Jam Chart for the 29th of the Month (230 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1987-04-29 | Burlington, VT | 7:25 | This version features a short jam with nice interplay between Page on the organ and Trey starting after 2:30; it's lilting and pretty. Then it sort of plods along for a few minutes, but a nice second jam emerges at about 5:30. Good -> "Antelope," too. | |
| 1987-04-29 | Burlington, VT | 7:15 | Debut. First version includes a four minute jam before the final verse with that familiar dark vibe to it. | |
| 1987-04-29 | Burlington, VT | 7:30 | Another early version with a jam following the lyrics and composed sections. This one is quite rocking and has a great vibe to it. | |
| 1987-08-29 | South Burlington, VT | 7:21 | Great, rocking version with an extended vocal jam that includes crazy, animal-like screaming. | |
| 1987-08-29 | South Burlington, VT | 11:26 | Long, playful jam. The highlight is an absolutely gorgeous solo by Trey around 7:20-9:40. | |
| 1987-08-29 | South Burlington, VT | 12:02 | Fish and Mike are noticeably strong in The Curtain section, despite some minor precision issues from Trey and Page. After the anthemic repeat which would evolve into "Rift," this With jam really takes off into some stunning and inspired playing by Trey, strengthened by colorful and delicate Page counterpoint. Trey's spirited melodies from about 10:25 - 11:00 sound remarkably similar to the as yet unhatched jam in "Mockingbird." The cathartic settle seems the perfect ending. | |
| 1987-08-29 | South Burlington, VT | 8:30 | Nice rocking vibe to the jam, with Page and Trey sort of trading licks at moments. The jam keeps on rocking, with no return to the "McGrupp" closing, and neatly -> to "Possum." | |
| 1987-08-29 | South Burlington, VT | 9:36 | Strong early version. Some serious Trey raging on this one. | |
| 1987-08-29 | South Burlington, VT | 9:04 | The jam has a great swinging, rocking vibe to it at first, and is very unlike the typical modern "Mike's" jam. Fish is noticeably strong as the energy of the jam builds. First time that "Hydrogen" follows "Mike's." | |
| 1987-08-29 | South Burlington, VT | 16:20 | Leaves the standard fare at about 7:20, then meanders back. At 10:00, the jam makes a clean break for good. Some early space jamming, followed by an excellent blues jam at 13:15 that sounds like George Thorogood's "Bad To The Bone." Unfinished with -> to "JJLC." | |
| 1988-10-29 | Plainfield, VT | 4:27 | Debut. First version contains only the composed and lyrical sections with no jam component. | |
| 1988-10-29 | Plainfield, VT | 5:23 | An otherwise standard-for-the-era version gets a unique boost courtesy of guest saxophonist Russ Remington (of Giant Country Horns and TAB fame.) Unfinished. | |
| 1992-04-29 | Minneapolis, MN | 8:39 | Another good organ rocker with great Mike. | |
| 1992-08-29 | Mountain View, CA | 8:02 | Great, rapid-fire playing by Page is followed a shortish but demonstrative display of Trey's machine gun-like guitar skills. | |
| 1992-12-29 | New Haven, CT | 13:30 | A little vocal jamming in opening section. Rhapsody in Blue and Donna Lee teases; brief PYITE tease. There is also arguably "Who Knows" teasing for several measures in this version (it's not quite "Who Knows" but it's close and it lasts for several measures.) | |
| 1992-12-29 | New Haven, CT | 8:49 | The first "Mike's" since '88 to have something other than "Hydrogen" follow. The 1st jam gets way out there into serious improv, including twisted "On Broadway" teasing. The short 2nd jam is rhythmic and has "Blue Bayou" teasing and a drum outro. After a brief stop, the band decides to play "Blue Bayou," which began a trend of inserting songs other than "Hydrogen" between "Mike's" and "Weekapaug." | |
| 1993-04-29 | Montréal, Québec, Canada | 12:41 | Rocking version includes a brief jam on Pink Floyd's "Money" (4:45 - 5:20) followed by fantastic, very exploratatory jamming. Intense conclusion to the jam with Trey just shredding away. | |
| 1993-04-29 | Montréal, Québec, Canada | 9:20 | The strong 1st jam includes jamming that hints at "Crossroads," before breaking into a repetitive, grundge-like Mike and Fish-led groove. The 2nd jam sounds very much like an early stab at what would evolve into "Simple" the following year, played atop a similar groove to the 1st jam, and then ends in a ripping and intense manner. | |
| 1993-04-29 | Montréal, Québec, Canada | 4:14 | Excellent jam with Theme From Bonanza and "NICU" teases, as well as strong and unusual melodic content -> to the first "Makisupa" in 320 shows (last seen on 11/26/90) before -> back to "Weekapaug." | |
| 1993-04-29 | Montréal, Québec, Canada | 2:47 | -> in from "Weekapaug." "Makisupa" makes its first appearance in 320 shows (last seen on 11/26/90), amidst a strong "Weekapaug." -> back to "Weekapaug." | |
| 1993-04-29 | Montréal, Québec, Canada | 5:36 | -> in from the first "Makisupa" in 320 shows. This section includes great "Can't You Hear Me Knocking" ("CYHMK") teases, exploratory jamming and a shredding peak. All in all, another great '93 "Weekapaug." | |
| 1993-07-29 | Knoxville, TN | 10:26 | Very cool beginning to the jam, and Trey is tuly superb throughout, embracing a variety of styles and tecniques. | |
| 1993-12-29 | New Haven, CT | 12:19 | Strong '93 version that has a very unsual quiet section from 6:35 - 8:35 before returning to "Antelope." | |
| 1994-04-29 | Clearwater, FL | 18:12 | Crazy, very strange version. (No B&D or VJ.) Nice segue into "FEFY." | |
| 1994-04-29 | Clearwater, FL | 6:30 | Though not perfect, Trey gets paid by the note in this one, including during its mighty peak and conclusion. | |
| 1994-04-29 | Clearwater, FL | 10:24 | Excellent variation in the playing, including a nice quiet section, dissonance, pounding, and an amusing section with the band members all yelling "Yee Haw!!" No real ending but instead a > to "Sanity." | |
| 1994-04-29 | Clearwater, FL | 5:45 | All band members play a flurry of notes several times before the > to "Uncle Pen." | |
| 1994-04-29 | Clearwater, FL | 10:20 | A typically fiery, intense '94 1st jam breaks into great rhythmic, medium intensity playing, which mellows into some super melodic Trey-led jamming with hints of "MLB." Collapsing to drums, the jamming returns to "Mike's" proper to conclude. | |
| 1994-05-29 | Monterey, CA | 12:59 | Great version with serious improvisation. A very exciting jam that is well orchestrated. | |
| 1994-05-29 | Monterey, CA | 14:56 | Classify this one in the extreme "Anarchy" jamming category. Jam includes Trey chanting, Fish yelling, a largely dark vibe, slow pulsing power rocking, rhythmic-driven jamming, more screaming, etc. | |
| 1994-05-29 | Monterey, CA | 9:01 | Terrific Page. Outstanding Trey (whose solo departs from that sound characteristically "emotive" to become something more "musical"). Fish is the surpirse, here, though. Rim shots, extra floursihes and fills really work to bring this version to a fun and fiery close. | |
| 1994-05-29 | Monterey, CA | 11:14 | Chaotic, frenzied, and blistering jam. Insane buildup to the peak with excellent screaming by Fish. | |
| 1994-05-29 | Monterey, CA | 0:56 | The "Guitar Man Taking A Leak" jam with Page, Fish and Mike starts the 2nd Encore, while Trey was in the bathroom. | |
| 1994-06-29 | Raleigh, NC | 15:27 | Incredible play from Trey in the composed section, accented by awesome Fish. Precision syncopation yields to a Mike-driven jam, with Page providing great fills as the band explores a number of distinct musical passages. Trey completely distorts his tone to lead an atypical and "growly" jam, which again finds the band pushing boundaries and toying with all sorts of rhythmic shifts and sonic experimentation. | |
| 1994-06-29 | Raleigh, NC | 0:10 | "Bowie" -> "Catapult" -> "Bowie" in intro. Good solid summer '94 version, released on Live Bait 4. | |
| 1994-06-29 | Raleigh, NC | 0:40 | -> in from "DB." Spooky version of "Catapult" is played over the "DB" high hat intro beat. -> back to "DB." | |
| 1994-06-29 | Raleigh, NC | 12:14 | -> in from "Catapult." The early part of the jam is melodic and upbeat, but it gets typically nasty and tension-filled as it progresses. | |
| 1994-10-29 | Spartanburg, SC | 7:24 | Evil outro jam and vocals. | |
| 1994-10-29 | Spartanburg, SC | 9:11 | -> in from "Simple." Excellent Fish and Trey on this improvisational version. | |
| 1994-10-29 | Spartanburg, SC | 9:50 | Another very strong Fall '94 version, infused with rhythmic and other stylistic variation. | |
| 1994-10-29 | Spartanburg, SC | 9:49 | Excellent, thrashing, wild and unfinished version kicks off a great, unsusual segue-fest. -> "Buffalo Bill" -> "Makisupa" -> "Rift." | |
| 1994-10-29 | Spartanburg, SC | 3:04 | A spry, playful jam is tagged onto the end, which sounds like it's going to speed up for a second. Instead, it pivots (->) neatly into a super "Makisupa." | |
| 1994-10-29 | Spartanburg, SC | 6:31 | -> in from "Buffalo Bill." After 3:00, this "Makisupa" breaks into some great '94-style jamming, spacey at first, then hard rocking with a great -> to "Rift." | |
| 1994-10-29 | Spartanburg, SC | 10:33 | Not way out there, but moments of crashing, noisy rocking beyond the standard, then some great '94 space following the final lyrics before a -> to "TMWSIY." | |
| 1994-10-29 | Spartanburg, SC | 4:20 | -> in from "TMWSIY." Classic '94 space follows "TMWSIY" and very gradually and miraculously -> into the Who classic. | |
| 1994-10-29 | Spartanburg, SC | 19:30 | Short but very, very sweet! | |
| 1994-10-29 | Spartanburg, SC | 7:50 | "Antelope" -> "Sleeping Monkey" > "Antelope." Fantastic improvisational playing with all the good '94 stuff combined with a seamless segue, then a return to "Antelope" for more exploratory jamming. Great version and song pairing. | |
| 1994-10-29 | Spartanburg, SC | 5:30 | -> in from "RLAA." Awesome song combination and humorous relief in the midst of an ass-kicking and exploratory "Antelope." > back to "RLAA." | |
| 1994-10-29 | Spartanburg, SC | 5:22 | > in from "Sleeping Monkey" and this "Antelope" provides more exploratory jamming before winding down in good fashion. | |
| 1994-10-29 | Spartanburg, SC | 14:04 | One quality of many great '94 "Hoods" is their balance of grace and power. As the encore from a fantastic show, this "Hood" begins with some quiet and delicate playing, which pairs nicely with the raw energy and intensity of the finish. | |
| 1994-12-29 | Providence, RI | 9:11 | Excellent improvisational "Jim" which includes a "Dueling Banjos" tease from Trey and must-hear -> to "Foam." | |
| 1994-12-29 | Providence, RI | 9:25 | -> in from "Runaway Jim." Fantastic segue for this great pairing. A typically strong '94 version with a dramatic build-up. | |
| 1994-12-29 | Providence, RI | 10:53 | Although neither chaotic nor very dissonant, this one qualifies for the extreme and atypical category - odd but improvisational. | |
| 1994-12-29 | Providence, RI | 11:37 | "Dueling Banjos" and "L.A. Woman" teases. The latter half of the jam is dark and brooding with a uniquely Fall '94 tone that has moments that sound similar to a "Bowie" or "Tweezer." Ends in solid, ripping "Possum" fashion. | |
| 1994-12-29 | Providence, RI | 3:15 | Even for a "DDL" Jam, this one is unusual, with an added psychological edge to it. Appropriate warm up section which -> to a mind-blowing, classic and MUST-HEAR "Bowie." | |
| 1994-12-29 | Providence, RI | 31:17 | The Legendary Providence "Bowie." Between the "DDL" jam in the intro, whistling, "Lassie" chatter, and creepy whispering, this one is more psychologically jarring than 11/26/94. | |
| 1995-06-29 | Wantagh, NY | 11:56 | Seemingly played at a slower tempo, this is a creepy and spacey version with nice tension. A psychological face melter. | |
| 1995-06-29 | Wantagh, NY | 27:35 | Extremely improvisational. Pretty much leaves "Bowie" in the dust following the composed section, only returning at the very end. A+ for exploration. | |
| 1995-06-29 | Wantagh, NY | 24:20 | AMAZING B&D SEGMENT! | |
| 1995-10-29 | Louisville, KY | 12:03 | Jam immediately breaks into a propulsive groove. Low key at first, the tension builds as it gets beyond "SOAM." Intense. | |
| 1995-10-29 | Louisville, KY | 4:47 | "It's Ice" -> to "Kung," which is played in its entirety during the jam segment. | |
| 1995-10-29 | Louisville, KY | 2:45 | -> in from "It's Ice." Following "Kung," -> back to "Ice." | |
| 1995-10-29 | Louisville, KY | 1:42 | -> in from "Kung" to complete this version of "Ice." | |
| 1995-11-29 | Nashville, TN | 15:27 | Almost two months removed from Shoreline's speedy "Reba," the band again takes flight, whipping through the composed section at warp speed. The ensuing jam, while metered, does not relent, with passionate, inspired Trey leading the way, while focused, full-band play is infused with great syncopation and rich melodic variation. | |
| 1995-11-29 | Nashville, TN | 8:31 | Set II opener. Unusual intro. Intense with ferocious percussion. Page jumps to the B-3 briefly to provide an unusual and chilling effect. Multiple movements in this incredible, jarring jam that will rattle your skull. > to "Sparkle." | |
| 1995-11-29 | Nashville, TN | 17:20 | Extended, percussive intro, almost like a "Bowie." Soaring, multiple peak jam with awesome Trey and Fish. | |
| 1995-11-29 | Nashville, TN | 7:58 | With Bela Fleck on banjo. This is a fantastic version; the banjo is a perfect addition for an intense, rhythmically complex, song like "Taste." | |
| 1995-11-29 | Nashville, TN | 11:22 | Bela Fleck on banjo. This is a fantastic version, with Bela and Trey pairing together incredibly well. | |
| 1995-12-29 | Worcester, MA | 17:58 | Very improvisational considering this version largely stays in bounds. Like many versions from '95, the band stretches the duration, creating a psychological thriller, but the music is less exploratory than '93 - '94. Not a good trend for "Stash." | |
| 1995-12-29 | Worcester, MA | 14:26 | Fish is the superhero in this exceptional version. A great Fluff's Travels gets the ball rolling, while safe passage through the Siren-like perils of The Chase leads to a great Who Do? We Do! It's during this section that Fish really cranks up the intensity of his highly precise rhythmic base. From the swift, complimentary snare drums in Bundle of Joy, to the cannon-like power drumming in Arrival, this is a great example of the drummer's talent and importance in holding this complex composition together. | |
| 1995-12-29 | Worcester, MA | 11:06 | "Gin" -> "The Real Me" -> "Gin." Fantastic, inspired and rocking version. The "Gin" sections that bookend the Who classic are improvisational fare, but all fit together seamlessly into one flowing jam. -> to "McGrupp." | |
| 1995-12-29 | Worcester, MA | 9:08 | -> in from "Bathtub Gin." Following their 1995 Halloween costume, the band surprisingly revisits this Who classic in the middle of a fantastic, rocking and "Type II" Gin. "The Real Me" includes more exploratory jamming than its debut 3 months prior. -> back to "Gin." | |
| 1995-12-29 | Worcester, MA | 3:46 | -> in from "The Real Me" with more great improvisation before returning to the "Gin" theme to conclude and -> to "McGrupp." | |
| 1995-12-29 | Worcester, MA | 9:04 | -> in from the historic "Real Gin." "McGrupp" features an airy opening, replete with Trey's signature '95-style, Leslie-infused shimmering tone. Wonderful playing throughout. Page breaks for a dark calm, marked not so much by eeriness, but a general psychedelia, enhanced by an exotic, Eastern sentiment, combined with nice restraint by Trey. Great fills from Fish lead to a powerful conclusion. | |
| 1995-12-29 | Worcester, MA | 8:45 | > in from "BBFCFM." An excellent bass duet jam with Mike and his instructor, Jim Stinnett. The duet includes teases of "Keep It Greasy" and Bach's "6th Brandenburg Concerto" (aka the "Masterpiece Theater Theme"), and -> to "La Grange." | |
| 1996-10-29 | Tallahassee, FL | 18:39 | With Karl Perazzo on percussion. The 2nd jam lives up to its accolades, but honestly, the 1st jam, even with Perazzo's strong presence is a bit plodding. But that 2nd jam, wow! It's literally a synthesis of Phish styles past, present and future. Combining '95-style arena rock with '96 percussion/keyboards and '97 funk, the building hose-filled jam including "MLB"-like moments is 100% Grade A Phish. | |
| 1996-10-29 | Tallahassee, FL | 4:59 | Guest percussionist Karl Perazzo lends added pop to this powerful pre-"Remain in Light" version. | |
| 1996-11-29 | Daly City, CA | 12:26 | There is a really powerful psychedelic aspect to these '96 versions, and this one is a fine example. | |
| 1996-11-29 | Daly City, CA | 13:38 | No mini percussion kit here. Instead, Trey hits on a theme that the band jumps on and rocks. Wonderful version, remarkably different from most. -> to "Sparks." | |
| 1996-11-29 | Daly City, CA | 27:38 | Long jam segment; Trey broke a string. | |
| 1996-12-29 | Philadelphia, PA | 17:03 | "YEM" -> to "Rotation Jam," an instrument-switching jam. | |
| 1996-12-29 | Philadelphia, PA | 4:54 | -> in from "YEM." This instrument-switching jam is performed during the "YEM" jam and > to "Sixteen Candles" with Mike on piano. | |
| 1996-12-29 | Philadelphia, PA | 2:03 | > in from "Rotation Jam." Mike sings and performs this 1950s pop hit solo on piano. > to the "YEM" vocal jam. | |
| 1996-12-29 | Philadelphia, PA | 3:28 | > in from "Sixteen Candles" for the "YEM" vocal jam. | |
| 1997-07-29 | Phoenix, AZ | 13:30 | The first jammed out "Gumbo" features a funky jam with Trey laying it down on his wah pedal. The jam begins to get spacey while Trey starts high pitched noodling out of a which a 4 chord descending pattern (not MLB) develops, with some beautiful work by Page (which sadly doesn't last long). | |
| 1997-07-29 | Phoenix, AZ | 15:01 | Mellow "C&P"-like groove into Monster Funk ending in Went "Gin"-like jam. [A typically funky '97 version releases and then breaks into an excellent upbeat and hose-filled groove.] | |
| 1997-07-29 | Phoenix, AZ | 7:33 | Another rager to close the first set. | |
| 1997-07-29 | Phoenix, AZ | 20:31 | Awesome, extended, and uniquely remarkable version that departs into a low-key, melodic and exploratory groove that has moments of really beautiful, major mode jamming before working back into nasty old "Antelope." | |
| 1997-07-29 | Phoenix, AZ | 18:27 | Exploratory version with some variations on the "Twist" theme through 9:10, when the jam breaks away. After some brief engine grinding, a dark, dissonant section emerges, before eventually brightening and -> to "Taste." | |
| 1997-07-29 | Phoenix, AZ | 11:04 | -> in from "Twist." Pretty intense section towards the end of Trey's solo where the whole band is just hammering away. Great Mike on this one. | |
| 1997-11-29 | Worcester, MA | 6:32 | Slow and deliberate show-opener, featuring that signature Fall 1997 sound. Cool keys give way to soaring Trey. Fish drives great syncopation and full-band play. Great dynamics, as the sound is textured and nuanced, producing subtle and musical shifts in intensity. | |
| 1997-11-29 | Worcester, MA | 11:45 | No free-form improvisation like a big "Ghost" or "Tweezer," but within a self-imposed, rigorous construct, there is a hell of a lot of musical creativity going on in this characteristically '97-style stretched-out version. | |
| 1997-11-29 | Worcester, MA | 58:49 | Longest single Phish jam to date. Contains many different sections, and has been nicknamed the "Jim Symphony." Contains a thrilling "Weekapaug" jam. | |
| 1997-12-29 | New York, NY | 12:31 | Blistering, high octane version with nice concluding transition space and a > to "Fluffhead." | |
| 1997-12-29 | New York, NY | 15:55 | Straightforward but well played jam, followed by some downright filthy funk jamming in the "Rocco" section. | |
| 1997-12-29 | New York, NY | 22:00 | Fearsome but exploratory jam. Moments of quiet settle are repeatedly upended by intense funk rocking. This legitimate monster "Disease" finally gives up a little belligerence only to -> into a very strong "David Bowie." | |
| 1997-12-29 | New York, NY | 19:49 | Excellent and thrilling version with strong musicianship. Mode shift out of typical (but very well played) "Bowie" at 13:55 into a great groove which peaks and returns to "Bowie" by 17:00. | |
| 1997-12-29 | New York, NY | 2:38 | > in from a strong "Bowie". Fun version with two "I Can't Turn You Loose" jams, one at the onset of the jam and the other appearing after the last chorus. | |
| 1997-12-29 | New York, NY | 0:50 | -> from "Possum". The first "I Can't Turn You Loose" section pops up early in "Possum's" jam and then > back to "Possum". | |
| 1997-12-29 | New York, NY | 5:39 | The main "Possum" jamming occurs here and includes extended Page lead sections on organ and piano, before Trey gets his licks in later on. | |
| 1997-12-29 | New York, NY | 0:30 | Another round of "I Can't Turn You Loose" puts a cap on a solid "Possum". | |
| 1997-12-29 | New York, NY | 10:50 | Absolutely locked-in version with seamless interplay, breakdown solos by Trey, Page, and Mike, and "I Feel the Earth Move" teasing. One of the greats. | |
| 1998-07-29 | Maryland Heights, MO | 23:15 | Superb, legendary "Gin." An inspired, melodic "Type I" jam mutates into a thrilling, pulsing, tension-filled electro-rock groove. Many fans rank this "Gin" at, or very near the very top of all Phish jams of all time. Enough said. | |
| 1998-07-29 | Maryland Heights, MO | 13:56 | Unlikely jam vehicle opens Set II. The jam breaks beyond the standard into swirling and rocking playing, before settling into ambient space with periodic "Buried Alive" licks. | |
| 1998-07-29 | Maryland Heights, MO | 10:00 | Excellent jam combining funk and ambience, making this version a good representation of the band's sound at this time. > to "Kung". | |
| 1998-10-29 | Los Angeles, CA | 11:45 | Super, subtle, and very '98. Page drives a quiet jam featuring great Fish, and colored by Mike and Trey. | |
| 1998-10-29 | Los Angeles, CA | 20:41 | 1998 is an awesome year for "Reba," and this HUGE L.A. version is a principal reason why. After breezing along in typical fashion, Trey summons a series of chords, and the jam enters a darker, more ambient space. This morphs into an awesome, deconstructed segment that would be at home in the "Tower Jam," before slickly seguing into "Walk Away." | |
| 1998-10-29 | Los Angeles, CA | 6:29 | -> in from a massive "Reba." Nice version with an extended and rocking outro jam which neatly -> to "Simple." | |
| 1998-11-29 | Worcester, MA | 11:00 | Very fine soloing by Trey and great interplay with Page on this solid, straightforward version. | |
| 1998-11-29 | Worcester, MA | 10:52 | Fierce version that ends with a very cool jam and masterful segue into "Catapult." | |
| 1998-11-29 | Worcester, MA | 20:40 | The jam swiftly breaks from the melodic and blissful standard to a high-power and dissonant one. | |
| 1998-11-29 | Worcester, MA | 3:36 | "Possum" -> "Wipeout" -> "Possum." 30 second "Wipeout" jam occurs at the beginning of the "Possum" jam. | |
| 1998-11-29 | Worcester, MA | 0:30 | -> in from "Possum." 30 second "Wipeout" jam occurs at the beginning of the "Possum" jam. -> back to "Possum." | |
| 1998-11-29 | Worcester, MA | 4:10 | -> in from "Wipeout" to return to the standard "Possum" jam. | |
| 1998-11-29 | Worcester, MA | 18:25 | A soaring, straightforward jam evolves into beautiful ambient space before before building into a rocking and funky groove. | |
| 1998-11-29 | Worcester, MA | 23:54 | FUNKASAURUS! (No B&D.) | |
| 1998-12-29 | New York, NY | 11:02 | Page is the star, jumping around to various keyboards in this "Type I" but interesting and different space funk "SOAM." | |
| 1998-12-29 | New York, NY | 9:53 | Trey out in front instead of Mike. Swirling metallic jam that sounds more '99 or '00 than '98. > to "Limb By Limb." | |
| 1998-12-29 | New York, NY | 9:52 | Page in particular shines brightly (but also Trey) in this strong, full-powered version. Segues to a stellar "2001." | |
| 1998-12-29 | New York, NY | 17:24 | Possibly the best intro ever. This version has it all. Aliens, tractor beams, Trey flamethrowing, "C&P" teasing, Liquid Nitrogen Mike in the second jam. It all combines for 17 minutes of "2001" magic. | |
| 1998-12-29 | New York, NY | 23:39 | Dynamic, captivating version from start to finish. (No B&D.) | |
| 1999-09-29 | Memphis, TN | 21:33 | Alice in Wonderland on DMT. This is "2001: A Space Odyssey". The first jam will send you to another galaxy, while the second jam will blow your brains out. An all time great. | |
| 2000-06-29 | Holmdel, NJ | 12:35 | Very solid with excellent playing by Trey. The intensity modulates up and down in the jam, with two enormous peaks. | |
| 2000-06-29 | Holmdel, NJ | 18:25 | Great version with an upbeat, pulsing jam that morphs into a celebratory, "Gin"-on-steroids-like section that segues seamlessly into "Rock And Roll." | |
| 2000-06-29 | Holmdel, NJ | 13:40 | "A Love Supreme" tease. Around 7:50, the jam migrates away from "Birds" into a deep and somewhat dark groove-based jam. Unfinished with solid -> to "Catapult." | |
| 2000-06-29 | Holmdel, NJ | 16:58 | Dark jam with Trey on the keyboard for a good portion and effects/loops throughout. | |
| 2000-09-29 | Las Vegas, NV | 9:32 | After a few minutes of soloing, Trey gets into a demented, octaved-down, shred zone, and the band reciprocates with pulsating, demonic energy. Seek out video of this extended, metal-tinged version to see Trey workshopping his 'First Tube feedback sword-fighting moves' during the noisy outro which segues unexpectedly into Spock's Brain. | |
| 2000-09-29 | Las Vegas, NV | 16:57 | The standard jam gives way at about 9:30 to a great Mike-led, bouncy groove that grows increasingly rocking and intense. | |
| 2000-09-29 | Las Vegas, NV | 9:40 | The last big "Moma" of 2000, played in the same powerful style as 7/6 and 9/23. Strong, rocking version. | |
| 2003-07-29 | Burgettstown, PA | 11:36 | Despite "Gotta Jibboo's" rarity in 2.0, it remained a consistently strong offering when appearing in shows. This version always feels like it's about to peak, but the band continues to push the jam forward and deeper at each turn, offering variety to create a more complex "Jibboo" than meets the ear. | |
| 2003-07-29 | Burgettstown, PA | 10:12 | "Wouldn't It Be Lovely" jam by Trey and others in response to Page's solo. | |
| 2003-07-29 | Burgettstown, PA | 7:51 | "Maze" tease in a jam that sticks close to the normal outro with an added repeating riff from Trey. Page also contributes on the synthesizer before the -> into "Timber." | |
| 2003-07-29 | Burgettstown, PA | 7:45 | Great segue -> in from "Fee." This is one angry mule! Packs all the rage of the earliest versions. At 5:25, almost breaks free from "Timber" proper, but shortly returns to the fold. | |
| 2003-07-29 | Burgettstown, PA | 9:05 | In the only version from 2.0, the others join in with Page for more of a rocking jam, with great Mike and Fish. There is also a sense of back and forth between Page and the others, giving the jam energy and a playful aspect as it builds to a solid conclusion. | |
| 2003-07-29 | Burgettstown, PA | 25:50 | This version is long and explorative, but it keeps rocking all the way to the 20 minute mark, after which it gets spacey. It's a very percussive jam. Even when it hits a spacier segment, the jam still moves with focus and direction. GREAT VERSION! | |
| 2003-11-29 | Philadelphia, PA | 10:11 | Has some really cool riffs from Trey throughout that are unusual, as well as some nice low intensity playing. | |
| 2003-11-29 | Philadelphia, PA | 17:17 | Excellent jam which breaks from "Twist" around 7:30 into some good major mode action, then grows a bit spacey and dissonant before morphing into a really nice rocking groove. Towards the end, it gets angry and dissonant and -> to "Simple." | |
| 2003-12-29 | Miami, FL | 15:08 | A quality jam develops, then the band returns to the refrain to close, adding on an "old" coda of sorts. | |
| 2003-12-29 | Miami, FL | 9:40 | Multiple peaks and a high powered crescendo ending to this sold version. | |
| 2003-12-29 | Miami, FL | 7:04 | -> in from "Twist." Short, but definitely gets beyond "Boogie On" into a nice groove before -> to "Ghost." | |
| 2003-12-29 | Miami, FL | 11:36 | -> in from "Ghost." Jam starts in customary manner, but then features an excellent bass and guitar duet/jam. | |
| 2003-12-29 | Miami, FL | 17:43 | A moving version with some great, quieter moments before cycling up for a big conclusion. | |
| 2009-12-29 | Miami, FL | 16:35 | "Manteca"-like jam into space. | |
| 2009-12-29 | Miami, FL | 9:11 | Featuring far more by way of "fingers" than feet, Trey's nimble, direct attack drives this surprising, late-set jam, notable for its happy, carefree, vibe, welcome concentration of extra notes, and a few shreddy "peaks plus an ambient outro > "2001". | |
| 2010-06-29 | Canandaigua, NY | 9:16 | Seems like a short, standard version until 5:00, when the jam breaks into a rhythmic, low-key groove which gets nicely away from typical fare, builds intensity, and > unfinished to "LxL." | |
| 2010-10-29 | Atlantic City, NJ | 8:49 | All four team up in the well-played, extended jam that gets somewhat spacey at the very end. | |
| 2010-10-29 | Atlantic City, NJ | 13:11 | > out of "Punch You in the Eye." Another strong version with a dynamic groove and tension-filled playing from Trey. Also includes an upbeat, "type 2" outro jam that seems to hint at "Cool it Down" and a -> into "Carini." | |
| 2010-10-29 | Atlantic City, NJ | 15:44 | Despite more frequent rotation from 2009 - 2012, this song continues to challenge the band from a precision perspective. In this strong modern version, Fluff's Travels and The Chase are largely free of mistakes, but then the band hits a few bumps in Who Do? We Do! Clod is solid, with call and response action between Page and Trey, followed by nice Fish and Mike support during Page's solo. Ending this second set with emphasis, Arrival is extended compared to most versions, showing a spirited, enthused band, with strong playing by Trey and Fish, taking a couple of extra victory laps. | |
| 2011-12-29 | New York, NY | 18:54 | Very good jam with a strong peak, albeit short. | |
| 2011-12-29 | New York, NY | 9:42 | Solid jam which includes some plinko action early on, then covers enough non-standard terrain to make it interesting, before finishing with a particularly nice peak. | |
| 2012-06-29 | Noblesville, IN | 14:45 | High quality jam develops that is dark and brooding at first, but grows increasingly upbeat and intense. > to "Sand." | |
| 2012-06-29 | Noblesville, IN | 10:19 | Coming out of a very good "Disease," the jam is a tight, rhythmic groove with "Walk This Way" and "Weekapaug" teases from Trey. Segues into "Twist." | |
| 2012-06-29 | Noblesville, IN | 8:07 | > in from "Rift." Despite its brevity, this version has some fantastic and unusual improvisation and includes a "Twist" quote and an "On Broadway" tease from Trey. With a -> to "Fluffhead," this is a great, old-school triple combo. | |
| 2012-08-29 | Oklahoma City, OK | 8:29 | The jam breaks away from "Twist" at 4:45 into a peaceful major mode movement which continues until the final minute. | |
| 2013-10-29 | Reading, PA | 15:38 | The jam has a really nice and gentle beginning, with almost a late-'90s vibe, then builds to a solid peak. | |
| 2013-10-29 | Reading, PA | 21:20 | An excellent, multi-section jam begins dark and stormy, then starts grooving in a very upbeat manner with growing energy. After letting the "HOSE" run for several minutes, the jam methodically cycles down. | |
| 2013-10-29 | Reading, PA | 14:22 | The jam breaks away from the standard around 7:45, passing through a "The Birds"-like jam before becoming funky and rocking with some great Page B-3 action. The jam brightens in sentiment briefly before > to "Piper." | |
| 2013-10-29 | Reading, PA | 22:25 | Intricate jam segment where the band members play off each other quite well, and a decent peak to the jam. | |
| 2013-12-29 | New York, NY | 8:21 | This one has a bad-ass "Ice" jam with some wild and rocking playing by all four. It almost sounds like some of the crazy versions from Spring '94 and also makes a nice clean return to "It's Ice." | |
| 2013-12-29 | New York, NY | 6:31 | Another clavinet-led outro, but with added mind-scrambling from Trey. | |
| 2013-12-29 | New York, NY | 18:27 | Great version which rocks along in familiar territory before becoming deep, dark and thought-provoking. The jam lightens in sentiment around 12:00, breaks into a power-rocking groove and makes a stately return to "DwD" to close. | |
| 2013-12-29 | New York, NY | 15:16 | > in from "DwD" (only the 2nd time ever). A very good exploratory jam that retains a largely dark sentiment throughout, features great playing by Mike and Page, and concludes with brief "Woo" jamming. | |
| 2014-07-29 | Portsmouth, VA | 13:26 | The jam has a brief major mode section, returns to the typical, then at 7:30 ventures into some good, semi-dissonant terrain which becomes more rocking before closing. | |
| 2014-07-29 | Portsmouth, VA | 17:47 | The jam has a really nice, low-key vibe, and in some ways is similar to a number of groove-based jams from '99 - '00. While covering much ground, the jam retains a relaxed sense. | |
| 2014-07-29 | Portsmouth, VA | 8:39 | Jam proceeds in standard fashion before breaking away and settling briefly. Then it regains energy, taking on a textured feel before dissipating. | |
| 2014-08-29 | Commerce City, CO | 7:37 | Closes out the "Lushington" gag. Whale call dominates the very strong and satisfying peak. Clean playing from the entire band effort that builds cleanly. Compact, but in no way short. Fans of this version should also check out 10/26/13. | |
| 2014-08-29 | Commerce City, CO | 9:39 | A nice low-key and increasingly funky jam develops on the back end of "46 Days" proper. | |
| 2014-08-29 | Commerce City, CO | 21:50 | The Rhythm Department gets the credit for propelling this jam beyond the standard and into a rocking and increasingly euphoric groove that recalls several standout '96 versions. Then Fish, Page and Mike drive the jam into a funky and rhythmic realm. | |
| 2014-10-29 | San Francisco, CA | 7:30 | "We Are the Champions" sandwich to celebrate the hometown San Francisco Giants' World Series win from moments earlier. | |
| 2015-07-29 | Grand Prairie, TX | 14:31 | Following the closing refrain, a jam develops which features some good melodic, low key playing. The energy gradually builds and really amps up in the final 2 minutes. | |
| 2016-06-29 | Philadelphia, PA | 13:58 | No mere novelty, the band's incredibly slow take on the composed section (better heard than described) seems to dissolve as muscle memory takes over, the torpid pace impossible to sustain. This inspires several minutes of particularly soulful and melodic jamming, which, in fun Phish fashion, dissolves into an inane whistling section. | |
| 2016-06-29 | Philadelphia, PA | 6:41 | A sea of trills and melodic waves evoking the ocean's ebb and flow. A harmonious jam where the means are the ends; the musical equivalent to taking a walk through the woods for the sake of walking through the woods. | |
| 2016-06-29 | Philadelphia, PA | 15:31 | After departing the typical jam style, this version drops briefly into some murky waters but finds its footing as Fish propels things forward, eventually leading to a feel-good conclusion and a -> to the debut of "Friends". | |
| 2016-06-29 | Philadelphia, PA | 8:40 | An inspired version showcasing full-band interplay. Trey truly shines, working his line in a number of directions, sprinkling notes and modulating intensity to shape this shimmering summertime stunner. | |
| 2016-06-29 | Philadelphia, PA | 14:21 | After a couple of years of venturing abroad, "Harry Hood" proves that a more traditional, but extended trip is equally compelling. This fine encore version also includes a very powerful ending section. | |
| 2016-10-29 | Las Vegas, NV | 9:07 | Trey goes to the MuTron out of the final verse, and Fish hits on a "Manteca"-type beat that helps lead into a funky and psychedelic jam. Mike, in particular, is superb. | |
| 2016-10-29 | Las Vegas, NV | 16:06 | Second set opener is anything but elemental, illuminating the song's jam potential. Mike is super, and Trey modulates his tone, a liquid sound darkening to offer a bit by way of transition metal. A pointed, effects-enhanced -> gives rise to a centerpiece "Piper." | |
| 2016-10-29 | Las Vegas, NV | 14:31 | The customary "Piper" jam is melodic, rocking, and somewhat different from the typical, trilling shred-fest of years past. Around 7:00, the jam takes on a percussive aspect that grows increasingly powerful. Following great Fender-Rhodes action from Page, things settle, then blast into a spirited, celebratory conclusion. | |
| 2016-12-29 | New York, NY | 9:57 | This version starts with fun banter and slips into a breezy, mostly bass-led jam. At around 4:40, Trey moves over to the Marimba Lumina, and then Mike and finally Page join in and a full-on percussion jam develops. It's enjoyable, but typical of the percussion excursions of '16. At around 9:20 the drumming stops on a dime and the band drops right back into Makisupa, finishing off the most musically significant version of the song since 11/19/97. | |
| 2017-07-29 | New York, NY | 9:10 | Longest "Wilson" since their reunion, Phish has fun and throws down a version featuring two distinct jams, one truly bizarre "Blatt! Boom!" vocalization, and a spacey > into "STFTFP." | |
| 2017-07-29 | New York, NY | 8:25 | A really great version, with a easy-going, lilting, and generally upbeat instrumental jam section. | |
| 2017-07-29 | New York, NY | 8:27 | Although somewhat brief, a cool little jam develops where Trey typically solos, and here, Trey and Page incorporate some interesting spacey effects, signature sounds from the historic Baker's Dozen run. | |
| 2017-07-29 | New York, NY | 4:30 | Unusual, up-tempo version, reflects the studio recording, but with a twist: Page's "synthesized" solo. Accompanied by beautiful play from Trey, Page creates a warm wave ethereal and gorgeous, before once again teaming up with Trey, going acoustic, and working through the conclusion with a spirited flourish. | |
| 2017-07-29 | New York, NY | 23:20 | Fish's dynamic drumming drives the jam early while the band probes for a hookup until a more defined, upbeat segment forms 13 minutes in. The next big shift occurs around minute 18 when Trey fires off some echoing chords and Page whips out the synthesizer as the jam heats up and climaxes strongly with Trey back in the lead. > to "Twenty Years Later". | |
| 2017-07-29 | New York, NY | 16:05 | Departing from the traditional jam, excellent Trey/Page interaction swirls atop dark, minimalist bass and percussion. Trey's well-placed and sustained "There is a Mountain" teasing functions almost as a cue, with the band transitioning from a dark, mysterious majesty, to "Hood's" characteristic build and euphoric release. | |
| 2017-12-29 | New York, NY | 21:02 | Drops into a spartan jam right out of the gate, then makes a move to a major-key jam via some memorably neat playing from Trey. A relaxed low-key groove emerges, led by Fish's insistent rhythms and Mike's melodic basslines, then Trey steps back in front and drives the jam to a triumphant peak before maneuvering into "Ghost". Very fine version. | |
| 2017-12-29 | New York, NY | 13:14 | Departs standard "SOAM" rather quickly and dips into some nebulous improvisation which straddles the line between light and dark before growing more tense and returning home. | |
| 2018-12-29 | New York, NY | 12:22 | Around 5:30, the playing shifts from the usual fire and brimstone stuff to a quieter, percussive groove. As Page and Trey link up, the jam develops energy and a brighter tone. The band neatly modifies the energy up and down several times, before cleverly -> to "Cities." | |
| 2018-12-29 | New York, NY | 16:01 | Begins with a bit of vocal jamming and then gets into an upbeat clav-groove and continues building in a section bookended by "Party Time" quotes before some more "Wolfman's" scatting and a final ascent for a guitar-driven, high-energy conclusion. | |
| 2018-12-29 | New York, NY | 19:54 | First section features an extended, fiery jam that is akin to "I Know You Rider" (Grateful Dead) before funkily dissolving into "Death Don't Hurt Very Long." | |
| 2018-12-29 | New York, NY | 6:50 | Version is sandwiched between heaping slices of "Tweezer." | |
| 2018-12-29 | New York, NY | 7:51 | Second section is melodic, patient, and mystical, and includes a smooth transition to "No Quarter." | |
| 2018-12-29 | New York, NY | 7:45 | > out of a fan-favorite "Tweezer" > "Death Don't Hurt Very Long" -> "Tweezer" sequence. A particularly passionate version befitting the set it's in, with sharp playing from everyone and a truly fiery Trey solo on top. Reminiscent of the cooking-with-gas 2011 "No Quarter"s. > into an equally killer "Also Sprach Zarathustra". | |
| 2018-12-29 | New York, NY | 9:49 | A dynamite version that demonstrates Phish's mastery of the "Also Sprach Zarathustra" groove, as the band neatly weaves around Fish's four-on-the-floor beat and both Trey and Page wonderfully mesh together. | |
| 2019-06-29 | Camden, NJ | 10:06 | A thick churn of clav, filtered bass, and growling guitar suddenly morphs at 5:20 into a triumphant release with a powerful peak. | |
| 2019-06-29 | Camden, NJ | 13:38 | Smoothly pivots to a fuzzed-out and warm space, then grows darker and heavier with some real nice work from Mike in particular. Page flashes his stuff on the keys as the jam grows busier and more intense, and with a few strums of his guitar Trey moves the band into a quicksilver blissful upbeat hose jam. Things get murkier and heavier, a perfect setting for "DDHVL" to emerge. | |
| 2019-11-29 | Providence, RI | 7:53 | Instead of the typical, crescendo-oriented jam, here the band breaks into an atypical major mode jam, providing a warm and more relaxing sentiment. | |
| 2019-11-29 | Providence, RI | 13:42 | Better late than never, "Plasma" now seems a Phish (centerpiece) staple. Here, the band drops immediately from the song's signature licks to enter a synth-driven exploration, with major (or minor) "Crosseyed and Painless" undertones. Ever percussive, and, as always, interesting, a full-band psychedelic swirl peels apart as Trey shape shifts, his soloing brightening to inform, with Page's carnival-esque keys, a fun, celebratory vibe. | |
| 2019-12-29 | New York, NY | 13:20 | After coursing through typical "Carini" territory, the jam breaks beyond at 7:30 into a pulsing, probing phase with cool effects by Page. The intensity ratchets up, then transitions to lighter, warmer exploration, which mellows and resolves to "BOTT." | |
| 2019-12-29 | New York, NY | 15:44 | Splits from typical "Gin" at 5:45, first moving through a darker rock section, then a lively organ-led romp and finally a spacey washout. | |
| 2019-12-29 | New York, NY | 17:42 | The jam swiftly shifts to minor mode, but the band takes some time to really probe and explore this darker terrain. The intensity increase, settles, re-builds, and shifts back to familiar "Hood" territory. As the jam begins to peak, Trey deploys a long sustained note, for 115 seconds, much to the delight of MSG fans, before finally releasing into the familiar conclusion. | |
| 2021-08-29 | George, WA | 14:21 | The jam picks up momentum, then briefly takes on a swirling, exploratory vibe. At 9:35, the music becomes celebratory, building towards a collective peak, before finally returning to "Gin" to close. | |
| 2021-08-29 | George, WA | 18:47 | Quickly maneuvers into major-key bliss, distinguished by some frenetic playing from Fishman, then moves into a brisker and snappier zone thanks to Trey switching to chords. The band briefly dips into contemplative minor key playing, before moving to something more upbeat, with Page's electric piano at the forefront. Trey's effects-smothered guitar playing and Page's synths combine wonderfully, with Mike going to the envelope filter and Fish as steady as ever. Very good -> into "Meat" to close. A fine companion piece to the 8/4/21 version. | |
| 2021-10-29 | Las Vegas, NV | 21:23 | Punishing play, typical of the song, cools. Out, then, from the song's familiar closing refrain, Trey shapes his tone, his sound heavy as a stone, and offset by spaceage Page. On-point (somewhat incendiary) Fish, Mike anchors what becomes an oozing, liquid event. Lazer-like, the band enters a jam that evokes Floyd inside the walls of a cave, with terrific lead Fish. Listen again and again - Trey is so inventive - as there is always something different to hear, or say. | |
| 2021-10-29 | Las Vegas, NV | 12:56 | On the heels of a towering "Axilla II" jam, this "Mike's" starts with a distinct funky groove which soon evokes "Martian Monster" before returning to more typical play through 6:45. From there, the jam switches to major for a playful and increasingly suspended-in-air feel until the closing chords. | |
| 2021-10-29 | Las Vegas, NV | 12:09 | A squirrely little Paug, the version closes out a terrific, traditional, "Mike's Groove." Too hot to quite enter stop / start play, the band comes close, before Trey breaks to solo. Nimble and spirited, many notes inform play both cerebral and danceable - the best kind of Phish - improvisation, with Fish consistently as ever attacking his kit. With Mike in check, and Page pivoting from keys to piano, Trey alights upon a melody he deems fit to follow. Play cools to pause before, terifficaly, returning to [plus some goofy banter] refrain. | |
| 2021-10-29 | Las Vegas, NV | 13:23 | High-energy set-closer delivers a rousing jam that gets beyond the usual techno-synth into a pumping euphoric blowout. | |
| 2021-10-29 | Las Vegas, NV | 5:57 | A fun little amuse-bouche to a superb second set, as the band really leans into the hard-rock outro to "Ass Handed" proper, Fishman snapping into a tasty groove while Mike takes point on the jam. Short but sweet. > into "Tweezer". | |
| 2021-10-29 | Las Vegas, NV | 19:33 | After beginning ordinarily enough, the jam eventually takes-on a Trey-led melodic theme reminiscent of "hose" improvisation, yet the "type I" form is maintained in a compellingly fierce manner. This theme-jam takes over four minutes to begin peaking, soaring, in a dizzyingly beautiful fashion, and then Trey turns on the syrupy envelope-filter effect, and Mike begins playing lead fucking bass, with fantastic accompaniment from Page, who then begins soloing a bit over this incredible groove being laid down by Mike, Trey and Fish around 16 mins in. Spine-tinglingly cool, repetitive, grooving takes over, and Trey begins soloing melodically o'er it before Fish returns to Tweezer's drum line, and the jam dissolves away as Trey nearly teases "Lifeboy" before Bitch begins. It's a safe bet that if this sick improv doesn't move you, then 4.0 Phish is not for you. | |
| 2021-10-29 | Las Vegas, NV | 14:13 | Like all things '21, "Reba" - here perfectly placed - has been touched by Trey's grace. Solid play breaks for a jam we haven't seen too often of late, a simple bit of riffing, or vamping, with Trey here or there adding notes atop a bedrock beat. Terrific. Perfectly paced, Trey's marvelous tone offset by Page's perfect fills, terrific Mike, and scattershot Phish, the band, even before the banter, drives to a nice peak. | |
| 2021-10-29 | Las Vegas, NV | 12:00 | Trey wastes no time getting a "Tweezer" tease in, kicking off a "blissy" jam. No longer chained to the song's bass line, Mike has some very inventive play. The "bliss" gives way to Trey going heavy on his effects, and eventually -> "Tweezer." | |
| 2021-10-29 | Las Vegas, NV | 4:59 | After Sand peaks and "goes type II," Trey leads the full-band back into Tweezer at 11:53 of the Sand (LivePhish timing; fwiw the fact that this isn't tracked on LivePhish explains why Phish.net does not rely on LP tracking for setlist purposes---it can be demonstrably, objectively, Wrong). This renewed Tweezer jam cooks for many minutes before the key modulates in "type II" fashion and the groove melodically soars anew, with a wondrously smooth segue into Sigma Oasis. | |
| 2021-10-29 | Las Vegas, NV | 8:10 | Having found a home as the S2 closer in its last three apearances, this "Walk Away" really loads the spring, finally relenting for a well-earned peak and walk off the stage. | |
| 2022-05-29 | Orange Beach, AL | 12:54 | Surprise show opener (take a look at 7/3/10 for kicks), the band shows their renewed interest in what, since 96, has primarily been a set, however rocking, holder. Fun, focused, and effects-laden, the improvisation is what we've come to expect from Phish: Effortless. Cool, introspective play seems built to spill to inform a notable "Mike's Song." | |
| 2022-05-29 | Orange Beach, AL | 10:45 | > from an unexpected, massive "Character Zero." Fish hits the "Beaver" sample early and that kicks off a "Mike's Groove" that will last the rest of the set. The jam gets to an upbeat, feel-good bliss place before returning to what you'd expect from a Mike's jam. > to "Bouncing Around the Room." | |
| 2022-05-29 | Orange Beach, AL | 11:47 | Do not let the time stamp or placement fool you. Around 6:30 in, the jam shifts to light and airy interplay with major key dominance that then turns to effects-and-synth-driven goop and grime. Eventually comes back to finish and end on the "Kill Devil Falls" theme. | |
| 2022-05-29 | Orange Beach, AL | 22:13 | Jam is fairly straightforward for the first few minutes, but then there's a key modulation (type II activity afoot) and a funkaliciously melodic bridge of sorts occurs, before Page hops on the synth and Trey deploys some echoflex and then envelope filter effects. Soon melodic tension builds--slllowwwly though--courtesy of Page Mike and Trey, until there's a massive Floyd-esque echoplextastic dissonant sustained release/peak, of sorts. OF SORTS. Make no mistake: communities of ALIENS were contacted during this jam. | |
| 2022-07-29 | Raleigh, NC | 20:45 | A long way from 17's debut (which many, at the time, felt like an extension of "Mercury," the -> was that smooth) this Trey-fav "rises" above ordinary anthemic set-closing love and light to become yet another surprising musical odyssey, more proof that post-Covid Phish is infused with fresh ideas and all songs are immune from mediocrity. | |
| 2022-07-29 | Raleigh, NC | 2:55 | The verses are played in a new arrangement, as @Sniff notes, perhaps more in the style of Dead Kennedy's than Husker Du, and gives this version a classic proto hardcore breakdown sound. | |
| 2022-12-29 | New York, NY | 21:28 | Clean, sprite, and powerful version, the band "arrives" only to depart, "Fluff" arguably breaking for "Jam" crossed with some feral amalgamation of "YPC." What is clear is that Page is terrific on his concert grand as the band patiently searches for a sort of space to deliver what comes by way of sound, a sort of unhurried, contemplative, improvisational ground. | |
| 2022-12-29 | New York, NY | 6:09 | Melds -> in from an exploratory "Fluffhead" jam, and this "YPC" too gets an unusual treatment, as midway through the funk transitions to a pumped-up, increasingly upbeat blowout. | |
| 2022-12-29 | New York, NY | 16:52 | Excellent version that traverses through multiple sections. Elevated melodic playing shifts through several key centers before landing in a passage of colorfully dense psychedelia. This then pivots to inspired major key rocking, gradually building to an exuberant, peak-filled finale from Trey. | |
| 2022-12-29 | New York, NY | 16:03 | Cool version > from "YEM." Straight from the song, proper, Trey wastes no time, leaning into his solo, a shearing sort of sound carving up space and backed by great Fish. As play seemingly cools, Trey augments his tone, his play offset by Page's inspired, sonic soundwaves. Form and structure dissolve into wild and inventive improv, full-band jamming near raucous at times, celebratory, and ubeat. More patterned play, highlighted by dynamic Fish, breaks for a nasty "Heartbreaker" tease and a return to the song's riff, thus resolving another memorable MSG moment. | |
| 2023-07-29 | New York, NY | 18:38 | Stays in the song's upbeat outro until cooling into a minor section at 7:00 that bridges the gap to the heart of the jam around 8:50 when it's driven into soulful bliss that runs through 14:00, after which a coda prods in a new direction and brings things to a close. | |
| 2023-07-29 | New York, NY | 30:04 | Veritable monster of a version that works as an emblematic example of Phish's comfort in MSG. Focused patience marks the affair, as "soundcheck" vibes abound. Eventually the grooves turn spacier and funkier around the 20:00 mark, before building towards a major key rock out. The music then downshifts into heavenly "hose" territory, with Trey looping infectious '99-esque repeated licks and subtly reintegrating the "Fuego" melody for a stunning finale. | |
| 2023-12-29 | New York, NY | 10:36 | A soaring, muscular version distinguished by bright and conversational interplay is especially notable for the return of Trey's "Deluxe Reverb" which paints the affair with cascades of crystalline peaks, settling eventually into a cloud of sound that uncurls into "Mountains in the Mist". | |
| 2023-12-29 | New York, NY | 22:24 | A teeth-gnashing multi(sectioned)beast of a jam, this take traverses through various disparate yet cohesively-arranged themes, including hyper-drive psychedelic rock, "Woo's", dense mind-bending dissonance and finally, a stoner/doom metal-esque dirge that grinds down > "Oblivion". | |
| 2023-12-29 | New York, NY | 16:26 | After a brief stay in the minor synth zone, the jam trends more upbeat by 8:00 and shortly thereafter features more seriously rocking riffage, then deftly turns on the hose with a few long sustained notes from Trey along the way for a surefire crowd-pleasing conclusion. | |
| 2023-12-29 | New York, NY | 10:21 | A spirited version in its own right, Trey's vocal incantations (and power chords) build into a blistering "heavy metal" jam capped with a ferocious, percussive outro; here's swagger that winds down to inform an uncanny groove - like a series of handstands in grand fashion. -> into "Sand". | |
| 2023-12-29 | New York, NY | 14:12 | Because the divergent "Hood" has become ubiquitous in recent years, sticking to the classic format and delivering a purely "Type I" jam as this version does is a welcome subversion, especially when the climactic build and peak are executed as passionately as they are here. Old-school "Hood" lovers, this one's for you. |
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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