Jam Chart for the state of NC (100 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1991-02-22 | Chapel Hill, NC | 11:22 | Aggressive Trey in a dissonant jam with strong Evil Mike in a slightly jazzy mode. | |
| 1991-11-13 | Davidson, NC | 13:56 | A prototypical early '90s version with an excellent, signal and tease-infused intro, a searing, intense, tension-loaded straightforward jam, and a raging and shredding trill section. | |
| 1991-11-14 | Chapel Hill, NC | 9:10 | Brief Page solo, then the whole band gets rocking. Sweet! | |
| 1992-03-26 | Winston-Salem, NC | 9:30 | Fish is noticeably aggressive in this straightforward, ass-kicking jam. | |
| 1992-03-27 | Charlotte, NC | 3:58 | > from "Dinner and a Movie," Trey takes a cool line and really plays up the melody. Page takes over, his solo unique and varied, a sound awash in waves. | |
| 1993-02-15 | Chapel Hill, NC | 3:01 | Hilarious in part...Trey goes flat...Butchered a bit. Must-hear! | |
| 1993-02-17 | Winston-Salem, NC | 14:24 | If you want to understand why "Bowie" has been so disappointing since really, the mid-'90s, just compare any recent version to this all-around fantastic one from a relatively unknown show. | |
| 1993-07-28 | Charlotte, NC | 11:14 | Frenetic playing and lots of little brief departures that stretch the boundaries of "Antelope" and then keep coming back. Trey's playing is incredible. Released on Live Bait Vol. 4. | |
| 1994-04-21 | Winston-Salem, NC | 11:12 | Intense jam rocks the house, hard. Great Fish and Page. | |
| 1994-04-21 | Winston-Salem, NC | 5:25 | With the Dave Matthews Band. -> in from "Drums" featuring Fish and Carter Beauford. A rocking and very percussive jam with both bands playing along together builds into a good groove which slows and -> to "All Along The Watchtower." | |
| 1994-04-24 | Charlotte, NC | 9:58 | "Gin" -> "Jump Monk" -> "Gin." Quality jamming early on with variations on the "Gin" theme. The "Jump Monk" (Charles Mingus) segue comes near the end (one of only 2 Phish performances of this jazz classic). | |
| 1994-04-24 | Charlotte, NC | 1:17 | -> from "Bathtub Gin." One of only two performances of this Charles Mingus jazz classic. -> back to "Gin." | |
| 1994-04-24 | Charlotte, NC | 0:23 | -> in from "Jump Monk." Quick return to end "Gin" before > to "Dog Faced Boy." | |
| 1994-04-24 | Charlotte, NC | 9:17 | Here, there's a noticeable, bouncy groove to the jam section, like you want to tap your foot along, which seems unusual for "Slave." And Trey really brings it on heading into the finish. | |
| 1994-04-24 | Charlotte, NC | 21:29 | First of the "Big" '94 "Bowies." This is an unbelievable journey of music and improvisation, spine tingling at times, and thrilling by the conclusion. And the best was yet to come. | |
| 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. | |
| 1994-10-26 | Boone, NC | 9:51 | Good tension build up and at times dissonant. Page leads but all contribute. | |
| 1994-10-26 | Boone, NC | 12:53 | Good exploratory section from 5:00 - 6:20, back to "Antelope," more foraging and then dramatic tension ratcheting. | |
| 1994-10-26 | Boone, NC | 15:13 | Another big "Reba" which features more by way of experimental and unusual play. After a remarkable "blissful" section, the band builds to a gigantic peak(s) and a towering release. | |
| 1994-10-26 | Boone, NC | 11:59 | "When the cows come out to play" says Fish in the intro to this diabolical, nasty "Type 17" jam. | |
| 1995-06-16 | Raleigh, NC | 8:53 | The watery sounds produced by Trey's use of the Leslie percoloate throughout this great version. Add fantastic Page and Fish, with his uncharacteristic rim shots, and an unusual and highly engaging concluding Trey solo, and it adds up to a stellar performance. | |
| 1995-06-16 | Raleigh, NC | 9:14 | Beautiful piano soloing by Page. | |
| 1995-06-16 | Raleigh, NC | 14:33 | Starts tamely enough, but the tension and exploration improve as the jam progresses, and the ending is nuts. | |
| 1995-06-16 | Raleigh, NC | 30:36 | Intense, psychedelic and incredibly improvisational version. Has similarities in the final 10 minutes to the Providence "Bowie." Oddly, seems unheralded among the canon of all-time, must-hear jams. -> to "Free." | |
| 1995-06-16 | Raleigh, NC | 25:06 | "Oye Como Va" teases. Boyd from Dave Matthews Band on fiddle for part of the jam. | |
| 1995-11-19 | Charlotte, NC | 5:58 | Hendrix style effects, Trey mini-kit and first baby voyage for "2001". | |
| 1995-11-19 | Charlotte, NC | 21:32 | Gets very funky for several minutes. Very cool must-hear version. | |
| 1995-11-19 | Charlotte, NC | 12:34 | Vocal and guitar response by Trey, but very different from all the preceding versions. Page picks up Trey's musical theme in his second solo. Mike adds his part with extended chanting before the return to lyrics. | |
| 1995-11-21 | Winston-Salem, NC | 6:55 | Version follows "Guyute," the only time these kindred compositions have been paired together, and includes a spooky outro jam with strong Fish which -> to "Dog Faced Boy." | |
| 1995-11-21 | Winston-Salem, NC | 9:25 | Teases of Maze, Bowie, Possum, Day in the Life, and Bowie again. Very long, funky percussion jam, with Trey on the "mini kit." | |
| 1995-11-21 | Winston-Salem, NC | 10:23 | Great fall '95 version with a "Bowie" -> "Take Me To The River" -> "Bowie" in the jam and some thunderous and blistering exploration following the debut of this song popularized by Talking Heads. | |
| 1995-11-21 | Winston-Salem, NC | 1:23 | -> in from "DB." Great brief jam on this Al Green song popularized by Talking Heads emerges in the midst of a solid "Bowie" jam. -> back to "DB." | |
| 1995-11-21 | Winston-Salem, NC | 8:45 | -> in from "Take Me To The River." The real heavy meat of the "Bowie" jam is in this section. | |
| 1995-11-21 | Winston-Salem, NC | 9:53 | Fish solo. | |
| 1995-11-21 | Winston-Salem, NC | 14:02 | After a high powered but otherwise typical 1st jam, the band breaks into a nice melodic 2nd one, with Trey electing to stick with the guitar, and good accents provided by Page and Mike. The jam ends with a nice -> to "Keyboard Army." | |
| 1996-10-26 | Charlotte, NC | 9:14 | Creepy background effects pair with some fantastic piano stylings. | |
| 1996-10-26 | Charlotte, NC | 16:13 | Awesome version. Following the standard outro jam, Trey jumps to the mini percussion kit, while Page jams with his keyboard toys including the Moog and B-3. Mike and Page produce some excellent jazzy and funky sounds. -> to "McGrupp." | |
| 1997-07-22 | Raleigh, NC | 9:53 | Played during a thunder and lightning storm of Biblical proportion that prematurely ended Set I, you can hear the thunder crackling in the background. Clearly the storm electrified the band, and if you are a Page fan, this is a must-hear, incredibly intense version. | |
| 1997-07-22 | Raleigh, NC | 19:56 | Multi-part, heavy duty funk jam -> "Mike's Song." | |
| 1997-07-22 | Raleigh, NC | 14:34 | This single jam version breaks into a thick soupy funk groove right off the bat, with lots of good variation. At 8:20, there's some shifting of instrumental sounds, but the basic grooves stays intact. Then at 10:45 the jam breaks into a new, completely different and exploratory section with a threatening, semi-evil tone. The abrubt switch back to "Mike's" is a bit forced, but all in all, that's trivial nit picking. | |
| 1997-11-23 | Winston-Salem, NC | 10:23 | Great, tight playing by all. Page adds some unusual horn-like effects as well as some descending piano progressions towards the end. > to "Black-Eyed Katy." | |
| 1997-11-23 | Winston-Salem, NC | 10:56 | Extended, explosive jam. Vintage Fall '97 hard rock that reaches a screaming, full-band climax. Builds on the strong version from the night before. | |
| 1997-11-23 | Winston-Salem, NC | 10:21 | Excellent version which develops its own groove with a somewhat dark undertone. | |
| 1997-11-23 | Winston-Salem, NC | 17:04 | After a brief shift to major mode, the tension ratchets up noticeably. At 10:45, Mike and Fish break into a droning, repetitive groove which Trey and Page play over. This thunderous thrumming continues and -> to "NICU." | |
| 1997-11-23 | Winston-Salem, NC | 31:12 | Improvisational, hard-rocking "Gin." At 13:00, following a well-played, "Type I" section, the jam breaks into 13 minutes of blistering, intense arena-style rock, before mellowing into great '97-style low-key jamming. -> to "DwD." | |
| 1997-11-23 | Winston-Salem, NC | 10:30 | Some great, fire stoking playing by Trey as he brings this hot show to a fitting close. | |
| 1998-08-07 | Raleigh, NC | 13:53 | Although the single jam segment follows a fairly standard structure, this version is a great example of Trey taking the lead and directing the jam, with strong backing from Page. With swirling and shredding guitar play, the energy ebbs and flows, before culminating in a final ecstatic peak which hits the transitional D, E, and F# chords and > to "Simple." | |
| 1998-11-19 | Winston-Salem, NC | 17:56 | Soaring incandescent groove to old skool cow-funk culminating in full band screaming orgasm and a molten metal outro. [As a good dark groove gradually lightens and energizes, the jam takes an unexpected shift when Page hits the B-3, turning the expected peak into a dance party.] | |
| 1998-11-19 | Winston-Salem, NC | 12:19 | Alien intro that Mike destroys with a liquid nuclear bass second jam. Each member has a section where he really shines. | |
| 1998-11-19 | Winston-Salem, NC | 10:28 | "Manteca"-like grooving. 8 minutes in the jam slows down and leads to some weird noises, possibly involving a spaceship landing on stage. | |
| 1998-11-19 | Winston-Salem, NC | 22:29 | VJ features a guest appearance by Heloise Williams of the band viperHouse. | |
| 1999-07-07 | Charlotte, NC | 12:03 | With a digital delay loop running in the background, Page and Fish crank up a nice rhythmic jam that grows very quiet in the final minutes before dissolving completely. | |
| 1999-07-07 | Charlotte, NC | 22:42 | Borg landing intro. A minimalist first jam and a second jam that floats in a syncopated orbit. A true mothership journey. | |
| 1999-07-07 | Charlotte, NC | 22:28 | MIIIIIIIIKE!!!!!!!! | |
| 1999-07-07 | Charlotte, NC | 11:17 | Blockbuster encore featuring a young Derek Trucks on slide guitar. No need to write more. | |
| 1999-12-16 | Raleigh, NC | 10:31 | Very patient and gradual build in the jam. | |
| 1999-12-16 | Raleigh, NC | 10:29 | Although this one takes awhile to get going and the "Spreadsheet" recording doesn't do it justice, Trey trills like his life depends on it in the spectacular peak of the jam. | |
| 1999-12-16 | Raleigh, NC | 22:30 | Initially, the jam revolves around a menacing, effects-laden groove. Trey then hops on the keys to inject some melody and later expands on those ideas on guitar before the jam builds to a screaming finale. | |
| 1999-12-16 | Raleigh, NC | 10:20 | Typically melodious and soaring "Wading" fare abounds in the solo section. As the closing vocals appear to signal the end, a ghostly ambient wash then creeps in and makes itself at home before moving > "Tweezer"". | |
| 1999-12-16 | Raleigh, NC | 21:52 | Melodic, "Slave"-like jam. | |
| 2000-06-25 | Raleigh, NC | 17:49 | With some really beautiful and delicate major mode jamming midway through, this "SOAM" ventures into a blissful landscape unusual for this song, before eventually returning home to familiar ground. | |
| 2000-06-25 | Raleigh, NC | 10:03 | Starts with cacophonous siren loops, then collapses into a long, languid take on the tune, before dying away in a church-like hush. Longest version to date. | |
| 2003-03-01 | Greensboro, NC | 10:40 | The ever dependable Page is just awesome here with some great rolls at the end of his solo (5:07 - 5:19). Trey is both delicate and on the mark with his solo. Nice build-up. | |
| 2003-03-01 | Greensboro, NC | 17:02 | Twisted Worm! This version is many "Pipers" rolled into one. The jam is like a roller coaster with ups and downs in intensity and rhythm. Just a great groove that ebbs and rises and is partially based on Santana's "Oye Como Va." | |
| 2003-03-01 | Greensboro, NC | 21:51 | "YEM" vocal jam -> to a capella version of "Proud Mary." | |
| 2003-03-01 | Greensboro, NC | 2:41 | -> in from the "YEM" vocal jam. A capella rendering of the CCR classic. | |
| 2003-07-25 | Charlotte, NC | 10:21 | The jam settles down at about 6:00, then gradually amps back up. | |
| 2003-07-25 | Charlotte, NC | 18:29 | Great "Gin" which begins with several cool stops, works through the "Type I" standard, then goes beyond, breaking into a groove which morphs into several different moods and sections, and then returns to "Gin" to conclude. | |
| 2003-07-25 | Charlotte, NC | 6:02 | More musical than most, play ->'s from "Drowned." Atop Fish's bedrock beat, Trey maintains a righteous, punishing riff, before a blast of atypical soloing bleeds to inform a nasty -> into a like-minded "Twist." | |
| 2003-07-25 | Charlotte, NC | 29:34 | Spectacular, very "Type II" "Hood." Between this one and 7/31/03, the jam here gets a further removed from the norm, working through several exploratory sections before returning to close. > to an excellent "David Bowie." | |
| 2003-07-25 | Charlotte, NC | 15:24 | Now that's what I'm talkin' about! Blows out the door of "Bowie" almost immediately into multiple varied and solid movements and includes a nice midstream, full band "Tweezer" tease. | |
| 2003-07-27 | Raleigh, NC | 18:25 | A seven course prix fixe culinary exploration of the deliciously dank flora, fauna, and fungi of the nocturnal arboreal outback. [Dark and very improvisational. A few moments point to the customary upbeat "Ghost" release, only to be passed over in favor of more ominous exploration.] | |
| 2003-07-27 | Raleigh, NC | 10:48 | > in from "Tube." Another hard rocker with a cool transition that gets way from "Caspian" and -> to "2001." | |
| 2009-06-09 | Asheville, NC | 8:53 | "Type I" version with great strumming by Trey and a short outro jam that > to "Ghost." | |
| 2010-07-01 | Raleigh, NC | 9:52 | In the encore slot. While basically "Type I", Trey provides a rich and celebratory melodic line to the basic "Boogie On" outro jam, which elevates this version considerably. | |
| 2010-07-02 | Charlotte, NC | 10:03 | Another strong 3.0 version. | |
| 2010-07-02 | Charlotte, NC | 22:19 | "Fuck Your Face" teases (Trey; Mike in B&D); "Moving in Stereo" tease (Trey): Vocal jam included portions of "Proud Mary" and "Get Back," along with "Dong Work for Yuda" and "Slow Ride" quotes. | |
| 2011-06-17 | Charlotte, NC | 13:13 | "A Love Supreme" tease is included in this outstanding version, which while subtle and spacey at times, is the "good" kind of musical space, requiring band-wide cohesion and coordinated improvisation. Segue to "Ghost." | |
| 2011-06-17 | Charlotte, NC | 11:47 | Pretty clean - and rather fast - playing through the composed section incites strong improvisation from Trey, who syncs up with Mike and Fish, who nicely modulate intensity. Great guitar - with Page painting bright fills - dominates a strong, patient, and highly musical build, with Trey trilling to a thrilling release. | |
| 2012-08-26 | Charlotte, NC | 8:54 | A very strong composed section features great Trey. Then Page's forceful piano soloing is matched by a bit of full-band improvisation, with Trey coloring the jam with a few scattershot notes before settling into a nice, warm line. A really fun and inviting version. | |
| 2012-08-26 | Charlotte, NC | 13:17 | Enchanting, even stunningly beautiful, jam to which each band member contributes powerfully. (Listen carefully for Mike's tease of "Cars Trucks Buses" as well.) | |
| 2014-07-25 | Charlotte, NC | 9:37 | The jam has a more relaxed vibe than most. A bit of pitch shifting by Trey, which was an issue on 2014 versions. The ending segment is extended as well. | |
| 2014-07-25 | Charlotte, NC | 16:24 | Although Fish keeps the rhythm firmly tied to the basic "CDT" rhythm throughout, Trey and the others explore a lot of varied themes, sounds and motifs within this structure. | |
| 2015-08-14 | Raleigh, NC | 5:14 | Debut of the slow, funky Llama. See 6/29/16, 10/20/18, and 11/30/19 for other versions. | |
| 2015-08-14 | Raleigh, NC | 8:05 | Version features an atypical jam segment which modulates to major mode, giving the jam more of a feel good sense, and less the typically rocking style. | |
| 2015-08-14 | Raleigh, NC | 13:15 | Begins with some bouncy funk work and then builds into a rocking groove. Brief ambient interlude before a > to "Reba". | |
| 2015-08-14 | Raleigh, NC | 9:42 | Following some deft playing by Trey, the straightforward jam peaks, then drops into some nice "No Quarter" teasing followed by a brief, funky breakdown jam before heading home. | |
| 2018-08-10 | Raleigh, NC | 9:03 | Neat outro jam that prods and probes in a few different directions. > to "Thread". | |
| 2019-06-21 | Charlotte, NC | 18:39 | A number of recent versions (see: 7/25/18 and 10/20/18) demonstrate the band's renewed interest in one of their finest compositions. Given your preference (the spirited first "half" of early-90's "Runaway Foams," or the crazed, free-form improvisation found within something like Shoreline 1997's II-opening jam), the band delivers an exciting amount of content, befitting triumphant "Funiculi Funicula" teasing. The entire ride is worthy of attention, but, true to 2019's style, Phish squeezes out an incredible amount of interesting improvisation, so remain tuned in to the outro, which doesn't so much fade as hint at a "DDLJ" before > "SaSS." | |
| 2019-06-21 | Charlotte, NC | 10:06 | Wastes no time moving to a warm major key jam (with charming "If I Only Had A Brain" teases) that picks up speed and gets almost tropical at Page's urging, before shifting to some tasty rocking out and letting Mike really shine. A lot of meat packed into a smaller frame. | |
| 2019-06-21 | Charlotte, NC | 12:20 | > from "20 Years Later." After a normal start to the song, at 5:50 the band shifts to a quiet, minimalist jam for about a minute. At this point, Trey starts singing the words to "Have Mercy" over the jam and the rest of the band follows suit. "Have Mercy" is sung over the jam for a moment, and then more typical "Possum" play until the song is brought to a rousing conclusion. | |
| 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. | |
| 2023-07-18 | Wilmington, NC | 18:40 | Vocal calisthenics give way at first to thoughtful and melodic play morphing quickly to an exceptionally groove driven thumper that begs for dancing. Aggressive leads strut with swagger over a thick bed of funky rhythm that decays into a hazy stew, regaining some drive before > to "Light". Excellent. | |
| 2023-07-19 | Wilmington, NC | 19:46 | Trey and Mike kick off the improv early in the first set with interlocking leads that propel the jam over an atmospheric bed of Page's keys matched by Fish's energetic pocket. Pointed play ensues, building some tension as both leads adjust tone. The mood eventually brightens and Trey picks out melodic lines as the jam accelerates pushed by Mike's pulsing attack. The band locks in behind Trey for a big trilling peak that leads to a full return. | |
| 2023-07-19 | Wilmington, NC | 17:40 | A slower take on the song itself opens what would become a storm-shortened set 2. The band wastes no time diving into propulsive improvisation that efficiently modulates more than once. Listen as Page begins a conversation enjoining instant feedback from Trey and Mike that grows into a fluid three-way exchange and bounces comfortably over several minutes with impressive ease on Fishman's driven play, delivering a satisfying peak before > to an excellent "Oblivion". | |
| 2023-07-19 | Wilmington, NC | 17:28 | > from "Chalk Dust Torture." The second version of "Oblivion" gets taken for a big-time walk. This is grimy, dirty Phish; no bliss jamming or peaks to be found. Page on the synth, heavy effects from Trey, this is a truly exploratory jam. |
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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