|1994-11-17||Bowie||Dayton, OH||15:25||No major mode "nice" jamming here, this a gripping, intense, old-school thriller. Awesome.|
|1994-11-17||YEM||Dayton, OH||22:30||"Frankenstein" teases.|
|1994-11-17||Slave||Dayton, OH||10:49||Mike and Fish lead this one early on, with Mike playing way up the fret bar and Fish maintaining the pulse. Trey adds power chords and little flourishes. Then Trey has takes the lead, with Fish and Page hammering away.|
|1995-11-30||Tweezer||Dayton, OH||19:23||This is what the "HOSE" is all about. Excellent -> "Makisupa."|
|1995-11-30||Makisupa||Dayton, OH||7:07||Spry, tropical sounding jamming, with some especially strong percussion -- Trey moves over to the kit for a while. Excellent, extended transition > "Antelope."|
|1995-11-30||Antelope||Dayton, OH||10:55||"Tweezer" -> "Makisupa" -> "Antelope." An excellent and intense though largely straightforward version which includes some "Tweezer" teases in the "Rocco" section.|
|1995-11-30||SOAMule||Dayton, OH||12:17||Trey follows Page's long solo with some vocals, but mostly a beautiful guitar solo. Page responds in kind, with marvelous classical piano stylings.|
|1995-11-30||Hood||Dayton, OH||14:47||No bells or whistles on this "Hood." But the build and peak sections are simply gorgeous, even by '95 standards.|
|1997-12-07||JJLC||Dayton, OH||10:21||Fantastic -> in from "Psycho Killer." Played at a faster tempo, this one is more of a rocker and includes a "Rocky Mountain Way" tease.|
|1997-12-07||It's Ice||Dayton, OH||6:41||"Swept Away" and "Steep" sandwich. Flawless segue to "Swept Away."|
|1997-12-07||Swept Away||Dayton, OH||1:05||-> in from "It's Ice." "Swept Away" and "Steep" form the meat of this "Ice" sandwich. > to "Steep."|
|1997-12-07||Steep||Dayton, OH||1:57||> in from "Swept Away." Part II of the meat of this "Ice" sandwich. > back to "Ice."|
|1997-12-07||It's Ice||Dayton, OH||1:54||> in from "Steep" to complete this version of "Ice."|
|1997-12-07||Theme||Dayton, OH||10:20||Precise and coordinated modulation between major and minor modes by Trey, Page and Mike give this excellent version a subtle sense of tension and release.|
|1997-12-07||Tube||Dayton, OH||12:36||The first "Tube" to break out of the box begins with sweet funk in the first jam, while the jam reprise drops into some space, builds back up to more funk, and coasts into the -> to "Slave". A fan-favorite.|
|1997-12-07||Slave||Dayton, OH||12:24||-> in from an awesome "Tube." Fan favorite version. Trey is really out in front on this one, soloing beautifully.|
|1997-12-07||Timber Ho||Dayton, OH||9:12||"Timber" opens Set II for the 5th consecutive time in as many appearances. This excellent version has a slightly less dark and somber vibe than most and is an almost upbeat, contemplative piece.|
|1997-12-07||Wolfman's||Dayton, OH||7:15||> in from "Timber." Great, short version loosens out of funk mode briefly, mellows into more funk and -> to the first "Boogie On Reggae Woman" in 988 shows (last seen on 9/13/88). The "Wolfman's" release really comes in the sweet jam out of "BORW."|
|1997-12-07||Boogie On||Dayton, OH||7:55||Busted out after a 989 show gap and segues smoothly out of Wolfman's Brother. The '97 style outro jam is distinct and deviates from the structure of "Boogie" at 5 minutes and is played at a slower tempo than recent versions. Transitions to a hot "Reba".|
|1997-12-07||Possum||Dayton, OH||12:38||"Camel Walk"-like licks and polka scales in the intro. Very tight straightforward jam that ends with more polka-style chords.|
|2017-07-18||Free||Dayton, OH||10:51||Trey pushes through a few early miscues to share in Mike's incendiary groove. Via rhythmic shifts in meter and tone, Trey constructs a mellow, effects-enriched jam, which, colored by Page's wraithlike atmospherics, coasts atop Fish's steady beat, before driving the version to a strong conclusion.|
|2017-07-18||DwD||Dayton, OH||22:50||Mixing some great new sounds, especially Page, with a fairly familiar jamming pattern, the band succeeds in recycling a formulaic, major mode and upbeat-oriented jam into a warm and very fresh sounding performance with a Trey-led peak.|
|2017-07-18||Ghost||Dayton, OH||16:31||If Super Bowl LI were a song... it would sound like this. [Excellent, unusual, and highly musical version. As if a malleable substance, Trey employs any number of ideas - and works an array of pitches - to fashion light from an atonal sort of darkness.]|
|2017-07-18||Wombat||Dayton, OH||13:01||"Wombat"'s second big ride shrugs off some dubious vocals to deliver a hard-charging "Ghost"-esque late night groove that morphs into delicious major key rocking out. Mike's work, in particular, is a joy to behold. Collapses into bubbly ambiance, then > into "Chalk Dust Torture".|
|2023-10-10||Cool Amber and Mercury||Dayton, OH||8:59||In its first outing in over 100 shows, "Cool Amber and Mercury" makes a strong impression with arguably its most spirited appearance to date.|
|2023-10-10||Gin||Dayton, OH||14:44||The jam begins with intentional, cerebral playing from Trey before quickly breaking for minor key. Page's clav and electric piano dominate along with Mikeâs enveloped synth sounds and Trey's stacked looping. The music shifts back to major key, building patiently and inspiringly towards a crescendo before winding back to the "Gin" melody to close.|
|2023-10-10||Mike's||Dayton, OH||19:14||After a standard and somewhat introspective first jam, the band once again charges into the fabled second jam, ready to explore. The music grows inward, as Page's rich, gorgeous grand piano catalyzes a delightfully layered and stunningly spacious melodic section, replete with gorgeous loops from Trey. At 14:25, a modulation leads the band toward a darker zone that builds to a shoegaze-y peak before yielding to the closing chords to finish.|
|2023-10-10||Pillow Jets||Dayton, OH||10:24||Dark, brooding and sometimes searching, this is the epitome of latter-day Evil Phish Improv.|
|2023-10-11||Ruby Waves||Dayton, OH||30:28||A multi-section monstrosity that features highly inspired melodic playing, atypical modulations, an extended passage based on either "Roll with the Changes" or "Paradise City", and a false ending that catalyzes a deep dive of inter-dimensional sonic alchemy rarely heard in the modern era. Must-hear.|
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