Jam Chart for the state of CA (349 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1991-04-02 | Arcata, CA | 6:56 | Teases and signals in the jam (see Setlist). Definitely an odd, off-kilter sort of jam. (*Recording runs out before ending). | |
| 1991-10-18 | San Francisco, CA | 7:24 | The Great American Music Hall provides the stage for one of the greatest examples of an emerging Phish staple, the affectionately labeled: "Runaway Foam". First, Fish is awesome. Second, Trey makes a number of subtle and savvy moves that lay the foundation - or at least functions as illustration - for "Jim's" inevitable groundbreaking potential. | |
| 1991-10-18 | San Francisco, CA | 5:45 | Once this one kicks into overdrive, it's really excellent with chaos and screaming guitar sounds. | |
| 1992-04-16 | Isla Vista, CA | 10:32 | > in from "Buried Alive." Smoking hot jam plus signals that were customary in this period. | |
| 1992-04-16 | Isla Vista, CA | 8:53 | Following "Buried Alive" and a smoking "Possum" opening this show, this excellent version keeps the joint rocking. | |
| 1992-04-16 | Isla Vista, CA | 12:23 | Dissonant, intense and tension-filled jam with a scorching hot peak. | |
| 1992-04-16 | Isla Vista, CA | 5:33 | Extra jamming from Page and Trey. Recording has the bass cranked up, so check out the Mike action - sweet! | |
| 1992-04-16 | Isla Vista, CA | 8:17 | More great Mike early in the 1st jam. When Trey jumps in, he begins with rocking/dissonant play, which was typical in this period. Then his play gets more melodic, before jacking up the tension and dissonance again. The 2nd jam is short but pretty cool and rocking. Go Mike! | |
| 1992-04-16 | Isla Vista, CA | 8:00 | Unusually restrained, sublime and enchanting playing by Trey. Mike is louder in the mix, and this interesting combination makes for a spellbinding version. | |
| 1992-04-17 | San Francisco, CA | 14:06 | Progressive and dynamic, this "Reba" features excellent full-band play. While great in a vacuum, the notable rhythmic shifts, accentuated by marked and exploratory syncopation, provide a crystal ball glimpse into the improvisational future of this most Phishy of songs. | |
| 1992-04-17 | San Francisco, CA | 11:12 | Nice jam that gets out there, then -> to "Catapult" and -> back to "Bowie" in the trill section. | |
| 1992-04-17 | San Francisco, CA | 1:01 | -> in from "David Bowie." Performance debut of "Catapult" occurs in the trill section of "DB." -> back to "Bowie." | |
| 1992-04-17 | San Francisco, CA | 0:23 | -> in from "Catapult" to end this solid "Bowie." | |
| 1992-04-17 | San Francisco, CA | 5:42 | Page's brother appeared on stage in a bathtub for this second set opener. Sick Trey. Everyone excels in this version, but especially Fish. (timing is estimated because tape begins about 45 seconds into the song). | |
| 1992-04-17 | San Francisco, CA | 18:31 | Ninja Custodians VJ. | |
| 1992-04-17 | San Francisco, CA | 10:30 | Among the better pre-1993 Tweezers. | |
| 1992-04-18 | Palo Alto, CA | 8:59 | Inspired from the jump, Trey works with Mike to inform a highly musical passage before breaking to solo with great intensity. | |
| 1992-04-18 | Palo Alto, CA | 6:05 | The jam begins in customary fashion, with Page out front, but then Trey sneakily leads a -> to "Mind Left Body Jam." | |
| 1992-04-18 | Palo Alto, CA | 1:22 | The Phish debut of this classic descending chord riff/jam is the main even of the "Ice" jam on this 1992 occasion. | |
| 1992-04-18 | Palo Alto, CA | 1:23 | -> in from the Phish debut of "Mind Left Body Jam" to close out this version of "It's Ice." | |
| 1992-04-18 | Palo Alto, CA | 10:58 | Intense and exploratory jam with awesome Mike. | |
| 1992-04-18 | Palo Alto, CA | 7:46 | First exploratory "Gin" with amusing Trey vocals, a jazz-like breakdown that gets rocking, and returns to "Gin." | |
| 1992-04-18 | Palo Alto, CA | 5:18 | There's almost a melodic section to Trey's solo before his fingertips ignite at about 4:00. | |
| 1992-04-18 | Palo Alto, CA | 13:41 | The famed "Linus and Lucy" version pays homage to the "Theme from Peanuts" during the jam. | |
| 1992-04-19 | Santa Cruz, CA | 8:35 | Great version where the notion of the standard "Stash" jam is tested repeatedly. Trey moves horizontally in his melody rather than vertically several times which adds good tension. | |
| 1992-04-19 | Santa Cruz, CA | 8:06 | A less dissonant, more melodic approach to the jam began to flourish in April '92, and this version is a great example. The jam here is very rocking and percussive, while the 2nd jam makes good use of tension, but without so much chaos and shrill dissonance. | |
| 1992-04-19 | Santa Cruz, CA | 9:49 | The first segment begins in familiar style but also includes an atypically tense movement to go along with impressive straightforward jamming. Then, a settled, quieter section develops in the middle before blasting back into "Weekapaug" proper and closing with a vocal jam. | |
| 1992-04-19 | Santa Cruz, CA | 7:00 | Oh HELL yeah! Among the earliest versions to jam. | |
| 1992-04-19 | Santa Cruz, CA | 7:20 | > "Cold as Ice", this hot show-closer features playful and melodic Trey, with a pinch of verve, and a whole lot of swagger. Pushing boundaries, the version lays the foundation for future jamming here, there, or anywhere. | |
| 1992-04-21 | Eureka, CA | 10:37 | Very improvisational and exploratory jam with excellent dynamics modulation. Awesome Mike and Trey. | |
| 1992-04-21 | Eureka, CA | 12:42 | Extended intro with many signals and "DEG" teases. Great jam that has a nice swingy feel to it before going full throttle. | |
| 1992-04-21 | Eureka, CA | 9:05 | Good jam and nice work by Page on the Hammond B-3. Segue to "Eliza." | |
| 1992-04-21 | Eureka, CA | 13:31 | Very melodic, enchanting jam in part. Still among the coolest versions in history. | |
| 1992-04-21 | Eureka, CA | 7:56 | Played at slightly slower tempo, the jam includes great Mike, "HYHU"-like jamming, then a tense, spiraling jam. The 2nd jam has some unusual descending riffs, dissonance, and more spiraling tension. | |
| 1992-04-21 | Eureka, CA | 8:56 | Simmers at a rather low intensity early on with Trey's playing noticeably restrained. The jam works its way into an improvisational segment with building tension, after which the expected musical fireworks go off. Includes teases of "Happy Birthday to You" and "Linus and Lucy" as well as a birthday announcement from Trey. | |
| 1992-08-14 | Los Angeles, CA | 5:11 | > in from "The Squirming Coil." Trey is sick as expected, but Mike and Fish are awesome and add a lot to this ripper. | |
| 1992-08-17 | San Juan Capistrano, CA | 7:48 | Extra long introduction with rambling Fishman fills, horror movie bass hits, atonal Trey trills, and secret language cues interspersed throughout. Directly before chanting, they get into a funkier, "Alumni Blues"-like mode. | |
| 1992-08-17 | San Juan Capistrano, CA | 11:59 | Jam grinds to a near halt around 7:25, then builds back up with excellent tension/dissonance. | |
| 1992-08-17 | San Juan Capistrano, CA | 10:21 | "Tweezer Reprise"-esque jam. | |
| 1992-08-17 | San Juan Capistrano, CA | 8:40 | Awesome version with dynamic, full-band play, and, unsurprisingly, especially strong Trey. | |
| 1992-08-17 | San Juan Capistrano, CA | 7:55 | An excellent quiet section is colored with mildly dissonant play by Trey, strong rhythmic fills from Fish, and good interplay with Page. Then tension builds before bursting into a ripping straightforward peak. | |
| 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. | |
| 1992-08-30 | Sacramento, CA | 11:44 | Some very good exploratory jamming midway, with lots of descending melodic lines from Trey. Great tension as the jam builds up with excellent work by Trey. | |
| 1993-03-17 | Hollywood, CA | 8:02 | Dazzling, swirling play from Trey as the jam becomes subdued and assumes an almost "Weekapaug" vibe. Fish remains relentless, and he rocks and rolls the band through a wild rise which finds Trey zipping through simply incredible runs. | |
| 1993-03-17 | Hollywood, CA | 10:41 | Fun and exploratory jam includes a solid breakdown section with jams/teases of "Heartbreaker" and "Lively Up Yourself." | |
| 1993-03-18 | Hollywood, CA | 14:30 | > in from "I Didn't Know." A good one with some "DEG"-like jamming to add to the dissonance factor. Machine Gun Trey in serious heavy action towards the end. | |
| 1993-03-18 | Hollywood, CA | 7:42 | Following the final refrain, the band launches into an evil sounding "Little Drummer Boy" jam, singing "my friend, my friend he's got a knife" to the "Drummer Boy" melody. | |
| 1993-03-18 | Hollywood, CA | 10:16 | Although the jam is basically "Type I," it includes teasing/jamming on the Bee Gees' "Staying Alive" throughout, some "Little Drummer Boy" teases near the end, and is very well played with good Trey shredding. | |
| 1993-03-18 | Hollywood, CA | 23:40 | Trey shreds throughout the jam of this quintessential 1993 version. And you aren't the only person to hear "Terri" and "Tickle" in this wild vocal jam. | |
| 1993-03-19 | Redlands, CA | 9:31 | The first version to stretch beyond standard "Jim." Cool little exploratory departure starting at 7:30. | |
| 1993-03-19 | Redlands, CA | 10:35 | Bizarre and creepy jam includes a "Rhapsody In Blue" tease from Page, and an unusual ending with screaming. | |
| 1993-03-19 | Redlands, CA | 14:32 | The jam breaks down to near silence with just Page and Fish quietly musing. Then the energy gradually rebuilds with great rocking fills from Trey and Mike before circling back to "Weekapaug" proper. Ends with an extended vocal jam which -> to "HYHU." | |
| 1993-03-21 | Ventura, CA | 12:38 | Very exploratory jam which veers away from standard "SOAM" and makes a clean break at 7:50 into improvisational, slightly off-kilter playing. Shifts into some good rocking and gets really great as it works its way back to "SOAM." | |
| 1993-03-21 | Ventura, CA | 7:25 | Nice little melodic outro jam is tacked on with no "Myfe" ending. | |
| 1993-03-21 | Ventura, CA | 13:15 | Beautiful, delicate playing at first. Then at 7:55, there's an incredible section where the power builds in a cool and very unusual way for "Hood." From here, there's a brief settle before launching into a blistering ending. | |
| 1993-03-22 | Sacramento, CA | 14:48 | Really fluid and laid-back jamming, with Trey all but absent (relatively speaking), as if inciting the others to respond. This results in an all but total dialing down of the sound. Not so much a secret language, as a testament to the band, who, via subdued and nuanced playing, manage to maintain the structure of the jam before Trey works through a series of cool rhythmic shifts and wonderful sustain to arrive at the "note." | |
| 1993-03-22 | Sacramento, CA | 5:06 | Band uses the jam as a segue for a performance of the entire suite of Gamehenge songs, one of only 5 such performances. Unfinished. | |
| 1993-03-24 | Santa Rosa, CA | 8:50 | Rhythmically oriented jam with awesome Fish and shredding Trey which gets increasingly experimental and dissonant. | |
| 1993-03-25 | Santa Cruz, CA | 10:51 | The jam leaves the standard behind, comes back, leaves again on a different tangent, and finally returns to wrap up. | |
| 1993-03-25 | Santa Cruz, CA | 3:52 | A strong, surprise version (the first in 114 shows), Trey glides through a "Stash" tease, and, true to the era, incorporates somewhat experimental playing, featuring a great shuffling, percussive sound. Page's first "Magilla" on acoustic piano is definitely worth hearing, it sounds fantastic. | |
| 1993-03-25 | Santa Cruz, CA | 9:16 | Strong Mike in a somewhat dissonant 1st jam. The 2nd jam is the first of several '93s which have jamming similar to the future "Simple." This one also has some good stop/start action, before more dissonant Trey and a percussive lead up to the closing. | |
| 1993-03-25 | Santa Cruz, CA | 9:34 | Great little "Ob-La-Di, Ob-La-Da" jam/tease, followed by a breakdown with exceptionally strong playing by Fish and a vocal jam-style ending. | |
| 1993-03-26 | San Francisco, CA | 8:26 | Great version - sounds like a neck-and-neck horse race between Fish and Trey trying to keep pace with each other. | |
| 1993-03-26 | San Francisco, CA | 12:17 | Very drawn-out, extended ending. | |
| 1993-03-27 | San Francisco, CA | 13:28 | Attentive version with Trey totally on point, his playing rife with melodic content and truly inspired, as if tapping into some sort of otherworldly intent. A wonderful build with some impressive Mike thrown in. | |
| 1993-03-27 | San Francisco, CA | 8:56 | Solid but typical play in the 1st jam leads to good improvisation in the 2nd jam. Beginning with sounds similar to the as yet unhatched "Simple," the jam returns to typical "Mike's" jamming, then breaks into Mike-led, rhythmic and exploratory play, before coming home to wrap up. | |
| 1993-03-27 | San Francisco, CA | 12:20 | "On Broadway" teasing/jamming leads to an improvisational breakdown section with good variation in the intensity. At 8:15, the jam breaks into an inspired "Type II" section which concludes with an explosive return to "Weekapaug." | |
| 1993-03-28 | Arcata, CA | 9:21 | The jam has a cool quiet section before rebuilding to a strong finish. | |
| 1993-03-28 | Arcata, CA | 11:59 | Breaks away from "Antelope" several times, with some twisted tension building between 6:50 - 9:00. | |
| 1993-03-28 | Arcata, CA | 1:50 | In the opening segment of "YEM," the music > to "The Pez Song!" | |
| 1993-03-28 | Arcata, CA | 2:34 | > in from "YEM" during the opening segment. Trey sings one verse of this Dave Abrahams' (childhood friend of Trey's) song. > back to "YEM." | |
| 1993-03-28 | Arcata, CA | 21:25 | > in from "My Life As Pez" (aka "The Pez Song") to return to the "YEM" opening segment. | |
| 1993-08-28 | Berkeley, CA | 10:20 | Page has a stirring solo, then Trey goes ballistic with the others joining the mayhem. Watch out! This dog bites! | |
| 1993-08-28 | Berkeley, CA | 14:01 | Celebrating the conclusion of an incredible and historic month, this "Fluffhead" bristles with energy and verve. Who Do? We Do! features some great interplay, and all four musicians are in sync throughout. Page's Clod solo is a classic, with Trey cooly strumming along in support. Close inspection will reveal subtle scat singing by Trey during Bundle of Joy, while the blow out Arrival is peppered with strong playing by all four. | |
| 1993-08-28 | Berkeley, CA | 13:32 | Another killer, improvisational, and multiple movement version from the strongest month of arguably, the peak year for "Stash." | |
| 1993-08-28 | Berkeley, CA | 16:08 | More incredible August '93 improvisation, with this version containing five distinct, magnificent jam sections, a Brady Bunch theme tease, and Secret Language. | |
| 1993-08-28 | Berkeley, CA | 9:26 | Random Note, All Fall Down, and Oom Pah Pah signals included in this jam. | |
| 1993-08-28 | Berkeley, CA | 12:36 | "YEM" -> to a HUGE "Oye Como Va" jam. | |
| 1993-08-28 | Berkeley, CA | 2:16 | -> in from "YEM." Huge "Oye Como Va" jam occurs just prior to the "YEM" bass and drum section. | |
| 1993-08-28 | Berkeley, CA | 7:56 | -> back to "YEM" from "Oye Como Va." Nice -> from the vocal jam into "Contact." | |
| 1994-05-14 | San Diego, CA | 14:14 | Trey modifies his tone and creates a cool, jazzy vibe. Great Page (electric) and Mike (eclectic) accent soloing which informs a lilting, airy passage. Fish creates a great beat. And the band, as one, works the version to dizzying and dazzling heights. | |
| 1994-05-16 | Los Angeles, CA | 10:52 | A couple of exploratory movements. The second has some beautiful space similar to several Fall '94 "Tweezers." | |
| 1994-05-16 | Los Angeles, CA | 5:54 | "Antelope" ("Type II") -> "BBFCFM ("Type II") -> "Antelope" ("Type II"). A truly amazing jam which like 8/14/93 combines incredible improvisation with inspired melodic and musical magnificence. Released on Live Bait Vol. 8. | |
| 1994-05-16 | Los Angeles, CA | 1:41 | -> in from "RLAA." Crazy "Type II" version buried inside an awesome and improvisational "Type II" "Antelope." -> back to "RLAA." | |
| 1994-05-16 | Los Angeles, CA | 13:12 | -> in from "BBFCFM." This section of "Antelope" is extremely improvisational but also includes some melodic and uplifting jamming, while never forgetting its "Antelope" roots. | |
| 1994-05-17 | Santa Barbara, CA | 8:17 | More great tone with Trey quickly breaking to solo, alternating between rapid-fire play and measured blasts of sustain. Fish picks up the pattern, with the musicians swapping ideas. Trey then really, really, leans into his pedal to shape his sound, with the band breaking to peak before the song's closing refrain. Cool version, and a sign of things to come. | |
| 1994-05-26 | San Francisco, CA | 11:28 | Lots of screaming at various points is a good indicator that this somewhat wacky, blistering version packs some heat. | |
| 1994-05-26 | San Francisco, CA | 14:26 | Although no perfect live performance may exist in this Universe, this superlative version is one of a very small handful that comes close. All the treacherous sections - The Chase, Who Do? We Do!, Bundle of Joy - these sections are nearly flawless. Like most '94 versions, this one is intense and hard rocking, yet performed with remarkable precision. Page's solo in Clod is super, while Mike's and Fish's dynamic play throughout is on full display in a high energy Arrival. | |
| 1994-05-27 | San Francisco, CA | 12:44 | Even though most of the jam is technically "Type I," this is an intense, thriller. Don't overlook. | |
| 1994-05-27 | San Francisco, CA | 12:51 | Mike gets into this really great groove starting at about 8:00 that everyone else plays off. Even as Fish, Trey and Page bring the heat, Mike keeps the licks of this groove rolling. And the ending section is just smoking hot. | |
| 1994-05-27 | San Francisco, CA | 12:44 | Sweet jam featuring truly dynamic modulation and really awesome playing from Trey. The sort of version you could listen to all day. (Or at least Four times. Focusing upon each musician, independently.) Trey alights upon a great theme - accented by cool playing from Fish - before the jam swings through a build both measured and melodic to, in time, become explosive. | |
| 1994-05-27 | San Francisco, CA | 3:48 | Crazy debut version, out of "Mike's Song," naturally. | |
| 1994-05-27 | San Francisco, CA | 11:50 | Extended hi-hat intro with the crowd shaking macaroni boxes and "Flintstones Theme" tease. Fish: "Shake your macaroni!" | |
| 1994-05-28 | Monterey, CA | 10:20 | Wild, electro-rock jam! | |
| 1994-05-28 | Monterey, CA | 12:16 | Super version. Trey drives a great, dark, direct yet swinging groove, with Page providing really colorful fills. Mike is on-point, his play incredible, and, with Fish, inciting a sort of charge from Trey who creates an electric solo through an incredible conclusion. | |
| 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. | |
| 1994-12-02 | Davis, CA | 22:04 | The usual pugnacious, mean-spirited jam until 13:45, when it sounds like it's wrapping up. But then the band delves into more exploration. Throw in the Cosmic Country Horns for the trill section, and you've got yourself another "Big" improvisational version. | |
| 1994-12-03 | San Jose, CA | 11:38 | Another solid '94 "Antelope," with descending melodies, tension, dissonance, rhythmic variation, and a noisy, chaotic peak. | |
| 1994-12-04 | Chico, CA | 9:33 | Although short, this unfinished version packs a serious punch. | |
| 1994-12-04 | Chico, CA | 13:33 | Quite possibly the most intense, ass-kicking straightforward version of all time. Insanely ferocious conclusion to the jam. | |
| 1994-12-06 | Goleta, CA | 10:59 | Aggressive, all-over-the-map improvisation. | |
| 1994-12-06 | Goleta, CA | 8:19 | Cool jam with Page on the clavinet! | |
| 1994-12-06 | Goleta, CA | 12:56 | Strong straightforward play through 6:15, when the jam breaks into a dark and classic "Type II" Fall '94 space jam. Mike solos, accompanied by spacey effects with increasing tension. Then Page and Trey take turns out front before Fish brings the boys back to "Weekapaug" to wrap up a very improvisational version. | |
| 1994-12-07 | San Diego, CA | 11:22 | Another wide-ranging exploratory "SOAM." Great dissonance, a pulsing rhythm, and tension as the jam builds to a close. | |
| 1994-12-07 | San Diego, CA | 20:32 | Version that's on A Live One. | |
| 1994-12-08 | San Diego, CA | 9:23 | Badass funky jam! -> to "Catapult." | |
| 1994-12-08 | San Diego, CA | 1:11 | -> in from "Simple." "Catapult" is sung to the melody of a '94-style funk jam. -> back to "Simple." | |
| 1994-12-08 | San Diego, CA | 1:47 | -> in from "Catapult." The funky "Simple" jam winds down and -> to "The Lizards." | |
| 1994-12-08 | San Diego, CA | 15:34 | Another wacky '94 "Possum" with a spooky, extended intro, a silent jam, dissonant playing, and a raging peak. | |
| 1994-12-08 | San Diego, CA | 17:51 | Huge, sprawling, epic "Reba," which sees the band tossing form and convention into the tub to produce one of the finest versions of 1994. | |
| 1994-12-10 | Santa Monica, CA | 10:48 | A riveting and exploratory jam that gets more and more out there as it progresses. | |
| 1995-09-27 | Sacramento, CA | 15:16 | The jam veers into different territory at 8:45 as the customary "Hood" harmonics are upended by a shift to minor mode. Returns to normal "Hood" after 10:30, building to a nice peak which gradually fades with no closing refrain. | |
| 1995-09-27 | Sacramento, CA | 10:49 | Mike and Trey highlight this excellent, fun, rocking and well played version. It's mostly straightforward, but high quality fare nonetheless. Try 9/27/91 for another terrific non-exploratory version, separated by 4 years to the day. | |
| 1995-09-30 | Mountain View, CA | 13:09 | > in from the "White Rabbit Jam," perhaps the earliest glimpse at the band attempting to execute "Reba" at breakneck speed. After a clean composed section, Trey powers through the version, the playing straightforward and direct until the band slows at 7:40 to create an interesting and controlled passage, akin to "DEG"-like playing, before breaking for a spirited conclusion (the band once again playing incredibly fast through the whistling section). | |
| 1995-09-30 | Mountain View, CA | 10:36 | Good improvisational version with rhythm shifts and great tension. | |
| 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. | |
| 1996-11-30 | Sacramento, CA | 14:52 | A few, very minor glitches in The Chase and elsewhere, but otherwise the playing is intense and tight. How about a little Moog action in Clod? Page's piano solo later in Clod benefits from great backing from Trey, Mike and Fish. Arrival is powerful, driven by Mike and Fish, and by Trey's confident, rocking soloing, including some sick trilling near the peak. | |
| 1996-11-30 | Sacramento, CA | 10:24 | After a cacophony of noisy effects, nice crescendo building by Trey and Page. | |
| 1996-11-30 | Sacramento, CA | 7:59 | James Brown galore. Fish pretends to be James, tons of "Super Bad" riffs from Trey. Second jam is straight funk filth. You will laugh and dance. | |
| 1996-11-30 | Sacramento, CA | 7:56 | With Peter Apfelbaum on tenor sax. | |
| 1996-11-30 | Sacramento, CA | 9:27 | Peter Apfelbaum on tenor saxophone and John McEuen on lap slide guitar. Sweet jam with back and forth between Trey and McEuen, then Apfelbaum takes the lead followed by Page on the organ and piano, and then they all rock out together. | |
| 1996-12-01 | Los Angeles, CA | 20:00 | Controlled chaos. Typical fierce jam segues into a cacaphonous hazey wall-of-sound soup, that in turn leads into a "type II" excursion with Trey on the mini-kit and Page, Mike and Fish wailing away. Ends in a truly INSANE, drawn-out way, too. | |
| 1996-12-01 | Los Angeles, CA | 15:44 | Extended, Trey-centric groove, featuring a wonderful theme, offset by scattershot playing, matched in equal measure by Fish. Really remarkable. Trey soon breaks to solo atop a passage of really cool and stately calm. Hushed and unhurried, Mike and Page offer wonderful accents as the band continues to probe and explore, expertly modulating intensity. Trey soon breaks free, his soloing extended and infused with amplified energy. | |
| 1996-12-04 | San Diego, CA | 16:21 | The 1st jam begins with some nice staccato-funk action, before slipping back to more conventional playing. The 2nd jam starts in rhythm and Page mode, with Trey on his favorite mini kit. He moves back to guitar quickly, and at 10:00, the jam starts to get a funky and rocking sense. The vibe and energy uptick, there's even a little "MLB"-like action, all resulting in a nice peaking jam. | |
| 1996-12-04 | San Diego, CA | 8:29 | > in from "Mike's Song." Nice but typical (for '96 "Caspian") playing by Trey, but some fantastic Page and Page/Trey playing towards the end of the jam and > to "Sparkle." | |
| 1997-07-30 | Ventura, CA | 10:05 | Brother to versions from 6/20/95, 7/30/03 and 7/16/13. Incredible improvisation packed into this 10 minute version. | |
| 1997-07-30 | Ventura, CA | 15:06 | Although largely straightforward, there is a nice shift to major mode at about 7:42, plus a very gradual build up to the peak. | |
| 1997-07-30 | Ventura, CA | 21:29 | Features an epic, mid-jam "Bowie" -> "Cities" -> "Bowie." And interspersed among a substantial amount of tight, well-played "Type I" jamming are several forays that get beyond "Bowie." | |
| 1997-07-30 | Ventura, CA | 5:21 | Fantastic -> in from "David Bowie" and -> back to "David Bowie." | |
| 1997-07-30 | Ventura, CA | 5:56 | -> in from "Cities" to conclude this heavy-duty "Bowie." | |
| 1997-07-31 | Mountain View, CA | 14:04 | First version since 6/20/88 that really breaks into a jam outside of typical "Ya Mar" structure. Not too far out there, but definitely a quality version. | |
| 1997-07-31 | Mountain View, CA | 11:39 | Band-wide cohesion on display here, as all four deftly contribute to this complex and well-played version. | |
| 1997-07-31 | Mountain View, CA | 28:58 | Magnificently intricate, spell-binding, hypnotic jam (with strange "Santa Claus Is Coming To Town" teases). (No B&D.) | |
| 1997-07-31 | Mountain View, CA | 23:16 | Multi-faceted improvisational version that includes funk, power jamming, quieter space, punchy, rhythmic funky stuff, and more space with a -> to "When The Circus Comes." | |
| 1997-07-31 | Mountain View, CA | 15:16 | The 1st jam begins in moderately funky mode and the power intensifies as it goes, but otherwise is straightforward. The 2nd jam starts in rock mode, then settles down to quieter, contemplative play. Finally, the power throttles up into a slightly dissonant and intense peak. | |
| 1998-07-19 | Mountain View, CA | 17:26 | Great Wentian "Mind Left Body Jam"-like build into driving groove through "Who Knows" and "Manteca" themes culminating in blistering rock with "Ghost" vocal reprise. [Solid "Ghost" jamming releases, returns to funk with "Manteca"-like jamming, then builds to a raging and spirited celebratory blow-out with Fish vocals adding emphasis.] | |
| 1998-07-19 | Mountain View, CA | 21:49 | "Things That Make You Go Hmm" teases from Mike. They would become very, very common from him from this YEM onward, especially during the B&D section. They are often not noted in this chart or elsewhere on Phish.net because he teases this riff so much. (No B&D.) | |
| 1998-07-19 | Mountain View, CA | 6:59 | Set II opener. Trey uses a lot "wah" effects throughout his extended section. Trey proves he's still lightning fast. | |
| 1998-07-19 | Mountain View, CA | 11:20 | -> in from "Tweezer." More uptempo, less of a bluesy feel than many versions. Page jumps back and forth between the piano and organ, and plays both simultaneously at one point. Trey and the boys rock this one hard. | |
| 1998-07-19 | Mountain View, CA | 9:25 | With Fish nicely keeping time, Page embarks on a charged solo, playfully recreating Mike's bass line. Even with Page out in front, there is a growing sense that all are contributing to this classic '98 version. For the second consecutive time, an archetypal, ambient-style "Jam" emerges on the heels of a very fine "McGrupp." | |
| 1998-07-19 | Mountain View, CA | 6:02 | Following a strong "McGrupp," Trey embarks on a melancholic, soulful, and ambient interlude. Thoughtful Page runs counterpoint, until Fish and Mike team to drive the jam more deliberately. Seemingly composed, this music cools into classic '98 space with delicate soloing by Trey, and then -> to "DwD." | |
| 1998-07-20 | Ventura, CA | 21:03 | The customarily great '98 "Gin" jam breaks into a funky groove at 13:45 and then gradually works back to "Gin." | |
| 1998-07-20 | Ventura, CA | 9:01 | This funky version segues out of a funky "Drowned." There's a breakdown for Mike and a sweet little solo around 4:40 from Trey, and a spacey ambient jam for about a minute at the end. | |
| 1998-07-20 | Ventura, CA | 12:03 | Great combination of rocking yet slightly ambient sound from Trey mixed with bluesy piano stylings from Page. > to "Harry Hood." | |
| 1998-07-20 | Ventura, CA | 9:57 | In the encore slot, the band extends the jam out into a nice, upbeat groove, and finishes the show by gradually cycling down their instruments, leaving only a Digital Delay Loop whirling away. | |
| 1998-10-15 | San Francisco, CA | 16:20 | Almost 30 years to the day (10/17/68) after the debut of the Steve McQueen film Bullitt, Phish provides a new score for the car chase scene. [Show opening bubbly and bouncing groove goes uptown and Trey and Page rock the house, then serene play nicely cools things off before a -> to "Water In The Sky."] | |
| 1998-10-15 | San Francisco, CA | 12:46 | Great funk section with some "Manteca"-like jamming early on. Never really opens up out of funk mode although it settles as if ending, then rebuilds with no return to "Wolfman's." | |
| 1998-10-15 | San Francisco, CA | 9:01 | An unusual "Gumbo" as the jam stays relatively close to the "Gumbo" theme other than an umptempo, melodic groove that they lock onto in the beginning. | |
| 1998-10-15 | San Francisco, CA | 18:21 | The jam proceeds typically, with strong soloing from Trey and great Page. Around the 14:00 mark Trey calls an audible, and a dark, bizarre, and somewhat ominous jam develops. This descends into an atonal morass, before concluding with Trey > into "Character Zero." | |
| 1998-10-15 | San Francisco, CA | 11:18 | > in from "Velvet Sea." Intense, high octane version that has some swirling, high octave playing by Trey that would become common in versions from '99 and '00. > to "Frankie Says." | |
| 1998-10-15 | San Francisco, CA | 8:27 | Fiery and intense version features some excellent work by Page. | |
| 1998-10-15 | San Francisco, CA | 16:53 | The jam has a very gentle, ambient quality, and the build and peak sections veer away from the norm, at moments almost sounding like something other than "Hood." | |
| 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." | |
| 1999-09-16 | Mountain View, CA | 4:24 | Slow and very enchanting (after a creepy segue!). | |
| 1999-09-16 | Mountain View, CA | 15:15 | Following some soaring straightforward play, at 6:00, the jam settles into a great low-key groove. Trey and Page build the intensity, leading a climactic and spirited return to more familiar ground. Trey's playing is incredible at the peak. | |
| 1999-09-17 | Mountain View, CA | 15:27 | The typically high energy "Piper" jam settles down after 12:00 into a low key, blues-tinged exploration, with quiet, looping space bombs from Trey, and great Mike/Page grooving. | |
| 1999-09-17 | Mountain View, CA | 21:53 | "YEM" jam with PHIL LESH! (No B&D, no VJ) -> to a Mike and Phil bass "Jam." | |
| 1999-09-17 | Mountain View, CA | 3:47 | -> in from "YEM." Bass duet with Mike and Phil Lesh. | |
| 1999-09-18 | Chula Vista, CA | 14:10 | Short, but VERY sweet. | |
| 1999-09-18 | Chula Vista, CA | 10:29 | A laid-back jam with Mike in the driver's seat featuring some staccato playing from Trey and Page. | |
| 1999-09-18 | Chula Vista, CA | 21:30 | The intial funky jam seems to be coming to an end at 9 minutes, but the jam picks back up and grooves for a few more minutes while Trey plays lead before the jam shifts to soaring, melodic "hose". Returns to "Boogie" with breakdown solos from Mike, Trey, and Page. Must-hear. | |
| 1999-09-18 | Chula Vista, CA | 12:57 | Spacey wah-groove in the outro. > to "Free." | |
| 2000-10-05 | Irvine, CA | 18:29 | Similar to 12/29/97 where there is a shift to major mode (at about 11:56) that continues for 3:00. | |
| 2000-10-05 | Irvine, CA | 16:03 | Good quality groove-based jam with nice modulation of intensity. | |
| 2000-10-05 | Irvine, CA | 8:30 | > Piper, Trey alights upon a cool, swinging riff, and the version rides this vibe, with on-point fills from Page, the jam not so much building as unfurling, a heavy sort of bass and drum stomp. Play then becomes outright weird when Page shifts to his keys and a moody, brooding, outro ensues, with Trey quoting "Fast Enough For You". | |
| 2000-10-06 | Mountain View, CA | 15:34 | > from "Cities." Starts with a mellow, airy loop and Trey on the keyboard before he switches to guitar and gives the jam a boost with some great playing. | |
| 2000-10-07 | Mountain View, CA | 12:37 | Power rhythm clinic from Trey. This baby rates very highly on the danceability scale. Grab your helmet. | |
| 2000-10-07 | Mountain View, CA | 16:08 | Good version and the last one in "1.0." | |
| 2003-02-14 | Inglewood, CA | 10:54 | Outro evolves into a beautiful calypso style jam that grows more abstract with delay effects. -> into "Taste." | |
| 2003-02-14 | Inglewood, CA | 10:26 | -> in from "Fee." Cool, somewhat mellow, and very different solo by Trey. But the band brings the heat back at the finish. | |
| 2003-02-14 | Inglewood, CA | 18:41 | 2.0-style HOSE. The jam sticks close to standard for a while, then breaks away into a fantastic, euphoric groove. | |
| 2003-02-14 | Inglewood, CA | 23:13 | Despite its duration, most of the jam section is essentially "Type I" with some interesting instrumentation. At about 18:00, the jam finally breaks free of "WOTC" into a nice low-key section that -> to "Carini." | |
| 2003-02-14 | Inglewood, CA | 11:33 | A very quiet, calm, yet strangely percussive jam in this strong version with a -> to "Prince Caspian." | |
| 2003-07-08 | Chula Vista, CA | 18:59 | Very "Type II" version in which Trey seems to play a less dominant role mid-jam, letting Mike and Page funk it up. | |
| 2003-07-08 | Chula Vista, CA | 18:11 | "Type II" version leaves "Hood" at 9:25, breaks into a low-key groove that gets rocking, then dissonant, and heads home. | |
| 2003-07-09 | Mountain View, CA | 10:25 | Seamlessly weaved in from YEM ->. In a sense, a paradigmatic version with a gorgeous, melodic jam. | |
| 2003-07-09 | Mountain View, CA | 26:29 | Excellent, very "Type II" jam. Once it leaves "Gin" behind, this one works through several sections, and gets way, way out there, ending up in some abstract space, before finally coming back to "Gin." A good one if you like 2.0-style jamming. | |
| 2003-07-09 | Mountain View, CA | 19:14 | An excellent version. Like 3/1/03, the jam has one basic, propulsive groove. However there are a variety of dynamic and timbre shifts layered over this driving jam that finally cycles down into a subdued ending. | |
| 2003-07-09 | Mountain View, CA | 10:37 | Beautifully played straightforward version, with great Page and delicate trilling by Trey in the jam. | |
| 2003-07-09 | Mountain View, CA | 9:11 | A funky breakdown section begins about 4:00 with good improvisational play, even Mike striking the fight bell several times, before returning to the standard. | |
| 2003-07-10 | Mountain View, CA | 12:36 | The jam segment starts off hot, quiets down slowly, and becomes quite mellow around 7:45. It remains minimalist and repetitive, but the last few minutes are sneakily powerful, with everyone adding color, especially Mike. Unfinished; -> to "Antelope." | |
| 2003-07-10 | Mountain View, CA | 18:59 | An easy going summer version breaks into an unusual groove at about 16:00 with "DEG"-like jamming for a couple of minutes, before returning to "Divided" to conclude. | |
| 2009-10-30 | Indio, CA | 11:36 | Really no funk section at all. Instead, an upbeat rocker with super Page and great Mike triumphs, recedes, and morphs into eerie, effects-laden space for 3 minutes before > to a great (short) "Piper." | |
| 2009-10-30 | Indio, CA | 11:03 | One of the best (short) versions ever, certainly for "3.0." Several distinct movements in the jam and all band members contribute well. "She Saved My Soul"-like vocal jam towards the end. | |
| 2009-10-31 | Indio, CA | 7:23 | This version is FIERCE, what with horns and soulful backup vocals! | |
| 2009-10-31 | Indio, CA | 11:46 | Standard "BDTNL" concludes and the band breaks into an upbeat and rocking outro jam that > to "Fluffhead." | |
| 2009-10-31 | Indio, CA | 11:37 | Sharon Jones and Saundra Williams on backup vocals, and Dave Guy, David Smith, and Tony Jarvis on trumpet, trombone, and saxophone, respectively. Outstanding, stretched out (but otherwise straightforward) version. | |
| 2009-11-01 | Indio, CA | 3:20 | Acoustic version from Festival 8. | |
| 2009-11-01 | Indio, CA | 8:21 | Gorgeous acoustic version from Festival 8. | |
| 2009-11-01 | Indio, CA | 7:45 | Exceptionally strong playing from Trey in this roaring "Type I" version. | |
| 2009-11-01 | Indio, CA | 15:19 | A dissonant/loop jam loaded with spacey effects emerges from "Light" proper. Part of a great sandwich with "Mike's" and "Slave." | |
| 2010-08-05 | Berkeley, CA | 14:52 | A pulsing and driving jam settles down into a snappy, rhythmic and curiously enchanting section that > "Free." | |
| 2010-08-06 | Berkeley, CA | 11:04 | Some incredible playing by Mike and Page in this extended version that gets into a spell-binding, enchanting groove. A fantastic version that transitions (oddly and arguably abruptly) to "Moma Dance." | |
| 2010-08-06 | Berkeley, CA | 14:29 | Great, multi-faceted jam with solid band interplay. | |
| 2010-08-06 | Berkeley, CA | 8:07 | Calling this jam straightforward would be missing the point. The jam is intense and powerful, with strong playing by Page and Trey. The jam actually bears similarity to the excellent crop of groove-based jams in "Mike's" versions from '00. | |
| 2010-08-06 | Berkeley, CA | 15:30 | Intensely melodic, gorgeous, charming version that gets repetitious and nearly transcendent. | |
| 2010-08-07 | Berkeley, CA | 9:03 | > in from "AC/DC Bag." Like the old days. A very fine version. Great collective playing during the build-up. | |
| 2010-08-07 | Berkeley, CA | 17:13 | Outstanding and textured play throughout the entire jam, which also includes an amazing ebb and flow of intensity. Must-hear | |
| 2010-08-07 | Berkeley, CA | 10:42 | Band adds a nice 4 plus minute jam to the back end of "Suzy." Trey teases "Living After Midnight." > to "Slave." | |
| 2010-08-07 | Berkeley, CA | 11:34 | Ends Set II of a great show, following a jammed-out "Suzy." Beautifully played with a long, gradual build. Like 11/14/97, it's the ride, not the destination that matters most here. | |
| 2011-08-12 | San Francisco, CA | 11:14 | Very well-played, with an excellent peak, and Page grooving on the clavinet as the jam goes spacey. | |
| 2012-08-15 | Long Beach, CA | 24:55 | After breaking into a nice snappy, percussive bent, the playing settles down to quieter musing, briefly suspending rhythm in favor of pulsing sonar. But between 12:00 - 13:00, all four steer the ship back to the surface, slowing building into celebratory playing before venturing into more improvisational waters. | |
| 2012-08-17 | San Francisco, CA | 15:44 | Good multi-part jam with great Mike in the early, pulsing section, then more good Mike and Trey in a mostly upbeat, major mode section that has a pensive quality. Unfinished with a > to "BOAF." | |
| 2012-08-18 | San Francisco, CA | 11:28 | Sloppy flubs in the composed and closing sections aside, the jam here is dark, chaotic, and loaded with tension and eerie effects. They haven't played a comparable, non-extended, tension-meister "SOAM" like this since '94/'95. | |
| 2012-08-19 | San Francisco, CA | 8:51 | Although similar to the '10 and '11 versions here, there's some nice dynamic modulation that makes this jam interesting and just a little different. | |
| 2012-08-19 | San Francisco, CA | 8:28 | Really a beautifully played and moving version from a great show. | |
| 2012-08-19 | San Francisco, CA | 11:05 | Despite some obvious flubs in the composed section, the jam is very good with buckets of tension and dissonance and strong Fish-directed rhythmic accenting. | |
| 2012-08-19 | San Francisco, CA | 16:26 | After a rousing climax, for the first time in years, they take "Crosseyed" out for a walk, seamlessly downshifting, but still locked in. Trey and Gordon lead the melodic charge, creating gorgeous passages before dwindling down. Fish picks it back up before Trey starts a monster "Light". Mike teases "The Cave" by Mumford and Sons. "Crosseyed" is reprised after the great "Light" -> "Sally". | |
| 2012-08-19 | San Francisco, CA | 14:48 | Outstanding version. Tight throughout with a tension and release that easily rivals great moments in Phish's past. Never sloppy, this version is a pure rager. | |
| 2012-08-19 | San Francisco, CA | 10:51 | -> in from "Light." Fish and Mike lay down a great base, and Page and Trey play off this in a spirited upbeat jam. The intensity grows before a segue (->) to a reprise of "Crosseyed And Painless." | |
| 2012-08-19 | San Francisco, CA | 2:44 | A short reprise of "Crosseyed" segues out of a hot "Sally" jam and dissolves into "Theme". | |
| 2012-08-19 | San Francisco, CA | 7:44 | "Theme" is one of those songs where the jam can be repetitive and pointless, or it can be inspired, rousing and melodic. Nice to see Trey opt for the latter in this 3.0 standout version. | |
| 2013-08-02 | San Francisco, CA | 9:06 | Another great "Roggae" from SF, with strong melodic and instrumental variation. Just wish they would play this more often. | |
| 2013-08-02 | San Francisco, CA | 14:11 | Quality exploratory version that succinctly covers a range of interesting territory before > to a compact, solid "Caspian." | |
| 2013-08-02 | San Francisco, CA | 5:50 | This compact, quality version proves again that good melodic variation in a shorter version can trump the late '90s style 11 - 12 minute arena rockers. And when Trey holds a single note for 68 seconds, it allows the others to shine. | |
| 2013-08-02 | San Francisco, CA | 7:25 | Arguably the finest straightforward version to date, this wonderful version is replete with all sorts of good stuff, including fantastic playing by Mike, great Page and Trey counterpoint, and a lush groove with a peaceful and upbeat sense. | |
| 2013-08-02 | San Francisco, CA | 13:45 | A few flubs in the intro don't detract from this very energetic version from the first post-7/31/13 show, which incorporates three different calls for "woos" around some plinko-esque jamming and a good old-fashioned raveup at the end. Winds back into the regular -7 ending, then > into Theme. | |
| 2013-08-02 | San Francisco, CA | 8:17 | By mixing up the melody of the jam more than in the past, the band is creating more interesting versions in less time. Nice! | |
| 2013-08-02 | San Francisco, CA | 8:09 | A very strong "Type I" jam in "STFTFP," followed by an unusual, mildly disconcerting outro jam, which itself pairs oddly with low-key "Woo" responses from the audience. | |
| 2013-08-03 | San Francisco, CA | 9:19 | A spirited Page section is followed by some rapid-fire playing by Trey in this quality 3.0 version. | |
| 2013-08-03 | San Francisco, CA | 8:34 | All around, a rock solid version played with great intensity by all, including Page's vocals between verses. | |
| 2013-08-03 | San Francisco, CA | 16:06 | Bad Ass Mike kicks off this dynamic, multi-section jam with some really sick bass work. From there, it ranges far and wide before settling into quieter, but active playing which then > to "Steam." | |
| 2013-08-03 | San Francisco, CA | 9:09 | Excellent Trey solo and an extended, funky ending jam. | |
| 2013-08-03 | San Francisco, CA | 10:35 | Really nice Mike/Page early, then Trey joins, and begins using combinations of short duration notes as the jam builds up. | |
| 2013-08-04 | San Francisco, CA | 16:20 | Fish is the star here, adding just the right forcefullness to the percussion as the jam intensity grows. | |
| 2013-08-04 | San Francisco, CA | 8:02 | Despite a couple of minor glitches in the composed section, all the good ingredients come together for a short, quality jam. | |
| 2013-08-04 | San Francisco, CA | 6:15 | Thankfully, after a 10 year "hiatus," the band finally does something interesting with "Ya Mar," in this case, improvising a short little audience call-and-response ("Woo!") during Trey's solo. | |
| 2013-08-04 | San Francisco, CA | 8:20 | Fish stands tall here, although musicianship is strong across the board in this quality version. | |
| 2013-08-04 | San Francisco, CA | 10:41 | This version opens the second set, where the song is most commonly found. The jam stays mostly in the bounds of the song until it turns on a dime to a Fish-led jam, accented by excellent play from the rest of the band. > an excellent "Runaway Jim". | |
| 2013-08-04 | San Francisco, CA | 16:25 | Excellent, multi-section "Jim." The jam begins with a dark tone, shifts to some great, percussive rocking midway through, then explores more bleak territory before reaching interplanetary space and > to "Carini." | |
| 2013-08-05 | Hollywood, CA | 9:21 | Page solo > Fish playing Mike's bass with mallets > whole band drum solos > klezmer > chanting by Mike and conclusion. | |
| 2013-08-05 | Hollywood, CA | 22:32 | Ground-breaking version that ushers in a new era of exploratory "Hoods." After some typical play, the jam turns rocking and percussive, including some "Woo" jamming. Things settle and the play becomes introspective and probing. Turning upbeat but with tension, the jam takes a final deep breath and returns to "Hood." | |
| 2014-10-21 | Santa Barbara, CA | 15:49 | A very nice jam which gradually works away from the standard. Fish keeps the rhythm largely grounded in "CDT" while the others explore an interesting, pleasant landscape. | |
| 2014-10-22 | Santa Barbara, CA | 14:28 | First '14 version bears resemblance to several "CDTs" from Summer '14 which range widely, but never latch onto a consistent groove, although this ends in good dark terrain. | |
| 2014-10-22 | Santa Barbara, CA | 10:22 | A typically fluid "Theme" jam takes a turn from the bottom to the side with an "Echoes"-like (Pink Floyd) jam, replete with Gilmour licks, before sliding and modulating seamlessly -> Steam. | |
| 2014-10-22 | Santa Barbara, CA | 10:47 | A wild one. Page's solo is more of a crazed Page/Trey duet. Fish follows on Marimba Lumina with ghoulish howling by others > klezmer > weird Mike chanting > conclusion. | |
| 2014-10-24 | Inglewood, CA | 8:47 | Like the Portsmouth "It's Ice", Page hops on the clavinet out of the gate, but this time Trey chips in some wah-scratching and Echoplex to this funky jam before sticking the landing. | |
| 2014-10-24 | Inglewood, CA | 12:50 | This fun version starts with teases of "Low Rider" and "Long Tall Glasses" before accelerating into an energized "Type I" jam. | |
| 2014-10-24 | Inglewood, CA | 16:24 | After extended and very pleasant "Type I" jamming, Mike and Trey drive the play down into some murky and atonal depths. Then this diseased ship gloriously resurfaces to a magnificent conclusion. | |
| 2014-10-24 | Inglewood, CA | 14:14 | Amidst of sea of exploratory '14 versions, this fine one is a welcome reminder that the plain old "Hood" jam, when well executed as it is here, is pretty damn good stuff. Fish and Page are key in bringing up the energy and adding great color to the jam. | |
| 2014-10-25 | Chula Vista, CA | 9:23 | A very nice compact version which still manages to include some form of intro, bridge, second refrain, and a darkish and pulsating jam which has a '99 - '00 quality to it. | |
| 2014-10-27 | San Francisco, CA | 10:04 | This concise version does not stray far from the basic framework, but Page and Trey play off each other before building to a rousing climax. After the climax, this jam settles back into the Seven Below theme. | |
| 2014-10-27 | San Francisco, CA | 6:44 | An Echoplex masterpiece. The second jam will blow your mind. Page annihilates the clav and you can kiss gravity goodbye. | |
| 2014-10-28 | San Francisco, CA | 13:22 | The jam begins at a less frenetic pace than usual, before Trey's delay work and minor chording lead the jam into uncharted territory. At the 9 minute mark, the jam goes fully "Type II," and then turns ambient before > to "Mountains In The Mist." | |
| 2014-10-28 | San Francisco, CA | 14:30 | Excellent jam which veers away at 8:00 into a beautiful but contemplative Page and Trey-led foray of deep introspection. Wish they would jam like this more often! | |
| 2014-10-28 | San Francisco, CA | 17:26 | Strong jam starts in "Hood" mode, shifts to rocking minor mode at 7:25, settles briefly at 9:25 before becoming percussive and groovy, and jumps back to "Hood" proper at 11:52 with great "Type I" interplay, ending with an extended spacey phase-out. | |
| 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. | |
| 2015-07-24 | Mountain View, CA | 14:58 | Despite being only the second "Blaze On", this rendition has strong tension-and-release jamming with Eastern scales from Trey, before circling back to the main theme and jumping off the deep end into a pool of fractals and spacey effects used to signal Pluto. | |
| 2015-07-24 | Mountain View, CA | 16:45 | The beginning of the jam while structurally standard has a decidedly different timbre, as Trey and Mike deploy a gnarly and raw tone. At 9:00, the jam breaks free into the now familiar major mode Phish bliss style typical of the last few years. | |
| 2015-07-24 | Mountain View, CA | 15:12 | A solid version which follows a trajectory similar to other recent strong versions. Towards the end, many hear jamming similar to "I Know You Rider." | |
| 2015-07-25 | Inglewood, CA | 7:47 | A nice version which begins with a fun "Follow The Yellow Brick Road" tease, then gradually builds up to a solid peak. | |
| 2015-07-25 | Inglewood, CA | 12:29 | Trey makes a dive into minor-key Fall '97-esque territory, then the jam takes on a menacing vibe not unlike "Psycho Killer" before a > into "Carini." | |
| 2015-07-25 | Inglewood, CA | 9:30 | Trey, Page, and Mike weave in, out, and around each other harmoniously throughout this entire breathtaking jam, while Fish holds down the fort and leads them to a glorious peak. > "BDTNL" for CK5's birthday. | |
| 2015-07-25 | Inglewood, CA | 20:42 | Gimmicky version where Trey and Mike spooned eachother while playing each other's instruments. (see http://www.youtube.com/watch?v=5mK05T5cYdE). A phun time was had by some. | |
| 2016-07-18 | San Francisco, CA | 9:07 | Replete with references to Oh Kee Pahs and Leo's/Fish's grandpa, this version is ripe with tropical sensations and staccato-like playing. A nice easy-going summer type jam, while the instrumental switch/marimba lumina section, a staple in 2016, recalls the humor-filled version from 7/10/97. | |
| 2016-07-18 | San Francisco, CA | 9:07 | Like other recent strong versions, Trey's warm soloing shapes and colors a great groove. However here, Trey also works a series of licks into excellent and somewhat cacophonous full-band improvisation, which results in the wonderful, boxed-in feel of a "Guyute" jam. | |
| 2016-07-18 | San Francisco, CA | 12:41 | After leaving the song's structure, a darkish groove quickly develops with great direction and intensity until a > to "Twist". | |
| 2016-07-18 | San Francisco, CA | 17:56 | The special nature of this "Sally" unfolds after the vocal jam, and rather than peaking at its conclusion, the jam continues to build, with full-band play informing a perfect blend of rhythm and harmony. Excellent musicianship modulates in intensity, before pulsing, high energy rock cycles up to a euphoric peak. | |
| 2016-07-18 | San Francisco, CA | 7:58 | Trey's playing is deft and versatile, but his move to atonality and atypical scales, very unusual for "LxL," is unpleasant to some ears. Nonetheless Fish is the real star, holding all things together with seeming ease. The music gels for a normalized conclusion in spite of Trey's descent into dissonance. | |
| 2016-07-18 | San Francisco, CA | 9:26 | Great percussion propels this bright, busy "Antelope," before Trey takes over, scattering some unexpected notes and nicely playing off Page. Skipping and dynamic riffing, coupled with nice tension, propels this solid version to a terrific show-ending peak. | |
| 2016-07-19 | San Francisco, CA | 8:34 | Trey returns to his roots and takes the leading role in this high energy version. First, he plays along noticeably during Page's solo, adding extra tension. Then during his solo, Trey manages to whip it up several notches more than has been customary these past few years. More like this one, please. | |
| 2016-07-19 | San Francisco, CA | 15:57 | Leaving the standard behind, the jam quickly gains a warm and encouraging sense. Gradually, this feel-good sense is overtaken by driven, rock-oriented play with a threatening feel. Heavy bass action, wailing guitar sounds and effects work to increase the sense of foreboding. | |
| 2016-07-19 | San Francisco, CA | 11:12 | Dives into late-night relaxed sparseness, with Trey and Page adding some occasional dissonant color. Trey even touches on "Manteca" a bit, a sign of things to come. > into a fabulous "Ghost". | |
| 2016-07-19 | San Francisco, CA | 11:15 | Drops from an empty cob-webbed attic through a revolving Echoplex multiverse trap-door into a merry go round of incandescence. [Trey dials in his gnarliest, grittiest "2.0"-era tone, and employs his favorite "3.0"-era toy to multiplex ghoulish echoes over the early parts of this "Ghost" jam, as Fish pushes the pace into a trance-like state. Trey's trills and Fish's fills take hold and bump things up a step and the jam slides seamlessly into major mode bliss, where Page's piano shines brightly and Mike's fluid bass lines just won't quit.] | |
| 2016-07-19 | San Francisco, CA | 6:55 | In addition to strong playing, this version distinguishes through the use of dynamics. The jam section starts off as a quiet and calm respite, before patiently climbing to a ferocious and breathtaking peak. | |
| 2016-07-20 | San Francisco, CA | 13:30 | A fun, improvisational intro section harkens to the days of old, and Mike really shines in the jam. There's also a major mode shift in the jam, which while familiar at this point, nonetheless differentiates this version to some degree. | |
| 2016-07-22 | Inglewood, CA | 10:31 | Perhaps beset with tech troubles throughout this show, nonetheless the "Mule" is entertaining fun, with a Page solo > Trey and Fish Marimba Lumina "Duel" > klezmer > weird Mike chanting > conclusion. | |
| 2016-07-23 | Chula Vista, CA | 9:18 | "Did they jam out Tube?" YES. Witness the beginning of a new era of abundant "Tube" jams with this version, which, at the time, was one of the most improvisational versions to date, as it moves from funk to a hard-rocking groove with a big peak. | |
| 2016-07-23 | Chula Vista, CA | 9:45 | A slightly extended intro features a killer mu-tron "California Love" jam. Some off-kilter playing from Trey during the second half. | |
| 2016-07-23 | Chula Vista, CA | 12:46 | Trey modifies his tone early on to great effect, and solos quite strikingly. As the power grows, Fish, Page and Mike serve to colorfully and dramatically paint a wonderful, Trey-penned sketch. The powerful peak leaves everyone feeling good, and underscores why we all love this band so much. | |
| 2018-07-24 | San Francisco, CA | 11:09 | Although it keeps to the "46 Days" format, this show-opening version offers a surprising amount of atypical play, mostly from Trey who utilizes new tones to color the jam. | |
| 2018-07-24 | San Francisco, CA | 14:36 | This siren song kicks off with Page on Rhodes and Trey on fast Leslie following Fishman to a quieter, warbly dynamic. Trey eventually goes whale call as the jam moves to bliss pastures in G, eventually moving to a patient build up to a mellow peak. Polyrhythm from Fishman and synth/wurlitzer work from Page ensue as the jam decrescendos. Eventually the jam winds to arhythmic space, until Fishman cues the band back for one final chorus. | |
| 2018-07-24 | San Francisco, CA | 16:25 | 2018's summer offers three strong versions (see 8/11 and 8/31), but the first, > from an extraordinary "ASIHTOS," before > into a classic "Carini," might prove to be the most interesting. While Trey still struggles early, the improvisation post-vocals marks a departure from solid 2017, and earlier, play. Less groove-oriented, the musicians create, as if for the purpose of allowing others to inhabit, distinct pockets of "space." Patient, pretty, and marked by an airy fluidity, the jam splinters into spheres of sound, while never fully losing its shape, before Trey's inspired, protracted, and truly cosmic soloing, dominates the conclusion. | |
| 2018-07-24 | San Francisco, CA | 14:39 | Quickly moves from the song proper into a Mike-driven snappy groove with Trey adding some Echoplex-y color and Fish playing around with the rhythm at times. Switches up on a dime into a energetic "Golden Age"-reminiscent beat, Page adding a calypso vibe and Trey adding sparse but lovely accompaniment, then morphs into triumphant hose. Dies away after a massive peak and > into "Maze". | |
| 2018-07-25 | San Francisco, CA | 7:58 | > from "NICU", this fun, cerebral version, evokes early, compact "Jim's". Colored with 2018's melodic textures and graceful pacing, Page's play is impassioned, while Trey bends notes and shapes notable blasts of sustain, before building the jam to a packed, trill-filled conclusion. | |
| 2018-07-25 | San Francisco, CA | 10:20 | Another quality Summer 2018 version, diving into murky waters thanks to Mike's fine work and Trey going to work with his effects, with a more explosive and just as satisfying peak as Tahoe's. | |
| 2018-07-25 | San Francisco, CA | 23:33 | Out of the gates, Page teases switching to D bliss and Mike tries to follow. Trey stays in a minor mode until 8:45, where he finally joins the bliss through whale call as Page switches to synth pads. Here, the jam coasts on calm waves of effects-laden happiness; at 14:00, Trey plays a pattern that builds to a whale call peak accompanied by chordal work on piano from Page and a ride cymbal-driven shuffle from Fishman. Before truly peaking Trey switches back to the fast rotary mode on his Leslie, and Mike leads the charge towards a Clavinet-dominated plinko jam. The jam winds down to a quiet and introspective effects dominated space led by bass swirls from Mike > "Twist". | |
| 2018-07-25 | San Francisco, CA | 10:51 | Another strong showing, with the band again (see 7/18/16 and 9/3/17) departing from patterned, formulaic play. Trey elects to experiment, and strikes any number of interesting notes - in lieu of swapping solos with Page - before leading the band into, and through, a dark, dissonant foray; this culminates in a strong, protracted, build and release. | |
| 2018-07-27 | Inglewood, CA | 10:36 | Gets beyond standard "Simple" in a hurry, first taking on a more rocking vibe and then traversing a groove producing themes reminiscent of the Island Tour Roses before spacing out and > "Ghost". | |
| 2018-07-28 | Inglewood, CA | 7:31 | One of the best versions in some time. > from "Suzy Greenberg," Trey, around the three-thirty mark, works a warm and melodic "Mountain Jam" tease, his play effortless and breezy - a perfect take given his tone. Page sounds grand on his concert G, and Fish's propulsive beat, offset with perfect fills, whips the version through powerhouse play, with Mike anchoring a jam which bends, but doesn't quite break. Trey drops those epic "Timber" licks and the song concludes properly -> some sonic soul shaking vamping. | |
| 2018-07-28 | Inglewood, CA | 10:56 | Flirts with major-key play early on, reverts back to minor with Trey employing an organ-like tone, and then breaks into some immensely upbeat jamming until the final chorus. | |
| 2018-07-28 | Inglewood, CA | 17:39 | One of those "Writing about music is like dancing about architecture" versions, but here goes: A strong composed section cools and, wonderfully, in lieu of working through pleasant, but familiar space, Trey seems to toy with "The Little Drummer Boy" (11:02), a line which leads through a passage(s) of concerted, cerebral, full-band play. The jam becomes stately, and "Coil"-esque in nature. But this is no outro. More great soloing follows as Trey works the music to a perfectly balanced peak. | |
| 2018-07-28 | Inglewood, CA | 16:12 | Breaks out with some brief funk and quickly evolves into a warmer groove with Page and Trey trading lead duties before guitar takes over as the jam gallops to a peak and dissolves into "Wingsuit". | |
| 2021-08-31 | Mountain View, CA | 17:18 | Mike, Trey, and Page layer in an array of textures and tones as they cycle through their respective palettes in this tremendous jam that sees each member trade lead and complementary roles with frequency. Retains at least a loose sense of "Stash" for the duration but explores widely within that tense Latin-esque minor zone heard in previous standout versions (8/11/18, 7/10/19). | |
| 2021-08-31 | Mountain View, CA | 46:38 | Smoothly runs the gamut from dark grooves to a lovely uplifting space to double-time rocking out to a muscular jamming zone where Mike's drill (!) takes center stage to anthemic bliss to something akin to an alien distress signal that could've only come from Summer 2021 to sludgy industrial noise to even faster rocking out to snappy funkiness to a perfect -> into "The Final Hurrah". A cornerstone jam of Summer 2021, and the third longest of their entire career. Yes, you read that right, their entire career. | |
| 2021-08-31 | Mountain View, CA | 8:25 | How to follow Shoreline's epic "Soul Planet"? By -> into a new Trey favorite, KV's classic "The Final Hurrah." Dancing around a wonderful groove by means of his envelope filter, Trey's improvisation is at turns melodic and jazzy, inciting an impossibly cool jam and fitting end to one of the band's most impressive cosmic journeys. | |
| 2021-09-01 | Mountain View, CA | 16:23 | The band moves into a more driving version of the usual "Cities" jam, thanks to Fishman, before Trey makes the move into a brief bit of major key bliss, and then takes the jam into smoother and more relaxed waters. A very nice first set jam, with a wonderful -> into "Passing Through". | |
| 2021-09-01 | Mountain View, CA | 34:01 | Yet another exploratory "type II" adventure, this version's jam goes all over the globe, with segments that at times seem to have vigorous "Manteca" and "Jingo-Va" themes, and even "Lizards" and "Dave's Energy Guide" teasing and a cacphonous "Split Open and Melt" jam, that are separated by a mellow, spacey-but-mellifluous and playful, improvisation. Best listened to, closely, with headphones. | |
| 2021-10-15 | Sacramento, CA | 18:36 | Shifts into major in the 10-minute range and comfortably coasts along until a spark sends the jam to new heights, reaching a nice peak around 15:00 and then returns home. | |
| 2021-10-15 | Sacramento, CA | 13:12 | > from "Billy Breathes". Fish's playing stands out early in the jam as he is utterly relentless. Trey plays a soaring melody around 9:05 to shift the jam in a new direction; Fish's relentless play remains unfazed. Around 12:00, the jam downshifts and eventually > into "Ghost". | |
| 2021-10-15 | Sacramento, CA | 7:59 | Although Trey tries to segue into Brother out of Tube's jam (which is insane, no drummer could pull that off smoothly, not even Fish), and it takes awhile for them to begin Brother (more or less) properly, Trey SHREDS THE JAM of this version using the Shakedown-esque envelope filter, wahwah effect. | |
| 2021-10-16 | San Francisco, CA | 11:29 | Around the 5:00 mark the jam enters a more dynamic space, allowing for flourishes by all four in a strong collective effort. Mellows out in the final minutes for a very pleasant ending and -> "Slave". | |
| 2021-10-16 | San Francisco, CA | 9:40 | A mostly smooth -> in from "46 Days". The first Set 1 version of "STTTL" in over five years is a gem. This jam peaks and peaks again, and just when you think it's peaked for the final time, it peaks once more. | |
| 2021-10-16 | San Francisco, CA | 12:02 | A kaleidoscopic outro of interweaving delay riffs then shifts at 7:00 to a pumped-up syncopated groove, drawing similarities to "Simple's" 1996 heyday. | |
| 2021-10-16 | San Francisco, CA | 18:13 | While the jam becomes more serene and contemplative, Fish keeps things moving at a decent clip with a snappy beat, eventually leading to a more rocking conclusion bolstered by swelling synths. | |
| 2021-10-16 | San Francisco, CA | 17:02 | Kicking off the back half of a monstrous set 2 and busting out after a 196 show gap, what seems like a quick breather instead grows sea legs and takes a walk. Roughly 3:30 in, Mike and Page drive the jam to open flowery pastures, as Fish propels with cowbells and Trey searches for jam grooves. The groove washes out to sea and coasts on gentle waves upon Fish's ride, slowly building momentum to a characteristic melodic theme of fall '21. At the 8:30 mark the jam takes heavier rhythmic cues and a dance party throw down starts building. "Manteca" tease at 9:35. Thick effect-laden Trey and the cymbal-snare dance of Fish propel the back half of this jam to a start-stop "woo" passage. "Bathtub Gin" teases at 13:00 and 15:15. | |
| 2021-10-16 | San Francisco, CA | 11:32 | The first "Moma" to serve as set-closer fills the role admirably with an atypically hard-driving, intense outro over shouts of "Monkey Man" from Fish. | |
| 2021-10-16 | San Francisco, CA | 18:41 | This massive version shows up in the Encore, and anyone who decided to leave early truly missed out. Trey's nimble playing and Page flourishing on the piano kick this jam off. By 11:15, it turns into an effects-fest, with Fish laying down a cool texture for the exploration. The band eventually works its way back to the song proper to, officially, close the show out. | |
| 2021-10-17 | San Francisco, CA | 9:39 | All four musicians contribute to one of the finest versions in the nation. Featuring far more than "extra mustard," although there's that, too, Trey's typically great 21 play leads to a passage of extended improvisation, a deeply textured jam that plays off a false peak to inform an incendiary conclusion. | |
| 2021-10-17 | San Francisco, CA | 13:01 | A big fat "DEG" tease around 6:00 sends this jam into a deep thrumming zone, where it remains until a brief major-key ascent in the waning moments. | |
| 2021-10-17 | San Francisco, CA | 26:02 | The first of two massive jams from a four (!) song second set, which drops into a relaxed late-night groove before turning towards a hearty upbeat jam with some sprightly work from both Trey and Page, enters a darker growling space thanks to Trey's effects and some very strong playing from Mike, and then devolves into strangeness before returning back to "SYSF" proper. | |
| 2021-10-17 | San Francisco, CA | 11:10 | After an introspective opening sets the mood, this version builds and flows like a torrid stream with great Page/Trey teaming, then resolves passionately and > into "CDT". | |
| 2021-10-17 | San Francisco, CA | 22:50 | Soars into blissful upbeat territory right out of the gate, then winds its way down into darker territory at Page's urging, Fish pushing the pace with considerable aplomb. Fish switches up the beat and a more danceable jam emerges, then Trey flips on the "anthemic" switch and builds to a nice peak, and before you know it we're back to "CDT" to close out the set. Superb version. | |
| 2021-10-23 | Chula Vista, CA | 17:22 | "Fluff" is tough to play, and few versions approach Phish perfection. Here, however, the band delivers. The technically challenging sections are super clean; more interesting than this, however, is the tempo, with Trey and Page noticeably at ease. Plausibly because there is no deliberation, the band finds innovation, the jam not only "Arriving," but passing through an extended passage of really cool play to deliver a -> into "NICU." | |
| 2021-10-23 | Chula Vista, CA | 17:00 | A very neat and surprising -> out of "Fluffhead", and a tremendous jam befitting the North Island Credit Union Amphitheatre. After an extended take on the usual "NICU" jam, Mike suggests minor key and things get good and dark, before they slide into something more tropical, allowing Trey to weave in the "NICU" solo we all know and love (as he will several times in this show). The band snaps into a quicksilver groove at Fish's urging, which gives way to an effects-laden pitch-black zone, before briefly brightening and then dissolving into ambiance and a wonderful -> to a surprise "Bye Bye Foot". Nearly twice as long as any other "NICU", and well worth the run time. | |
| 2021-10-23 | Chula Vista, CA | 15:20 | Precisely at 5:15 the jam flips to major forming an upbeat "Weekapaug"-esque groove, and Trey slips in the first of three "NICU" teases. After some transition riffing at 7:00, the next segment launches with Moog waves from Page and beautifully coalesces into a fully-baked bliss jam from 8:00 - 10:00. Then, another round of minor funk (w/"NICU" tease) gets heavier with delays and leads into the last verse and one final "NICU" tease > "Slave". | |
| 2021-10-23 | Chula Vista, CA | 16:12 | As was his wont in 2021, Jon Fishman takes this jam over. He puts on yet another master class in drumming. Trey's soloing over Page's synth gives the jam an ethereal feel. Fish faithfully follows Trey wherever he leads during this one, and stands out the entire time. > into "Free". | |
| 2021-10-23 | Chula Vista, CA | 16:30 | > out of "NMINML". Trey weaves in one of the many "NICU" teases from this show into the first jam, then he suggests minor-key and Page follows him on synths, leading to a lower-boil groove replete with repeating loops and Mike goodness. The band climbs out of the muck and returns to a more upbeat rock jam, with the loops still going, and very neatly returns to "Free" proper. | |
| 2021-10-23 | Chula Vista, CA | 17:55 | Excellent -> out of "Sand". A driving, almost composed jam segment emerges from "Piper" proper, Trey hitting on a particularly catchy 70s-esque riff and Fish kicking into third gear. The beat switches up and Page moves to his synths as a new sound emerges, Trey going to his effects to really add substance to the on-stage roux. Fish picks up the pace again and the band moves into a hard-driving rockout, and then a cloud of ambient noise settles over the stage as the jam dies away and Fish hammers on his kit. But rather than end the jam, the band deepens and thickens the ambient cloud, everyone firing off whatever effects they can, Mike going to the drill to add some ear-splitting nastiness. Extraordinarily reminiscent of one of the more wicked improvisations from IT. A true Monster Jam. | |
| 2021-10-24 | Inglewood, CA | 23:57 | While Trey isn't perfect in the opening composed section, the BMGS, WUDMTF, and tramps sections are good, but the jam is awe-inspiring, with distinct sections. It begins in traditional YEM jam segment fashion, smooth and funky, but with more swing than usual. And when Trey begins soloing using the envelope filter, it builds to a sweet-yet-modest peak before mellifluously mellowing into a groove, an interlude that coasts along wondrously for several minutes before COOKING! You can't not dance in the concluding few mins of the jam, which segues masterfully into a SIIIIICK Mike and Fish, Bass and Drums, section before the vocal jam begins, and the VJ is delightfully short and segues into Moma Dance. MORE YEMS LIKE THIS PLEASE. (And yes Mike repeatedly teases the "Things That Make You Go Hmm" bass line in the first section of the jam, but we don't note him teasing that in the setlists, since he began doing it regularly in YEM in summer 1998.) | |
| 2021-10-24 | Inglewood, CA | 10:28 | Page moves to the Wurlitzer roughly 7 minutes in and this signals the band to mellow out. Effects dominate guitar and bass while Fishman contributes wood block hits leading to deeply introspective space. An airy shift to bliss key is accentuated by Mike's use of the Eventide H9000 rack harmonizer. -> "Simple." | |
| 2021-10-24 | Inglewood, CA | 5:05 | It's not every day that Tweezer features a full-blown jam on another song, so this version gets charted simply for its uniqueness, segueing into "L.A. Woman" only about eight measures after the start of the jam segment (don't miss the tease of "Walk This Way" at the end of the composed opening section too). | |
| 2021-10-24 | Inglewood, CA | 8:04 | Lyrics begin -> from "Tweezer" and the performance initially retains some of that jam's character with the song proper more fully emerging later. After a "Tweezer" tease, the jamming opens up again and ultimately segues to -> "S.A.N.T.O.S.". | |
| 2021-10-24 | Inglewood, CA | 11:46 | -> in from "L.A. Woman". Showing up as the meat of a "Tweezerfest," the longest version of the song to date turns from a raucous "S.A.N.T.O.S." jam into what, if you close your eyes and imagine hard enough, The Doors might have sounded like if they'd given being a jamband a try in the late 1960s. This eventually leads to heavy "L.A. Woman" teases. -> into "What's the Use?". | |
| 2021-10-24 | Inglewood, CA | 7:21 | This version (which completes formation of this set's Tweezer "sandwich") begins the way any other version would though launches quickly into a jam that grooves along for a few minutes, jazziliciously yet with some melodic loops, before dissolving into a mellifluous haze, a serene code from which Birds erupts. | |
| 2021-10-26 | Santa Barbara, CA | 19:30 | First appearance as an opener produces its most expansive jam to date, mixing in darker-tinged riffing and soothing meditation along with the usual triumphant outro. Unfinished -> "Makisupa". | |
| 2021-10-26 | Santa Barbara, CA | 7:36 | Only the second jam "Jar" on the books at the time (see BD), this version strays from typical around 4 minutes with some sprightly musing and ends unfinished > to the Phish debut of "The Sliver Light". | |
| 2021-10-26 | Santa Barbara, CA | 11:25 | > from the debut of "The Silver Light". The renaissance of "Halley's" continues. Some swinging play turns into a full-on "Oye Como Va" jam by 9:00. The band vamps on the Santana classic for a couple minutes until it fizzles > "Mountains in the Mist." | |
| 2021-10-26 | Santa Barbara, CA | 13:09 | > out of "Blaze On". A version worthy of the wonderful 7/9/19 "Sea of Stars", with the band building up a torrid and bilious fog on stage reminiscent of a good "Split Open and Melt" and Fishman keeping everything glued together. Very deep and powerful music. | |
| 2021-10-26 | Santa Barbara, CA | 11:10 | Lays on the the tension and then devolves into a densely tangled knot akin to the sound of industrial machinery sputtering out of control, then makes an abrupt return for the final chorus and > "Sally". | |
| 2023-04-17 | Berkeley, CA | 43:39 | Continuing along its 30 year trajectory of functioning as a great excuse to jam, the Greek Tweezer is another historic version that not only overflows with ideas in showcasing the band's commitment to excellence, but also swells and soars with (at times) wonderfully weird improvisation, brimming with dynamic reverence for proximity to the burning shore. | |
| 2023-04-17 | Berkeley, CA | 19:09 | -> from another MASSIVE, must-hear Bay Area "Tweezer". The tempo is slow at first, then picks up as effects from multiple band members are toyed with. A change at 11:15 sends the jam to a gloriously rollicking place. The play from Trey is anthemic as the band takes a proverbial victory lap after dropping an hour of seriously impressive improv. The joy from the stage is audible. Things eventually wind down before > "Rock and Roll". | |
| 2023-04-18 | Berkeley, CA | 11:08 | What comes first: The effects or the melody? Tough to say, with Trey, these days. Nevertheless, deft musicianship is on full display - and here, especially, in a song seemingly constructed to showcase the bandâs myriad strengths. Lovely, lilting - and, in many ways, Fish-driven version. Seriously, though: Check the change at 6:21. It's amazing. | |
| 2023-04-18 | Berkeley, CA | 23:18 | Big, anthemic version finds the band four decades deep, exploring several memorable themes, and moving confidently between sections. Making use of a revitalized palette of instruments and effects, they channel a sound that is both familiar and fresh; exploratory and seemingly effortless, bookended by multiple peaks. Page shines on piano. Super clean return and > to "555". | |
| 2023-04-18 | Berkeley, CA | 8:27 | > from a huge, must-hear "Bathtub Gin", and the band was clearly not done jamming. This extended version never strays too far from the song, but shouldn't be missed by fans of the song. | |
| 2023-04-18 | Berkeley, CA | 11:48 | The first set-opening "Don't Doubt Me" kicks off a heavily jammed set. This jam traverses an effects-laden soundscape before giving way to a light, ethereal jam to end things before > "Kill Devil Falls". | |
| 2023-04-18 | Berkeley, CA | 13:39 | An appearance of the dial tone opens the door to exploration and the jam first makes a quick detour with Trey playing wah rhythm chords while Page comes to the forefront, but before long it morphs into a more conventional upbeat jam. This eventually peters out and something a bit more discordant and unpredictable emerges in the final minutes before > "Fuego". | |
| 2023-04-18 | Berkeley, CA | 21:34 | Rough start after a somewhat awkward transition. The band omit a section of the composition early on and forget some lyrics before launching into the jam. As is often the case, they make up for stumbles with transcendent improvisation and here they truly dive deep. After cascading peaks and some vocal levitation, they descend into the ambient abyss. Slowly resurfacing on surging waves of bliss that lift and float towards a tantalizing sonic perfection, it's not long before Mike grabs the helm and submerges the band once again as play takes a darker, more driven turn. The music churns until a theme recalling part of "Mercury" emerges briefly before > "Light". | |
| 2023-04-19 | Berkeley, CA | 13:37 | Strong version that features great Trey from the jump. Fish dominates, though, his offbeat, cerebral play warranting multiple listens, and informing the version's primary direction. Cool play arrives when, late, Page switches up his sound and runs through his rig. Play cools before the jam truly breaks, but a welcome return to classic form - or, hopefully, a sign of things to come. | |
| 2023-04-19 | Berkeley, CA | 13:56 | The jam initially begins in standard "Jim" territory before a Mike-led tonal shift signals new directions. Fishman's inspired melodic drumming retains a familiar vibe, as the rest of the band shifts through several moods in seamless fashion. This gradually escalates towards a lushly-textured minor key romp before wrapping up with the traditional "Jim" ending. | |
| 2023-04-19 | Berkeley, CA | 15:12 | While not "Hydrogen," the version functions similarly; what has now become familiar, airy play, a welcome transition from "Mike's" strong, driven, punch. What follows is a wonderful, psychedelic, excursion. Fish fans would do well to tune in around 6:25. What follows is remarkable as the improvisation itself transitions, Trey picking up Fish's pattern, or call for action, with the version quickly assuming darker over- and undertones. | |
| 2023-04-19 | Berkeley, CA | 21:08 | After some standard outro riffing, the jam quickly hones in on a more focused vein as it traverses a few intermediate phases before landing on a fiery psychedelic zone with a recurring descending motif. Around 15:00 the groove thickens with churning bass, synths, and twinkling octave-upped guitar over top a splashy beat and ends > "WTU?". | |
| 2023-04-21 | Hollywood, CA | 21:50 | In lieu of lead-pointed playing, Trey sets the initial tone by tossing out spacious chords and arpeggiations. Page synths and hazy Trey delay paint the scene before a slightly dissonant transition space develops. The band then dials up the grime to deliver a sludge-y, stomping minor key rock-out. Ample time is spent in the murk before fading out > "Mercury." | |
| 2023-04-22 | Hollywood, CA | 13:35 | Beginning with the now familiar seam splitting descent, what erupts from the glowing core is a white hot fountain of liquid play from Trey. Fed from a shimmering reservoir of Page's piano and synths and driven to a boil by Mike and Fish, Trey's trills sustain jets of phosphorescent sound that cascade and decay before returning to "Melt" once again. | |
| 2023-04-22 | Hollywood, CA | 22:58 | Propulsive play out of the gate settles into a spirited melodic space. The space expands as the band moves into dreamier territory, albeit with an unrelenting foundation courtesy of Fishman. A brief switch to minor key occurs with an infectious riff from Trey, before moving back towards major key. A high-powered touch-the-sky crescendo follows before settling into a brief funky groove that executes a nifty -> "Twist." | |
| 2023-04-22 | Hollywood, CA | 10:25 | > from "2001". Eschewing the vocal jam, Sally gets the extended treatment for the first time in years. Mike's play shines through from the beginning as he leads the groove-based jam. The tempo gradually picks up, before > "Back on the Train". | |
| 2023-04-23 | Hollywood, CA | 18:48 | This first set delight comes out the gate with swingin' swagger. Trey locks the band into Bmin to escape the confines of "Cities" proper and the band develops an incredibly cohesive, melodic, effect-drenched boogie down. After the 12 minute mark, the music takes a hazy, cinematic turn towards patient psychedelia. This then develops into a gorgeous, technicolor dreamscape that crescendos towards anthemic territory before > "Tube." | |
| 2023-04-23 | Hollywood, CA | 18:18 | Another huge version of the once rare song in the catalog. Plucky playing from Trey around 9:30 changes the jam's trajectory. The searching, grimy jam sounds like the background to a noir detective show at times. The tempo gets kicked up towards the end, before eventually > "A Song I Heard the Ocean Sing". | |
| 2023-04-23 | Hollywood, CA | 9:32 | > from "Mr. Completely" comes a completely unhinged jam that immediately dives headfirst into an unrelenting, grinding, grimy groove, and in the blink of an eye flows back -> into "Mr. C". Heavy. | |
| 2023-04-23 | Hollywood, CA | 0:55 | -> from "A Song I Heard the Ocean Sing" to close out the "Mr C" > "ASIHTOS" -> "Mr C" sandwich. | |
| 2023-04-23 | Hollywood, CA | 13:56 | A thumping, relentless version marked by Mike's new bass. Trey plays with loops and gives Mike a run for his money with bass effects of his own before leading things in a more melodic direction over a soft bed of Page's keys and driven, as always, by the "brother" himself. The jam eventually cools and fades, unfinished, on a curl of ambience that breaks for "Ruby Waves". |
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