Jam Chart for shows in the city of Atlanta, GA (106 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1990-06-01 | Atlanta, GA | 14:03 | Awesome version with the "Reverend" Jeff Mosier on banjo and Oteil Burbridge on bass. Great intro, good jam with a huge peak, and then a cool breakdown jam featuring the bass acompanied with scat singing. | |
| 1991-11-09 | Atlanta, GA | 14:04 | Few versions of this incredibly challenging song approach perfection, but this is one of the few, and for that reason is must-hear. The early, technically challenging sections are nearly spotless. Then the entire band gets on a red-hot tear working through Who Do? We Do! In Clod, Page and Mike are fantastic. Trey's blistering solo in Arrival is top notch. And Fish, he just crushes all 14 minutes of this superb rendering. | |
| 1991-11-09 | Atlanta, GA | 11:11 | Several quick "Band on the Run" teases from Trey. | |
| 1993-02-19 | Atlanta, GA | 0:44 | "Moby Dick" jam, teases and signal in intro. Jam itself is very good, if largely "Type I," with more "Moby Dick" teasing. | |
| 1993-02-19 | Atlanta, GA | 3:30 | -> in from "DB." To celebrate Fish's birthday, the boys bust out a little drum-centric Led Zeppelin. > back to "DB." | |
| 1993-02-19 | Atlanta, GA | 11:10 | > in from "Moby Dick." The "Bowie" intro continues briefly before launching the composed section and a solid "Bowie" jam with more "Moby Dick" teases. | |
| 1993-02-19 | Atlanta, GA | 5:11 | Jimmy Herring on guitar. Section breakdown is Page, then Trey, then Jimmy. They all rock it, hard. | |
| 1993-02-20 | Atlanta, GA | 13:01 | Fish rules the court here, and Trey is predictably fleet fingered in this powerhouse version. | |
| 1993-02-20 | Atlanta, GA | 14:20 | With strong execution throughout, Page's shift to a baby grand is a big plus to the performance sound. The changes in dynamics, from the quiet sections of Clod, to the growing intensity approaching Arrival, demonstrates the band's confidence that they can not only survive, but even excel when performing this opus. Arrival is laid down with a paradigmatic 1993 sense of elan. | |
| 1993-02-20 | Atlanta, GA | 11:42 | Directly before "Tweezer" walks away, this supercharged "Reba" jump-starts this historic second set with wild and inventive play, notable for "Woody Woodpecker" teases and syncopated madness. | |
| 1993-02-20 | Atlanta, GA | 5:29 | Great opening section (with a "Straight from the Sewer" rap), and a "Low Rider" jam before a "Walk Away" sandwich! But there's not a lot of "Tweezer" in here. Can't really "rate" it as against others. | |
| 1993-02-20 | Atlanta, GA | 3:41 | -> in from "Tweezer." "Walk Away" is sandwiched inside "Tweezer." | |
| 1993-02-20 | Atlanta, GA | 1:44 | -> in from "Walk Away" to finish this "Tweezer." | |
| 1993-02-20 | Atlanta, GA | 7:57 | Tease-heavy version includes melodic winks at "Tweezer," "Wilson," "Reba," "The Lizards," and "Stash." This version also includes a "MMGAMOIO" sandwich. | |
| 1993-02-20 | Atlanta, GA | 1:09 | -> in from "Mike's Song." The first of several brief segues in the midst of an inspired and popular "Mike's Groove." -> back to "Mike's Song." | |
| 1993-02-20 | Atlanta, GA | 0:49 | -> in from "MMGAMOIO" to complete a tease heavy version of "Mike's." | |
| 1993-02-20 | Atlanta, GA | 0:28 | > in from "Mike's Song." Part of an epic tease and segue-fest, the "Hydrogen" sandwiches brief versions of "The Vibration Of Life" and "Kung." | |
| 1993-02-20 | Atlanta, GA | 0:59 | -> in from "I Am Hydrogen." All part of an incredible and hugely popular segue-fest "Mike's Groove." -> to "Kung." | |
| 1993-02-20 | Atlanta, GA | 1:38 | -> in from "The Vibration Of Life." Both are sandwiched inside of "I Am Hydrogen." | |
| 1993-02-20 | Atlanta, GA | 2:59 | -> in from "Kung" as the roller coaster segue and tease-fest continues. | |
| 1993-02-20 | Atlanta, GA | 2:57 | A strong "Type I" version of "Weekapaug" that passes through "Have Mercy" and a "Rock and Roll All Nite" jam in the midst of one of the craziest tease and segue-fests of the band's career. | |
| 1993-02-20 | Atlanta, GA | 1:54 | -> in from "Weekapaug Groove." This incredible "Mike's Groove" is a segue and tease-fest, with 12 bona fide ->'s in a single set. -> back to "Weekapaug." | |
| 1993-02-20 | Atlanta, GA | 1:01 | -> in from "Have Mercy" as this incredible tease and segue-fest "Mike's Groove" continues and -> to "Rock and Roll All Nite." | |
| 1993-02-20 | Atlanta, GA | 0:53 | -> in from "Weekapaug." An audience member dressed as Gene Simmons joins the band in singing this Kiss classic. -> back to "Weekapaug." | |
| 1993-02-20 | Atlanta, GA | 1:32 | -> in from "Rock and Roll All Nite" to wrap up an incredible "Mike's Groove." | |
| 1993-02-20 | Atlanta, GA | 13:14 | -> in from "HYHU." A cool and very improvisational jam, coming at the end of a historic show. Shredding, intense peak. | |
| 1993-02-21 | Atlanta, GA | 10:43 | Reggae style and other fun throughout the intro, as if to set the table for Page. And Page responds in kind, his playing strong throughout the version, both when soloing or providing fills for Trey. | |
| 1993-02-21 | Atlanta, GA | 12:25 | Frenzied and chaotic version that briefly pushes out beyond standard "Antelope" several times. Page expertly adds dissonance to the harmonics. | |
| 1993-02-21 | Atlanta, GA | 10:38 | "Stash" -> "Manteca" -> "Stash" at the close of the jam. The jam itself is also very good, with nice improvisational action throughout, an unusual ending, and a -> to "Lizards." | |
| 1993-02-21 | Atlanta, GA | 0:45 | -> in from "Stash." Sweet little "Manteca" jam towards the end of a very solid "Stash." -> back to "Stash." | |
| 1993-02-21 | Atlanta, GA | 0:55 | -> in from "Manteca" to complete this strong version of "Stash," which ends in an unusual manner and -> to "The Lizards." | |
| 1993-07-31 | Atlanta, GA | 8:58 | Cool "Heartbreaker" jamming highlights the 1st jam, while the 2nd had good rhythmic, repetive play which is also decently melodic compared to some '93 siblings. | |
| 1994-04-23 | Atlanta, GA | 11:47 | Similar to 4/20/94, except that the jam gets further away from the norm as it develops, becoming more malicious. | |
| 1994-04-23 | Atlanta, GA | 9:12 | Super musical, this version, which features "Caravan" teasing and wonderful Page, boasts incredibly strong soloing (Trey) and remarkable full-band play. | |
| 1994-04-23 | Atlanta, GA | 11:58 | A gripping version with nail biting tension and dissonance galore. | |
| 1994-04-23 | Atlanta, GA | 17:59 | ||
| 1994-04-23 | Atlanta, GA | 3:20 | Follows "YEM" serving as a vocal jam of sorts with Colonel Bruce Hampton joining on vocals. | |
| 1994-10-25 | Atlanta, GA | 15:10 | Incredibly improvisational. At 7:00, the jam heads off in a great, creative and unusual direction. Then after 10:00, there are some on-the-spot duets - Mike/Page, Mike/Trey, etc. followed by a rising thunderous roar as the jam returns to "SOAM." | |
| 1994-10-25 | Atlanta, GA | 13:15 | An incredibly improvisational "Type II" version. The jam grows increasingly dissonant, then breaks away altogether into classic '94 space. Then it morphs into a pulsing and rocking section with unusual vocals, before powering up, exploding back into "Weekapaug" and -> to "Yerushalayim Shel Zahav." | |
| 1994-10-25 | Atlanta, GA | 11:02 | -> in from "Axilla (Part II)." Big Red shreds the ending here, with a -> to "Big Ball Jam." | |
| 1994-10-25 | Atlanta, GA | 11:50 | An excellent, creative, and increasingly intense jam which includes some unusual Page B-3 action, multiple, blistering hot peaks, as well as Trey teasing "The Rover" in the intro and full band teases of "Kashmir" and "Magilla" in the jam itself. | |
| 1995-06-15 | Atlanta, GA | 13:29 | Psychological thriller that keeps you on the edge of your seat as the tension ratchets up. Unfinished with a -> to "IDK." | |
| 1995-06-15 | Atlanta, GA | 7:06 | Segues in smoothly from Stash. This unusual version is played much slower than normal and carries real weight. The bizarre jam in the middle features Fishman on trombone and Mike on power drill. | |
| 1995-06-15 | Atlanta, GA | 12:15 | A good thriller. Not as improvisational and exploratory as many '93s and '94s, but this one compensates with riveting tension. | |
| 1995-06-15 | Atlanta, GA | 25:13 | "Bowie" picks up right where it left off in Providence, and summer '95 includes a number of spectacular, "Big" versions. This first one, while sticking to the "Bowie" theme longer than most, is exploratory both within that framework, and certainly once it gets beyond. | |
| 1995-06-15 | Atlanta, GA | 12:39 | Some great playing by Trey throughout, and Fish seems to quicken the tempo as the jam progresses to add dynamism. | |
| 1995-11-09 | Atlanta, GA | 16:56 | Astounding collective musicianship here. In this scorcher, the band nimbly stretches the chord structure, phrasing, and timing in such a deft manner that it's almost imperceptible. | |
| 1995-11-09 | Atlanta, GA | 7:28 | Excellent and very rocking version, with Trey on the mini percussion kit, but in a great way. | |
| 1995-11-09 | Atlanta, GA | 15:44 | A chill and relaxed jam anchored by great bass and drums, colored with pointed fills from Page and wonderful playing from Trey. The band locks upon a cool theme, the groove easy-going as Trey augments his tone. Spirited play cycles through and into a passage featuring dynamic modulation and great syncopation. More great guitar builds steadily into a euphoric release. | |
| 1995-11-09 | Atlanta, GA | 10:47 | Some powerful playing by Trey early in the jam. Unusual and intense ending. | |
| 1995-11-09 | Atlanta, GA | 16:03 | Excellent, multi-dimensional version. From power jamming to beautiful quiet space to coordinated rebuilding including a great "Rift" tease, it's all here. -> to "TMWSIY." | |
| 1995-11-10 | Atlanta, GA | 8:48 | Opening almost as many shows as "CDT", it's impossible to decide upon the best "Jim" opener. Here, however, had song not followed "BATT", we would certainly find a version worthy of consideration. Trey's Leslie-soaked tone drips with color like some fever dream, and Fish's play, as ever, is unparalleled. Amazing play from an amazing show. | |
| 1995-11-10 | Atlanta, GA | 13:02 | Vocal/guitar jam by Trey responding to Page. Trey is nuts! Trey vocally joins Page at end of his second solo. Fishman kicks in on drums to bring on the klezmer. More crazy falsetto/baritone singing by Mike. | |
| 1995-11-10 | Atlanta, GA | 14:22 | A jewel. A perfect "YEM" which includes a "Crossroads" jam. -> to "Crossroads." | |
| 1995-11-10 | Atlanta, GA | 2:44 | -> in from "YEM." Awesome "Crossroads" jam in the middle of a perfect "YEM." -> back to "YEM." | |
| 1995-11-10 | Atlanta, GA | 11:44 | -> in from "Crossroads" to complete this perfect "YEM." | |
| 1995-11-10 | Atlanta, GA | 10:14 | > in from "Sparkle." With several instances where the jam grinds to a near stop, this is another '95 version that stretches the boundaries of "Bag." | |
| 1995-11-10 | Atlanta, GA | 17:14 | Outstanding version with a great intro. The jam begins with Trey soloing beautifully, and then he is joined quietly by Page and the others. The gradual but deliberate build up and glorious peak evince top level musicianship. | |
| 1995-11-11 | Atlanta, GA | 13:29 | Solid 1st jam with good variation. The 2nd jam is relatively short by '95 standards, but includes another good Mike and Page showcase while Trey uses the guitar to create a soundscape background before hopping to the mini kit briefly. | |
| 1995-11-11 | Atlanta, GA | 11:18 | A vigorously played version that packs a lot of punch. Strong funky elements enhance the excellent typical fare. | |
| 1995-11-11 | Atlanta, GA | 9:39 | "Lizards" teases. Cool drum solo. | |
| 1995-11-11 | Atlanta, GA | 15:32 | Minor early issues aside, the playing in Who Do? We Do! is very sharp and powerful. In Clod, Trey seems to use a reverb-like effect, which pairs well with Page's soloing - a soundboard would be a huge plus. A full-throttle, slightly extended Arrival includes some sweet, Leslie-infused trilling by Trey near the conclusion. This is classic 1995 Phish. | |
| 1995-11-11 | Atlanta, GA | 11:50 | Jam starts off largely straightforward but gets more out there as it progresses with key changes and rhythmic bending. | |
| 1996-10-31 | Atlanta, GA | 7:08 | Straightforward, but a classic rendering that nicely captures the '96 style of "Caspian" jamming, and differs markedly from subsequent styles of "Caspian" jamming that would emerge in '97, '98, '99, and later. > to "Reba." | |
| 1996-10-31 | Atlanta, GA | 13:58 | > "Prince Caspian," this fan-favorite and Halloween thriller features notable full-band play, but is wholly dominated by Trey. Forceful and pointed soloing bends, but doesn't break around 11:00, with Trey shaping his tone and Fish breaking down the beat. Huge guitar builds and swells until arriving smartly at the "note." | |
| 1996-10-31 | Atlanta, GA | 10:00 | First version, with horns, and Karl Perazzo on percussion. Tight, fierce, and ends with a percussion solo. | |
| 1996-10-31 | Atlanta, GA | 6:50 | Karl Perazzo percussion craziness, with a lovely amount of loops throughout. | |
| 1996-10-31 | Atlanta, GA | 15:03 | With Karl Perazzo on percussion, a great rhythmic and funky groove grows out of "Simple" before groovily returning. -> to "Swept Away." | |
| 1996-10-31 | Atlanta, GA | 6:28 | Karl Perazzo on percussion, Dave Grippo on saxophone, and Gary Gazaway on trumpet. "Born Under Punches" tease from Page. This excellent version has a completely different feel to it than 10/31/95, despite the similar addition of horns. This one has more of a jazz-like vibe to it, as well as strong percussion. | |
| 1997-07-23 | Atlanta, GA | 13:27 | Arguably the best "Type I" version ever. The jam proceeds through the customary progressions, then, just when your ear is expecting the final refrain, the band veers off into a fantastic, swinging, stylistically well-played extension. | |
| 1997-07-23 | Atlanta, GA | 9:31 | An excellent version which showcases the dynamic interplay between Trey and Page, while Fish and Mike keep the intricate rhythmic pattern steady throughout. Also has a fantastic peak and gradual settle. | |
| 1997-07-23 | Atlanta, GA | 13:10 | Straightforward, but so loaded with the funk that it could only belong to 1997. | |
| 1997-07-23 | Atlanta, GA | 12:11 | The band remains in a lockstep groove as Trey tears through this Phish staple. The jam threatens to break away but then returns for a rousing conclusion and shoots off fireworks to close the first set of a highly regarded show. H/T @Tweezingspaceranger | |
| 1997-07-23 | Atlanta, GA | 26:40 | Raging porno-funk that slides into a very mellow midi horn laden outro. [A multi-section masterpiece of funky '97 styles highlight this strong jam. Page skillfully deploys multiple keyboards, and the jam energy ebbs and flows repeatedly.] | |
| 1997-07-23 | Atlanta, GA | 17:53 | Unusually weird jam. Jeopardy theme tease. -> to "Rocky Mountain Way." (No B&D, no VJ.) | |
| 1997-07-23 | Atlanta, GA | 2:31 | -> from one of the summer's marked musical surprises, Lakewood's supercharged and super weird "You Enjoy Myself." "YEM" culminates not in the characteristic vocal jam, but rather, a dense passage of shoegazing noise. As if the band is channeling their inner-Europe, this outro finds Fish working his cymbals, and the band unexpectedly opts to jam "Rocky Mountain Way," last played in 1991. After laughing their way through a couple verses, a snappy, bluesy (albeit brief) jam emerges, before being ripped by -> into a rocking "CDT." | |
| 1998-08-06 | Atlanta, GA | 15:39 | The jam moves beyond solid funk to a mellow, ambient groove that gradually develops some funky legs and > to "Talk." | |
| 1998-08-06 | Atlanta, GA | 9:52 | > in from "NICU." Another strong '98 version in which Page plays a noticeably strong role, but Trey's no slouch either. > to "The Mango Song." | |
| 1998-08-06 | Atlanta, GA | 19:12 | Funky but monotonous. "Running with the Devil" tease. (No B&D.) | |
| 1999-07-03 | Atlanta, GA | 10:08 | Funky groove, with nice interplay between Page and Trey. | |
| 1999-07-03 | Atlanta, GA | 10:43 | Enchanting. Page's solo features some unusual stylings and cool chord progressions. Trey's solo is a fairly simple, yet stunningly melodic, and includes a "Dueling Banjos" tease and playing vaguely reminiscent to "Faht". Different from the higher octane '97s, but definitely must-hear. | |
| 1999-07-03 | Atlanta, GA | 7:56 | Very melodic playing from Mike. Includes a nice theme from Trey midway through the jam. | |
| 1999-07-04 | Atlanta, GA | 12:12 | Mellow, easy going and stretched out version that gets away into a nice groove near the end. Very '99 sounding. | |
| 1999-07-04 | Atlanta, GA | 11:14 | -> in from a big "Ghost." Played at a slower tempo than usual, one is lulled into thinking the slowed pace will make for a weak ending. Wrong; this is an awesome version, and includes "What's The Use" and "Dark Star" teases. | |
| 1999-07-04 | Atlanta, GA | 7:56 | Debut. The spaciness of '99 compressed into one song. | |
| 1999-07-04 | Atlanta, GA | 8:48 | The solo starts in a metal chug but then pushes away at the boundaries, getting into some interesting rhythmic interplay, and sloppily-yet-joyfully landing on a descending Zeppelin-like riff preceding "Mike Christian". Lengthy, noisy, free jazz-like improvisation, with several false endings, arhythmic hits, and whammy pedal worship, before "BLAT BOOM". | |
| 2000-06-23 | Atlanta, GA | 13:52 | Sticks pretty close to the typical format, but the band really stretches this one out patiently, without a hint at all of feeling eager to get to the next song. | |
| 2000-06-23 | Atlanta, GA | 15:38 | This is your '00-style "Type I" HOSE jam. A great upbeat version, the tone and sound of this "Gin" is markedly different from other standout "Type I" versions like 8/17/97, 11/20/98, and 9/12/99. Released on Live Bait Vol. 8. | |
| 2000-06-23 | Atlanta, GA | 7:07 | A classic '00 version in every sense, this "Farmhouse" serves as a foil for the 9/28/99 version, and features a much more mellow, restrained yet interesting jam including some cool repetitive riffs from Trey near the conclusion. | |
| 2000-06-23 | Atlanta, GA | 6:07 | Trey plays a spry, gentle solo that starts off lilting and pretty and then speeds up without ever losing its light feel. The version also has a nice vocal reprise and a decent outro. | |
| 2000-06-24 | Atlanta, GA | 15:18 | Show opener, and the longest "Moma" of "1.0." The jam segment is excellent at times but also gets a bit repetitive, especially toward the end. Nevertheless a noteworthy version. | |
| 2000-06-24 | Atlanta, GA | 25:53 | Some thrilling "hose"! | |
| 2003-07-26 | Atlanta, GA | 10:07 | Swirling and extended jam, somewhat spacey, typical of the more improvisational versions from the early to mid 1990s. | |
| 2003-07-26 | Atlanta, GA | 12:15 | Trey has a long solo where the others ratchet-down the volume to near zero. Then, Fish kicks into gear, bringing the pulse and power back on. Full throttle finish. | |
| 2003-07-26 | Atlanta, GA | 21:07 | Another big and quality work of improvisation from a year of strong "Pipers." Incredible really. This version has multiple movements that weave together quite well, as well as a "Can't You Hear Me Knocking" tease. | |
| 2012-08-25 | Atlanta, GA | 9:35 | The boys whip things into a frenzy like the old days. | |
| 2012-08-25 | Atlanta, GA | 11:16 | > in from "KDF." Dark, space funk with Mike at the forefront for much of the jam. Mike also plays around with an exotic motif towards the end of the jam. > to "Free." | |
| 2012-08-25 | Atlanta, GA | 10:14 | Great version with a nice, upbeat move beyond "CDT" beginning at about 4:30. Grows more tension-filled before settling down some. > to "What's The Use." | |
| 2015-07-31 | Atlanta, GA | 22:37 | The longest and most exploratory version to date. Strong finish via some "Tweezer Reprise"-esque jamming. | |
| 2015-07-31 | Atlanta, GA | 10:25 | After an improv-heavy, groundbreaking "KDF," the band goes old school with an instrument rotation based jam. Around 2:30, Mike and Trey switch rigs. Then at about 4:30, Trey visits the keyboard station, before moving on to Fish country where he is joined by Mike and Fish (~5:30). At about 6:00, Fish picks up the bass, and after 7:00, the band gets into an interesting, Mike-on-guitar led atonal groove that fizzles into a puddle of chaotic abstraction. | |
| 2015-07-31 | Atlanta, GA | 10:25 | Another great version which quickly departs the typical jam, shifts to major mode with serene and delicate play, and gradually builds power. | |
| 2015-07-31 | Atlanta, GA | 11:55 | Great late show "Reba" arrives via a sharp -> from "BOTT." A tight composed section leads to a strong jam, with super guitar matched in equal measure by on-point, full-band play. Unsurprisingly, then - yet surprisingly! - Trey manages to squeeze "Reba's" post-jam whistling into the ensuing "Gin," with Page's outright teasing a musical exclamation point upon this historic "couplet." | |
| 2015-07-31 | Atlanta, GA | 12:45 | Some fun teases bolster this one a bit, but the main story is the jam itself, in which Trey flexes his muscles and leads the charge to the top in a strong set-closing performance. | |
| 2015-08-01 | Atlanta, GA | 10:25 | Given that the "Heavy Things" after this version features a "Happy Birthday" tease, playing "Ocelot" wasn't the most overt "nod to Jer" on Jerry Garcia's birthday the summer Trey moonlighted at Fare Thee Well, but it is the most musically impressive. The word most associated with this version of the song is 'slinky'. In one more tribute to the Dead, the band takes almost three minutes before starting "Heavy Things." | |
| 2015-08-01 | Atlanta, GA | 26:03 | The longest version since Tahoe is gorgeous, in part, but does meh-ander now and then, despite a section where Trey repeats a "Born On The Bayou"-esque riff, and despite the final few minutes where the jam picks up momentum before petering-out with a loop'ed noise from Trey's guitar. | |
| 2015-08-01 | Atlanta, GA | 7:41 | Not the longest straightforward version, nor does it have the biggest peak. But Trey's playing is so spot on, just excellent. |
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.
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