Jam Chart for shows in the city of Austin, TX (22 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1995-10-14 | Austin, TX | 18:10 | Some cool quiet playing early on, then the jam veers away from the norm into some deep exploration. A different animal than the creatures from '93 - '94. No big peak, instead the jam dissipates with a -> to "Catapult." | |
| 1995-10-14 | Austin, TX | 9:11 | Features a spacey and psychedelic jam. | |
| 1995-10-14 | Austin, TX | 9:05 | Quickly gets beyond "Jim" into a driving, percussive and intense jam. | |
| 1995-10-14 | Austin, TX | 14:54 | Great "Reba" not far removed from some of 1994's finest (10/18; 10/26). Expansive and far-ranging, the band plays quietly and patiently, covering a lot of ground, and working as one to incorporate calculated, dynamic melodies, and extended passages of sustained grace. | |
| 1995-10-14 | Austin, TX | 28:17 | With Medeski, Martin & Wood! (no B&D, no VJ) | |
| 1995-10-14 | Austin, TX | 12:02 | Scat singing and playing by Trey in response to Page's solo. Another long Page solo. Prayer-like chanting from Mike before return to lyrics. | |
| 1997-07-26 | Austin, TX | 11:40 | In addition to hosting Bob Gullotti on a second drum set, the boys bust out the Funk towards the end of this version - an extremely rare style for a "Limb" jam. | |
| 1997-07-26 | Austin, TX | 16:42 | "Willie the Pimp" tease just before the segue into "Izabella." (No B&D, no VJ.) | |
| 1997-07-26 | Austin, TX | 16:47 | Bob Gullotti on a second drum set. Set II opener takes the typical "Timber" jam, extends it and cools it down a bit to a more mellow groove while maintaining a good rhythmic pulse. Never loses the dark "Timber" vibe. | |
| 1997-07-26 | Austin, TX | 12:38 | After an amazing start to the II, it becomes clear that Trey has little interest in the "Hood" he dialed up following a great "Bowie." Check out the show for more details, but in lieu of "thanking" Mr. Minor, Trey aborts the song and ->'s into "Free". The band unleashes, resulting in one of the finest performances since 95. The jam is marked by great improvisation "inside" the version, that sort of shimmering Summer 97 "funk" aided by guest percussionist Bob Gullotti, a musician perfect for this "Free" - or any other. | |
| 1998-07-25 | Austin, TX | 16:35 | Awesome top notch version. Following the customary Page and Trey solos, the band breaks into a low key, slighty funky, slighty ambient jam with a feel-good summer vibe. Then the jam takes on a darker but more energized tone. | |
| 1998-07-25 | Austin, TX | 7:15 | No mere "metal Wilson", what we get here instead is several extra gallons of liquid fire unloaded, Hendrix-style, in an extended run up to the "You got me back thinking..." section and beyond before > to "Frankenstein". Explosive. | |
| 1999-09-24 | Austin, TX | 18:55 | Great, multi-section version, including some enchanting, melodic, and "Gin"-like hose jamming from 11:50 - 14:15 with fantastic playing by Page. From here, the jam grows delicate, spacey, and -> to "The Lizards." | |
| 2025-06-27 | Austin, TX | 13:25 | This efficient single jam version begins with familiar, groovy "Mike's" probing, before a downshift steers the music into optimistic major key territory. As the music shifts back towards minor key, a repeated lick from Trey builds a subdued peak, with the closing chords for "Mike's" coming in to shut it down and > "Cities". | |
| 2025-06-27 | Austin, TX | 11:20 | > from "Mike's Song", play is fluid, almost languid, great bass and drums accented by Trey's liquid tone and Page, who twice 'sprays' synth across the stage. Following a really cool line, listen for the locked-in audience (5:45) response before Trey, and the jam, takes off. What follows is Phish at its finest, post-21 refinement, perfect unrushed balance, improv that rolls, roils, and, refreshingly, doesn't build to peak but, rather, smartly draws to a close. | |
| 2025-06-27 | Austin, TX | 9:35 | Shortly after 3:00 the jam enters a segment of edgy, heavily-effected play backed by synth bass which culminates with "I'm a Man" teasing before snapping back to typical closing fare. | |
| 2025-06-27 | Austin, TX | 23:24 | Another major "Fuego" drops in the 2-hole of Set 2. Fish's relentless drumming combined with Trey's attack ensures this jam remains upbeat and aggressive. Stay until the end to hear the distorted take on the song's riff. > to a huge "Golden Age". | |
| 2025-06-27 | Austin, TX | 26:02 | Narrowly surpasses 10/28/16 for the longest version to date, and it's a doozy. Opening with minimalist funk which becomes increasingly reliant on synths and distortions of all shapes and manner, the jam seems to be crawling to a stop around 15:00, but is then resuscitated with a half-time, super-duty march of doom, and carries that same power as it transitions triumphantly to an ecstatic hose-peak finale. | |
| 2025-06-28 | Austin, TX | 10:02 | Kicking off what has seemingly become a trend in 2025 of extended "2001" style intros, what we get here is the first truly significant departure from rote play since 8/16/97. A noticeably slower tempo in the "Landlady" section still slightly mars these modern outings but the relatively clean performance and extra love shown to the intro demand our attention. | |
| 2025-06-28 | Austin, TX | 7:56 | Trey switches key for the jam, and the band responds accordingly. Around 4:10 Trey leans into, and repeats a phrase that works to serve as the foundation for a rockin', confident jam, which finds all four musicians contributing in equal measure. The return to "555" is somewhat abrupt, and leads to a clunky conclusion, but, overall, this is an exciting version. | |
| 2025-06-28 | Austin, TX | 9:44 | A song very much of its time (check the excellent 12/29/22 debut), this is the first version showcasing the band extending its runtime. Perfectly at home between canonical "Reba" and nu-canon "Plasma," this is next generation material. No song > improvisation, the jamming is organic as play from any "Moma," inventive and musical ideas rising from the fabric of the structured material. Trey's strumming after the seven-minute mark sets off Fish and the play becomes forceful, ultimately leading to the fiercest play to date. | |
| 2025-06-28 | Austin, TX | 30:11 | As yet another outsized, aquatic crimson portal opens up, the jam begins in a swirling rhythmic push. This platform remains steady until play breaks into spacier territory around the 11 minute mark. Mellowing space then forms up into darker territory, and oscillates back and forth between brighter and darker textures/moods. Then, the band begins another push towards an anthemic zone, executing a steady climb towards a bright-sized peak, before after-burning into introspective textural territory and > "Monsters". |
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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