Jam Chart for the 31st of December (100 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1990-12-31 | Boston, MA | 6:47 | > from "Coil", "Jim" offers a nice, stark contrast, illustrating the band's versatility. Mike's line (later picked up by Page) is fun and infectious, before the song's sustained and collective calm explodes into incredibly fast play - even for early Trey. | |
| 1991-12-31 | Worcester, MA | 8:37 | Another great early version that stretches the "Type I" boundary and is well-played and loaded with tension. | |
| 1991-12-31 | Worcester, MA | 4:35 | > in from "Esther." Page is sick; Trey is very demented. | |
| 1991-12-31 | Worcester, MA | 7:30 | Eons before there was life upon a "Soul Planet", there was "Runaway Jim". > from "ALS", this New Year's rocker blends some imaginative aspects of the year's strongest versions, before, as was so often the case, bleeding into crazy, frenzied play from Fish and Trey. A fitting finale for one of 1991's finest songs. | |
| 1991-12-31 | Worcester, MA | 13:00 | Highly praised, this version's jam features Trey mellifluously leading on his 'doc. | |
| 1991-12-31 | Worcester, MA | 7:42 | The first jam is solid but typical for this period. But the 2nd jam, which breaks into a great percussive and rocking groove is really the first noteworthy instance of the 2nd jam. In nearly all prior versions, the 2nd jam had been little more than chaotic, dissonant playing. | |
| 1992-12-31 | Boston, MA | 9:39 | Beginning around 4:00, the jam settles into an improvisational section with excellent contributions by all four. After returning to the standard, the jam features intense and top notch "Type I" rocking. | |
| 1993-12-31 | Worcester, MA | 13:17 | Phish caps 1993 with a fan favorite. Trey dazzles, his playing incredibly fun and infectious, matched by Fish on his blocks. A festive, celebratory groove ensues, before building to a shredding peak. An exclamation point on a terrific year for "Reba." | |
| 1993-12-31 | Worcester, MA | 12:15 | Trey repetitively hits a lot of notes in staccato-fashion in this jam (that Mbird Board and Working Group member Drew Hitz adores, and thinks I'm an idiot for underrating in '94 when I reviewed this version). While definitely an above "average-great" version (it sure ends well!), this jam IMO just isn't competitive with versions I've rated 7/10 and higher in the legacy jam chart. It's listed in this current jam chart in Drew Hitz's honor. | |
| 1993-12-31 | Worcester, MA | 8:50 | "Peaches En Regalia" teases and Random Note signal in this version. | |
| 1993-12-31 | Worcester, MA | 12:30 | "Peaches en Regalia" teases, good on-the-spot variation, a great rhythmic breakdown midway, and a fiery ending add up to another top notch '93 "Possum." | |
| 1993-12-31 | Worcester, MA | 22:04 | Sweet theme in the jam. | |
| 1993-12-31 | Worcester, MA | 3:38 | Jam segment only following "Auld Lang Syne" (Released on Live Bait Volume 3). | |
| 1993-12-31 | Worcester, MA | 13:20 | The jam starts with an "Auld Lang Syne" tease and delicate soloing, which builds into a frenzied guitar-led jam. | |
| 1994-12-31 | Boston, MA | 16:33 | Spacey intro with a "Digital Delay Loop" section to lead off. Intense Page. Extended Trey section is really more of a full band jam than as typically presented. Eventually gets back to "Maze" proper for a red hot finish. | |
| 1994-12-31 | Boston, MA | 8:47 | "Mike's" -> "Buffalo Bill" -> "Mike's." While the 1st jam is standard, incendiary '94 material, the 2nd jam has solid, varied improvisational play before the ->. | |
| 1994-12-31 | Boston, MA | 1:56 | -> in from "Mike's Song." A nice version of "Buffalo Bill" is sandwiched in a solid '94 "Mike's." The -> back to "Mike's" is great stuff. | |
| 1994-12-31 | Boston, MA | 1:48 | -> in from "Buffalo Bill," the return to "Mike's" is several steps better than "normal," well worth checking out. | |
| 1994-12-31 | Boston, MA | 10:35 | Typically strong '94 fare includes "CYHMK" jamming, a funky breakdown section with Page on clavinet, strong exploratory play by all four, and an "Auld Lang Syne" tease as this "Weekapaug" heads for home. | |
| 1994-12-31 | Boston, MA | 10:19 | Fiery, powerful and precise '94-style jam with an unusual and spacey outro jam tacked on. | |
| 1994-12-31 | Boston, MA | 11:21 | Trey and Page add a big exclamation point to end the final frame of a fantastic year for the band. | |
| 1995-12-31 | New York, NY | 14:14 | NYE's huge "Reba" finds the band recovering from a botched composed section to create a classic. Measured and magisterial, Trey leads the band as they blaze from one side of harmony to the other, the musicians collectively working their way through starts and stops - and all points inbetween - to build a bliss-tinged climax. Wonderful. | |
| 1995-12-31 | New York, NY | 12:27 | A top highlight of this glorious and storied concert. A careful listen reveals extended "Fire On the Mountain"-like jamming from Trey in the post-"Drowned" section, as well as a bona fide tease near the ending and -> into "The Lizards." | |
| 1995-12-31 | New York, NY | 15:53 | Fish is phenomenal in this grand, melodic and driving jam that turns '95-style funky before rebuilding to "Jim." | |
| 1995-12-31 | New York, NY | 14:48 | Wrapping up a historic 2nd set, the 1st jam segment is strong but fairly pedestrian until Page starts to signal the impending "DDL Jam." The 2nd jam begins with a slightly funky tone and strong Fish. The sentiment grows dark as Page shifts to piano, and the foreboding sense of impending doom is rendered complete as the jam blows into a cacophony and -> to the "DDL Jam" at 14:48. | |
| 1995-12-31 | New York, NY | 5:05 | -> in from a stellar "Mike's Song." The dark and brooding nature of this jam serves as a fitting close for this historic Set II, before an improvisational and uplifting "Weekapaug" opens Set III. | |
| 1995-12-31 | New York, NY | 17:43 | "Mike's Song" and "Weekapaug" separated by a setbreak. Masterpieces, both of them. | |
| 1995-12-31 | New York, NY | 25:50 | Two awe-inspiring jam segments. A fucking masterpiece! (No B&D section.) | |
| 1997-12-31 | New York, NY | 15:21 | Compared to Hampton, a snappier, more uptempo funk groove unfolds and intensifies in the later stages with brief rock flurries. | |
| 1997-12-31 | New York, NY | 14:00 | Yeah, this is a badass version alright, with a monster, Mike-led groove (it is after all, Mike's song). It's got funk, but not as much as some of the other '97s. And it's got power. At around 9:40, there's a stop, and then a 2nd jam of sorts begins, delicate bliss mode play that sets up well for the "Piper" that follows. | |
| 1997-12-31 | New York, NY | 17:56 | Among the longest "Weekapaugs" to date, this version provides a fitting capstone to 1997. After 14 minutes of balls-to-the-wall, but largely in-the-box jamming, Trey, then Mike, then Page -- and after some Trey banter -- Fish, take solos to send the crowd hurtling towards 1998 (and "2001"). | |
| 1997-12-31 | New York, NY | 17:22 | > in from "Tweezer." Despite its duration, at various points this version seems to lose its bearing, especially from 13:10 on. But it's well worth checking out. Includes a "Birdland" tease and is unfinished with a > to "Prince Caspian." | |
| 1997-12-31 | New York, NY | 8:57 | This is how to close a third set on NYE! Crazy-raw, rough playing by all! | |
| 1998-12-31 | New York, NY | 16:06 | The 1st jam is pretty chill and just grooves along with typical melodic lines. The 2nd jam kicks in at 7:35, and immediately drops into serene and melodic heartfelt playing. The band seems completely at ease, enjoying the warm and upbeat nature of the jamming. | |
| 1998-12-31 | New York, NY | 15:45 | Orgasmic "sleety" symphony which breaks down into throbbing B&D industrial metal that ratchets abruptly into "Ha Ha Ha." [The jam moves beyond the typical structure, breaking into gritty and pulsating play that bridges the ambient sound of '98 and sparser grooves of '99 and '00 quite well.] | |
| 1998-12-31 | New York, NY | 14:45 | Amazing -> "Cities." | |
| 1998-12-31 | New York, NY | 8:31 | Segues out of "Tweezer." Good funky version that gets eerie and spacey at the end before transitioning to "Velvet Sea." | |
| 1998-12-31 | New York, NY | 15:24 | Jam breaks away completely from "Antelope" at 6:30 into a nice, slighty dark foray. Returns to the standard by 8:00. | |
| 1998-12-31 | New York, NY | 18:31 | Follows "Auld Lang Syne" with the sounds of balloons popping on stage. The initially straightforward jam grows rocking and dissonant, then eventually calms to a quiet space. | |
| 1998-12-31 | New York, NY | 17:55 | An extended and very unique intro to 7:30. The delicate and spiraling jam foreshadows the sound and tone of '99. | |
| 1999-12-31 | Big Cypress, FL | 9:23 | Great lead work from Trey and some nice fills from Fishman in this one from Big Cypress. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | Multi-section, improvisational groove-based jam, including typically dark "SOAM" grooving, funky upbeat major mode jamming, and a -> to "Catapult." Vastly different from 7/15/99. | |
| 1999-12-31 | Big Cypress, FL | 1:17 | -> in from an excellent "SOAM." | |
| 1999-12-31 | Big Cypress, FL | 23:41 | Laid back but joyful millennial celebratory groove. This is feel good music. Unfinished with -> to "Llama." | |
| 1999-12-31 | Big Cypress, FL | 15:47 | A very different "Gin" begins with extended vocal jamming through 9:25, then shifts to an enchanting groove. | |
| 1999-12-31 | Big Cypress, FL | 13:15 | A tranquil ambient groove emerges with delay loops and an eerie Page solo on the Fender-Rhodes. -> to "Prince Caspian." | |
| 1999-12-31 | Big Cypress, FL | 30:23 | This wide-ranging, 30-minute monster from Cypress starts off in an excellent bluesy groove, before quieting down to a percussive, groovy, organ-led cowbell movement with anthemic riffing from Trey. The jam then coasts along at a low simmer, with very quiet, introspective playing and massive bass bombs, before exploding into an epic, earth-shattering firestorm of a conclusion at 26:00. | |
| 1999-12-31 | Big Cypress, FL | 22:22 | Crowd-assisted CHEESECAKE VJ. (No B&D.) | |
| 1999-12-31 | Big Cypress, FL | 20:14 | This is one of the center-piece jams of one of Phish's most storied and highly-lauded sets. This one quickly hits a slow groovier jam. With a good foundation set by Gordon and Fishman, Trey and Page have ample room to explore several gorgeous and melodic passages. | |
| 1999-12-31 | Big Cypress, FL | 26:16 | The masterpiece of the '99-'00 style "Sands" from the early morning at Big Cypress. A dark groove develops with all sorts of eerie effects added to the mix. Trey's lead work is scintillating and gives the jam an ominous feel as it builds to a devilish peak and then transitions to the hypnotic second movement replete with looped minimalist elements which continue into -> "Quadrophonic Toppling". A must-hear jam from the band's ambient era. | |
| 1999-12-31 | Big Cypress, FL | 10:11 | Debut begins with the deployment of Mike's Siket Disc vocal sample in the midst of the meditative, ambient jam which emerged from "Sand". Guitar and keyboard delay loops are eventually joined by a fuller arrangement but the volume never rises above a reverent hush. | |
| 1999-12-31 | Big Cypress, FL | 15:11 | The longest "Type I" version. If you like a slow, really stretched out "Slave," this one is for you. But the peak is nothing remarkable, in fact it sort of collapses under its own weight. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | -> in from "Drowned." A patient, sparse, and well-textured groove-based jam. | |
| 1999-12-31 | Big Cypress, FL | 19:03 | New millennium Swamp Worm (it was played about 4:00 AM on 1/1/00) opens with all guns blazing before settling down with a Mike and Page led groove including "Bug" teases from Page. | |
| 1999-12-31 | Big Cypress, FL | 35:03 | Launches into phenomenally intense improv almost from the start as it embarks on an at-times-breathtaking journey. Eventually grows dissonant before briefly regaining its feel-good vibe. | |
| 1999-12-31 | Big Cypress, FL | 13:40 | 35th song in the second set is the infamous "Hood" fake out. Breakdown at 5:40 is sicknasty and Trey sounds as fresh as he did in 1983. Second jam features a reggae filth groove. | |
| 1999-12-31 | Big Cypress, FL | 8:44 | Closes out the Big Cypress festival with a short ambient outro. | |
| 2002-12-31 | New York, NY | 14:55 | Phish ended the Hiatus with this unusually placed set opener. Listen to the crowd's excitement and roars of approval as the band returns to the stage. Trey leads the boys in this fiery, and (appropriately) upbeat version, which features a "Low Rider" tease, a jam segment between verses, as well as the ending coda which was uncommon by this date. | |
| 2002-12-31 | New York, NY | 10:30 | Debut. Jam section features soaring guitar soloing and great complimentary piano from Page. Nice Page led outro jam after the final verse. | |
| 2002-12-31 | New York, NY | 7:40 | Debut performance and part of NYE spectacle. | |
| 2002-12-31 | New York, NY | 18:17 | Debut, which includes an excellent "Type II" section beginning about 11:00 that eventually returns to "WOTC." | |
| 2003-12-31 | Miami, FL | 11:50 | Following an "Auld Lang Syne" tease, the breakdown section begins at about 4:00 and is percussive and rocking, with "Jungle Boogie" vocal quotes from Trey as well as teases. The return to "Weekapaug" is intense, mildly dissonant, and includes a "Divided Sky" tease. | |
| 2003-12-31 | Miami, FL | 22:20 | Excellent and very improvisational version that gets far, far removed from "Stash" before finally coming home. Multiple sections, including quiet rhythmic stuff, effects-laden space, and some great upbeat jamming. | |
| 2003-12-31 | Miami, FL | 22:14 | Serious improvisation here with multiple sections, most fairly intense, but also including some quieter ones. | |
| 2009-12-31 | Miami, FL | 14:15 | Subsonic (wow Gordo!) quantum-tunneling rock drill with an "Auld Lang Syne" jam that finds its way to the dentists office. [Great Mike early-on gradually builds to a nice peak. Then the jam shifts to a solid, snappy section replete with an "Auld Lang Syne" tease and more, and -> to "NO2."] | |
| 2010-12-31 | New York, NY | 10:23 | Staccato jam with great full-band interplay gives way to a more typical guitar-led conclusion. | |
| 2010-12-31 | New York, NY | 13:48 | May this one find you when you are feeling down, it will lift your heart and your feet from the ground; building the euphoric bridge that allows you to cross that river of tears. [A strong straightforward version. By shifting to D major just before 7:00 and staying in that place for over 6 minutes, the bliss or release section is accentuated.] | |
| 2010-12-31 | New York, NY | 10:47 | Short, but very fun. "Manteca" sandwich and goofiness everywhere. Trey briefly cracks up at start of vocal jam when Mike says "Crab in my shoemouth" instead of WUDMTF. | |
| 2010-12-31 | New York, NY | 0:32 | -> in from "YEM." "Manteca" is sandwiched in the "YEM" jam. | |
| 2010-12-31 | New York, NY | 6:04 | -> in from "Manteca" to continue this short but fun "YEM." | |
| 2011-12-31 | New York, NY | 10:35 | Performed during the NYE "gag" (stunt), this exceptional version ends with a ferocious "Llama"-like jam leading up to "Auld Lang Syne." | |
| 2012-12-31 | New York, NY | 9:04 | Not only is "The Wedge" used to help pull off the golf gag, this NYE version is highly atypical in that it features lengthy and notable late-show jamming, playing that would remain unrivaled until July 20, 2014. | |
| 2013-12-31 | New York, NY | 12:09 | Back on the bus, pretty, direct, and straightforward play makes this "Reba" a highlight of a career moment. As usual, Fish is great, shuffling through various tempos and rhythmic shifts. Mike bounces around the room, and Page is particularly on point, his play lilting and airy. Trey opts for patient, sweeping sustain, which opens space for sweet syncopation, before alighting upon a perfect series of cascading notes, measured trilling, and the "note." | |
| 2013-12-31 | New York, NY | 16:49 | Exceedingly good version. As with most of the 2013 Holiday Run the version itself doesn't stand out with noticable highlights, but the entire version is well above average. Focused throughout with a great peak. | |
| 2014-12-31 | Miami, FL | 16:35 | A tall and tasty tropical sun splashed sugar rimmed whipped cream topped boat drink shared with old familiar friends provides the expected results. ["Ghost" jamming turns blissful, settles into serene, quieter musing, energizes and returns to "Ghost" before finally turning funky and spacey and > to a strong "Theme."] | |
| 2014-12-31 | Miami, FL | 12:49 | A fresh and varied take on the typical "Theme" jam leads into a stop-start section that turns percussive before "The Birds" stylings lead the attack with a smooth -> Cities. | |
| 2014-12-31 | Miami, FL | 10:35 | -> from "Theme", this "Cities" jam starts with some nice staccato work from Trey, passes through a Manteca-like section, and settles into the 3.0 Type II bliss zone. | |
| 2014-12-31 | Miami, FL | 8:11 | This excellent version focuses less on samples and vocal manipulation, while integrating a more nuanced sense of dynamics. At around 6:00, the band creates a brooding psychedelic mood, which culminates with guitar loops sounding triumphantly over the bass bomb-enriched, final chord repetition. Once again, "Martian Monster" closes out a highly regarded, hose-heavy set. | |
| 2014-12-31 | Miami, FL | 17:08 | Beautifully-interactive melodic jam that soars for quite awhile! | |
| 2015-12-31 | New York, NY | 13:38 | Around 6:30, Trey leads this one into the "Type II" zone, where it remains for the duration as it drifts through some low-key psychedelia before a > to "Piper". | |
| 2015-12-31 | New York, NY | 16:17 | The final "Twist" of the year clinches its title for "Jamming Song of 2015". Like the Shoreline and Mann versions, after a relatively straightforward first jam, the band comes back home to the opening riff before taking off again. After some probing and warping and abstracting of the riff, things grow darker and sparser, before Fishman steps on the accelerator after the 11 minute mark, Trey goes Pink Floyd, Mike Meatballs, and Page plays Cap'n Crunch, leading to a Tweezer Reprise-like peak. | |
| 2015-12-31 | New York, NY | 21:02 | Awesome NYE prank version. The jam begins in a mellow zone with sprinkles of bliss. After a sparse, ambient section, Fish kicks things back into a solid groove, before "Drive-In Jam"-like effects and sounds overtake. Must-hear Phish. Note: a few minutes were probably pre-recorded as part of the NYE "gag". | |
| 2015-12-31 | New York, NY | 15:35 | There's a reason Phish chose "Blaze On" as the song to open 2016, and this version delivers the celebratory goods. Like the past few versions, near the seven minute mark, Trey's chording sends the jam out into a world of spacey effects. These effects are reeled in quite quickly this time around, and Trey opts for a clean tone as he plucks beautiful trichords high on the neck and leads the band through a major mode passage that takes on a rough edge to it, grows percussive, and winds back to finish the tune. | |
| 2015-12-31 | New York, NY | 11:29 | Clever major/minor mode contrasting by Page and Trey at a couple of different points, plus some good old fashioned tension provide the finishing touches for a solid year for "Bowie." | |
| 2016-12-31 | New York, NY | 11:37 | -> from Carini and with crunching power chords, this "Twist" initially wades in familiar waters with its emphasis on the upbeat bluesy song structure. Midway through, the band enters a slightly different movement that is more apt to trills and melody, not too dissimilar from a good "Gin." From here, the band strolls down a multifarious valley constructed on the infinite possibilities of Phish. A 3.0 "hose" climax awaits before > to "Piper." | |
| 2017-12-31 | New York, NY | 14:58 | The most exploratory "Gotta Jibboo" since 7/4/00. After standard quiet interplay at the beginning, Page gets funky on the clavinet and Trey heads for funkier and bluesier pastures, until on a dime, the band modulates the key, and a light-hearted and bubbly jam warps time and space to ring in the new year. | |
| 2017-12-31 | New York, NY | 18:54 | Serving as the anchor of NYE's nautically themed set, this jam rides a current of warm major-key play into a funky groove and then sails to a swell peak before receding into the depths. | |
| 2018-12-31 | New York, NY | 17:57 | A punchy groove emerges from the song proper. Trey envelops the music with an effects-based sonic haze, with Page's rich organ bed carefully cradling Fish and Mike's locked-in play. At around 13:00 the music grows in intensity, building a psychedelic groove replete with muscular synth bass and broken polyrhythms via Fishman. This steadily builds to a raging minor key rock peak, followed by a denouement of brief ambience. | |
| 2018-12-31 | New York, NY | 17:41 | Quickly takes on a more assertive and slightly darker tone with Trey and Page employing a variety of sounds to color the jam before reverting to major at 7:00 with some light and airy play. This section gradually intensifies and gets more rocking as it progresses, ending with a thick, locked-in groove and some "woos" before > "Twist". | |
| 2019-12-31 | New York, NY | 12:27 | Featuring wonderful interplay between Trey and Mike in particular, eventually the jam's key modulates and Trey solos melodically, and then the jam grooves and concludes in an "On Broadway" -esque fashion before "Caspian" abruptly begins. | |
| 2019-12-31 | New York, NY | 10:44 | Funk-driven groove emerges on the back of Mike's slap bass. Page switches from plinko Clavinet to Hammond to drive the groove home. | |
| 2019-12-31 | New York, NY | 12:31 | Quickly drops into a low-boil minor-key zone, then heads into more upbeat waters. Swerves into a swaggering and funkier zone with Page doing work on the keys, then delves into a sprightly calypso-adjacent jam thanks to Mike's strong work. Trey takes the jam into more anthemic territory, and this blistering rockout ends with a nice peak. A compact version that still finds multiple moods. > into a ferocious "Twist". | |
| 2019-12-31 | New York, NY | 11:32 | A massive runaway freight train that builds up power from out of the verses (thanks to Mike's muscular basslines) and then picks up the pace at Fish's urging, with Trey hitting on a cool repeating chord pattern, before exploding into a flash of improvisational pyrotechnics. Some real heavy duty jamming in this NYE "Twist". | |
| 2021-12-31 | Lititz, PA | 21:35 | An unprecedented version. Although the opening composed section is loose, and the jam segment is quite smooth and perfunctory, and the "bass and drums" segment is relatively straightforward, the "vocal jam" section begins unaccompanied as it ordinarily would, but soon becomes, in effect, a "second jam" if you will, with Fish in particular scatting during its opening minute. This jam cooks and soars, with Trey deploying the echoplex for several minutes over magnificent accompaniment by Mike, Page and Fish, before the groove mellifluously melts into --> "Frankie Says." | |
| 2022-12-31 | New York, NY | 9:44 | Standard celebratory fare made interesting, as ever, by Trey, who toys with tone, meter, and "2001's" signature theme, amidst the song's backdrop beat. Things get interesting come the six-minute mark, with more by way of full-band improvisation, play offset by groovy Page and marked, come 7:00, by truly unique Trey, his strange (cool) sort of slow-as-melting-snow descending pattern (kind of like "Twinkle Twinkle Little Star") inciting more synth-driven jamming. | |
| 2022-12-31 | New York, NY | 12:13 | > from "2001". The upbeat song turns on a dime and becomes subdued from the jump. The tempo gradually picks back up again and then abates again. In a tight timeframe, this versatile jam goes from introspective to rocking and then back again. Trey eventually winds his way back to the song proper to close things out. | |
| 2023-12-31 | New York, NY | 18:50 | In the shadow of a resurrected rhombus, the "March of The Multibeast" opens an improvisational portal fitting of the historic moment. At once dark and strident, sinister and celebratory, what would be an exceptional excursion under any circumstances becomes transformational in context and relentless in effect. Trey's beastly snarl is finally cooled only by the arrival of the mysterious Tela herself. | |
| 2023-12-31 | New York, NY | 4:11 | Although you may dislike or even hate it, this version involved a chorus and co-lead actor-vocalist Jo Lampert (who also helped narrate the "Gamehendge" performance), to Trey's delight in particular. | |
| 2023-12-31 | New York, NY | 8:03 | Erupting from the song, proper, Trey lays into a series of fist-pump power chords, pushes through some "Woos," and pours it on. Infectious, electric play finds Page pounding his keys as the band plays a perfect take for their punchdrunk fans. | |
| 2023-12-31 | New York, NY | 10:05 | This extra-mustard thrasher of a version serves as a fitting capstone to a legendary night. Seemingly unwilling to let the night end, Trey and Co. blow past the goal posts with unbridled joy, with a series of false peaks giving way to a mountain-top crescendo and fanfare conclusion. |
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.
Phish.net
The Mockingbird Foundation