 Philadelphia

On a brisk Wednesday night, the Electric Factory was alive with anticipation, a homecoming for the Disco Biscuits in the city where it all began. Philadelphia's gritty charm and storied musical history set the perfect stage for the third chapter of the 2004 New Year’s Run. The energy in the venue was electric, and the connection between the band and their hometown crowd was palpable—a shared sense of history adding weight to every note played.

‘Kitchen Mitts’ kicked things off with a punch, its playful, irreverent tones inviting the crowd to settle in for what would be a thrilling ride. Barber’s peak at the end of the opener set a jubilant tone, an early sign that this would be no ordinary night. The band leaned into their Philly roots with a performance that felt both nostalgic and forward-thinking, a delicate balance of celebration and reflection. The first set reached a peak of creativity with the pairing of ‘Shimmy > Pat and Dex,’ a sequence as rare as it was inspired—this was the only time these two songs have ever shared the same connected space in Biscuits history. The standalone ‘Mr. Don’ that followed was nothing short of spectacular, a volcanic performance of a fan-favorite track that felt like a love letter to the faithful in attendance. The set closed with the energetic and soaring “Pilin’ It High,” leaving the room buzzing during intermission.

Set two launched into uncharted territory with ‘42 > Run Like Hell (middle) > Shimmy (ending).’ The transitions were as seamless as they were surprising, with the middle of “Run Like Hell” carrying forward from Albany’s show two nights earlier. This rare ’42-> RLH’ segue, played only twice before, found its final form here and we haven’t heard it since. The segue from ‘Run Like Hell’ into the end of ‘Shimmy’ from set one was an audible sleight of hand that left jaws on the floor—a thrilling moment of musical alchemy immortalized on the Wind at Four to Fly album. The second set’s surprises didn’t stop there. ‘The Tunnel’ and ‘Spy’ offered a change of pace, blending intricate grooves with introspective tones. As ‘Svenghali’ brought the set to a close, the room swirled with an air of mystery, the band’s interplay feeling almost telepathic.

For the encore, “Eulogy” made its third-ever appearance in this slot, a poignant and heartfelt choice that held the audience in rapt silence. But it was the standalone “Basis for a Day” that truly cemented this show’s legendary status. Nearly 30 minutes long, this version is regarded as one of the all-time greats—a masterclass in tension and release that left even the most seasoned fans in awe. Those who had begun to head for the exits were pulled back in (if the E-Factory’s historically rough security allowed), knowing they were witnessing something unforgettable – the true highlight of the night and the Wind at Four to Fly LP.

Philly shows carry a weight that’s hard to describe but impossible to ignore. The band’s connection to their hometown is woven into every note, and on this night, they delivered a performance worthy of their roots. The Electric Factory became a time capsule of everything that makes the Disco Biscuits who they are—playful, daring, and deeply connected to their fans. It was a show that celebrated where they’ve been and hinted at where they might go, leaving no doubt that Philadelphia will always be the heart of the Biscuits’ story.

12/29/04

Electric Factory - Philadelphia, PA

S1: Kitchen Mitts, Floodlights, Little Shimmy In A Conga Line > Pat And Dex, Mr. Don, Pilin' It High

S2: 42 > Run Like Hell* (middle) > Little Shimmy In A Conga Line, The Tunnel, Spy, Svenghali

E1 Eulogy, Basis For A Day

* continues 12/27/2004 version.

https://archive.org/details/db2004-12-29akg480ck63.flac24