Jam Chart for the state of SC (62 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1990-06-02 | Columbia, SC | 16:33 | Hilarious VJ! | |
| 1994-04-22 | Columbia, SC | 14:39 | Incredibly exploratory version. Perhaps not beautiful music, per se, but this is fearless improvisation on display. | |
| 1994-04-22 | Columbia, SC | 13:29 | Trey seems to pick up the notes that he "dropped" during the composed section, sprinkling them throughout an experimental jam that feels jazzy, in large part because of Trey's tone, and band-wide shifts in tempo and intensity. Page's play is particularly pretty, and improvisational flashes abound, including protracted "DEG"-like teasing as the band builds to a strong conclusion. | |
| 1994-10-28 | Charleston, SC | 12:23 | Insane, riveting version with a "Bowie" -> "Manteca" -> "Bowie" in the jam segment. | |
| 1994-10-28 | Charleston, SC | 0:40 | -> in from "DB." Brief "Manteca" jam in the midst of a thrilling "Bowie." -> back to "DB." | |
| 1994-10-28 | Charleston, SC | 3:11 | -> in from "Manteca." Return to "Bowie" to conclude a riveting Fall '94 version. | |
| 1994-10-29 | Spartanburg, SC | 7:24 | Evil outro jam and vocals. | |
| 1994-10-29 | Spartanburg, SC | 9:11 | -> in from "Simple." Excellent Fish and Trey on this improvisational version. | |
| 1994-10-29 | Spartanburg, SC | 9:50 | Another very strong Fall '94 version, infused with rhythmic and other stylistic variation. | |
| 1994-10-29 | Spartanburg, SC | 9:49 | Excellent, thrashing, wild and unfinished version kicks off a great, unsusual segue-fest. -> "Buffalo Bill" -> "Makisupa" -> "Rift." | |
| 1994-10-29 | Spartanburg, SC | 3:04 | A spry, playful jam is tagged onto the end, which sounds like it's going to speed up for a second. Instead, it pivots (->) neatly into a super "Makisupa." | |
| 1994-10-29 | Spartanburg, SC | 6:31 | -> in from "Buffalo Bill." After 3:00, this "Makisupa" breaks into some great '94-style jamming, spacey at first, then hard rocking with a great -> to "Rift." | |
| 1994-10-29 | Spartanburg, SC | 10:33 | Not way out there, but moments of crashing, noisy rocking beyond the standard, then some great '94 space following the final lyrics before a -> to "TMWSIY." | |
| 1994-10-29 | Spartanburg, SC | 4:20 | -> in from "TMWSIY." Classic '94 space follows "TMWSIY" and very gradually and miraculously -> into the Who classic. | |
| 1994-10-29 | Spartanburg, SC | 19:30 | Short but very, very sweet! | |
| 1994-10-29 | Spartanburg, SC | 7:50 | "Antelope" -> "Sleeping Monkey" > "Antelope." Fantastic improvisational playing with all the good '94 stuff combined with a seamless segue, then a return to "Antelope" for more exploratory jamming. Great version and song pairing. | |
| 1994-10-29 | Spartanburg, SC | 5:30 | -> in from "RLAA." Awesome song combination and humorous relief in the midst of an ass-kicking and exploratory "Antelope." > back to "RLAA." | |
| 1994-10-29 | Spartanburg, SC | 5:22 | > in from "Sleeping Monkey" and this "Antelope" provides more exploratory jamming before winding down in good fashion. | |
| 1994-10-29 | Spartanburg, SC | 14:04 | One quality of many great '94 "Hoods" is their balance of grace and power. As the encore from a fantastic show, this "Hood" begins with some quiet and delicate playing, which pairs nicely with the raw energy and intensity of the finish. | |
| 1995-11-18 | North Charleston, SC | 10:51 | This one starts peaking just before 8:00 and continues building, with one or more false peaks before the final ending. | |
| 1995-11-18 | North Charleston, SC | 30:20 | Must-hear! Among the very best. "Brick House" jam! | |
| 1996-10-27 | North Charleston, SC | 7:34 | Page > Trey vocal/guitar >Page on piano and Trey vocal/guitar together > Percussion -> Mike sings "Catapult" > Page plays "Catapult" on Theremin -> klezmer > Mike chanting > finale. | |
| 1996-10-27 | North Charleston, SC | 2:07 | -> in from "SOAMule." "Catapult" is played in the middle of a crazed Mule Duel. -> back to "Mule." | |
| 1996-10-27 | North Charleston, SC | 2:41 | -> in from "Catapult" to complete this crazy "Mule." | |
| 1996-10-27 | North Charleston, SC | 7:31 | First version with a "Norwegian Wood" (the Beatles) tease, although this one did not signify the end of the jam section. In the future, much debate would ensue over the chordal riff signaling the song's conclusion - "NICU" (which this riff MOST CLEARLY RESEMBLES part of the melody of), "Norwegian Wood," and later, "What's The Use" all entering the discussion. | |
| 1998-11-18 | Greenville, SC | 16:18 | At 7:40, the jam leaves standard "Wolfman's" and moves into some great free-form improvisation that migrates from funky rhythmic playing to really beautiful, melodic and exultant music. The jam mellows gradually and -> to "Lizards." | |
| 1998-11-18 | Greenville, SC | 11:52 | Beginning with classic '98 ambience, there is ample delicate space early on. Yet Fish drives this jam to soaring, powerful heights, with Mike, Page and trilling Trey each masterfully responding to the rhythmic foundation. The final, well-coordinated push to the summit is epic. | |
| 1998-11-18 | Greenville, SC | 15:26 | An all around strong performance is particularly notable for a cool and different Fender-Rhodes solo by Page in Clod, solid Mike throughout, and a riveting and wild Arrival. Machine Gun Trey leads the charge, but in the style of 1998 rather 1990. Check this one out if you want to hear Phish blow the lid off an arena with a blistering closing. | |
| 2010-10-16 | North Charleston, SC | 15:01 | Opening a killer 2nd set in Charleston, this one is a straight-up rocker! After a blazing jam, they hit another vocal refrain before dipping into a spacier jam. Then they build back into another vocal refrain, after which they make a move for a funkier jam before hitting one final spacier passage. | |
| 2010-10-16 | North Charleston, SC | 8:20 | Excellent high energy version with a few outstanding minutes from Page in the second jam. | |
| 2016-10-14 | North Charleston, SC | 6:22 | The band pivots from the typical funk vamp and reaches a rocking conclusion led by Trey in this verison. | |
| 2019-12-06 | North Charleston, SC | 9:50 | > from "I Been Around." Trey plays a note at the 4:48 mark that indicates this version will be different than previous iterations. Mike takes the lead on the full band jam, coupled with soaring play from Trey. While the return to the song isn't the cleanest, it can be overlooked due to the song finally getting taken for the proverbial ride. | |
| 2019-12-06 | North Charleston, SC | 18:48 | Fire jam, with Trey out front, confident and in control. A tease-seeker's paradise, Trey hints at "Suzy," "Axilla," and who knows how many other sounds. Play reminiscent of "Sparks" gives way to a full spaciousness typical of the band's best playing, with the four working as one, in lieu of yielding room - wonderful. Mike's seismic line signals a shift to darker, stormier terrain which calms before brightening into more teasing, fun stop/start jamming, super percussion, and funky Page. > "No Quarter." Mission Accomplished. | |
| 2019-12-06 | North Charleston, SC | 13:15 | Around 4:45, the playing peels away from typical "LxL," becoming more rocking at first, then mellowing into a jazzy groove with moments of brightness. The energy and intensity builds, with strong Mike and Fish, before Fish starts singing "This Old Man" and the playing transitions > "The Lizards". | |
| 2019-12-07 | North Charleston, SC | 12:39 | Briefly swerves into major-key goodness, then wanders into hazy synth-laden space, before Trey taps into the holiday spirit with a "Little Drummer Boy"-infused jam. The jam takes on a gnarled and heavy-metal feel, then > into "Dirt". | |
| 2019-12-07 | North Charleston, SC | 9:21 | Stretches slightly beyond its usual confines with a pleasant jam which finds a darker direction in the final minute before > "Melt". | |
| 2019-12-07 | North Charleston, SC | 12:28 | Rearranged and redefined, "Melt" anchors another second set, with the band forgoing speed, tension and release in favor of using the song, following a nice composed section, as a blank canvas to create a creepy, ethereal, "soundscape". Fish's work on the Marimba Lumina is particularly eerie, before "Little Drummer Boy" teasing and a return to "Crosseyed and Painless" offers relief from droning (yet musical) fright-rock. | |
| 2019-12-07 | North Charleston, SC | 1:10 | > from "SOAM", the band briefly jams before dropping back into "Melt" to stick the landing. | |
| 2019-12-07 | North Charleston, SC | 1:00 | > from "Crosseyed and Painless", the band returns to stick the landing. This, then, before a wonderful "A Life Beyond the Dream". | |
| 2022-05-31 | Charleston, SC | 22:01 | A jam much more in line with the start of Set 2 than Set 1, boasting some warm and lovely electric piano work from Page, a really nifty minor-key exploration at Trey's urging, and a magnificent double-time finale. | |
| 2022-05-31 | Charleston, SC | 15:10 | A refreshing jam (and set placement) in this first version since '04 to significantly deviate from the typical format. Extra effects use loosens things up early as it dips into a short-lived, but moody darker segment, and then the jam brightens considerably at 10:00 with Trey and Page pairing up nicely for dual leads, before finally working its way back to "WoTC" to conclude. | |
| 2022-05-31 | Charleston, SC | 11:04 | Kicks off with some sprightly Trey soloing before diving into a puddle of grimy synth effects and concludes > to a strong "Light" | |
| 2022-05-31 | Charleston, SC | 17:36 | > from "2001." The band feels connected and that connection is on display throughout this great jam. They work effortlessly as one organism as the feel and the tempo of the jam changes. > into "Mountains in the Mist." | |
| 2022-05-31 | Charleston, SC | 8:31 | Another deceptive offering from Spring '22 provides about four minutes of type 2 exploration in the opening slot of the encore. While not accompanied by a massive peak, fluid and enjoyable jamming from all four members will have you bopping your head with a smile on your face. | |
| 2022-05-31 | Charleston, SC | 9:54 | A dense mind-scrambler of synths, impactful bass, and multi-toned guitar (including the "bullfrog"), then becomes even more frazzled before the final break. The most substantial "Tube" jam in the encore to date, and just about as good of a jam in any encore period. | |
| 2022-06-01 | Charleston, SC | 7:23 | Great versions produce different points to view. Be it 7/8/14's summertime "Line"d up shimmery shake; Pitt 17's huge, crazed sustain; or 10/20/21's incendiary take; this here jam features what the best "BDNTLS" have in common: Fire Trey. Largely straightforward guitar whose inspired improvisation, offset by impassioned Fish, is the best of its type, carrying you not so much backwards, as away. | |
| 2022-06-01 | Charleston, SC | 23:09 | Multi-faceted shapeshifter cruises through an array of styles ranging from heavenly bliss to industrial funk, eventually ascending to a sizable peak and then briefly returns to "Simple" to close. | |
| 2022-06-01 | Charleston, SC | 13:42 | > from "Egg in a Hole". A familiar propulsive jam develops, with the music initially coalescing around a repeated minor key motif from Trey. Fishman and Mike's driving rhythms provide a bedrock for Trey and Page to dole out a bevy of varying textures. The jam threatens to fall apart but comes back alive via a "Manteca" tease. This then morphs into a peaky, psychedelic hard rocking jam before executing a rickety > "Prince Caspian." | |
| 2025-07-11 | North Charleston, SC | 11:34 | Big, exuberant version brings lots to love by way of both exploratory and celebratory play that is light on samples and heavy on jamming. | |
| 2025-07-11 | North Charleston, SC | 34:11 | > from (a slow version of) "Llama". Another huge, latter-day "Disease". The band stays in attack at the beginning of the jam with Mike and Trey each taking turns leading before Page comes banging in on the piano for his. Around 19:00, the jam briefly takes a respite before Trey's melodic play continues the journey. Things build and build and build and build until a glorious peak, followed by a return to the song proper and then > into "Twist". | |
| 2025-07-11 | North Charleston, SC | 17:03 | Sets a new standard for "Sightless Escape" with a lengthy exploration of the song's groove before eventually turning bright and sunny buoyed by synths and then -> "CDT". | |
| 2025-07-12 | North Charleston, SC | 14:09 | After the standard outro the band drops into a laid-back '97-style funk groove fueled by the classic ingredients of wah-guitar, clav, and siren loop before flirting with major for a more contemporary sound and building moderately in the final minutes. | |
| 2025-07-12 | North Charleston, SC | 8:53 | Nearly six years later, at the same scene of the last jammed-out "Destiny", the tune once again goes for an extended ride. An "I'm A Man" tease galvanizes a brief, extra passage of full band hard rockin' grooves before returning to the song's regular conclusion. | |
| 2025-07-12 | North Charleston, SC | 8:19 | Immediately goes minor at the jam's outset then spends some time in the customary "Weekapaug" style before returning to minor with synthy funk led by Page. | |
| 2025-07-12 | North Charleston, SC | 19:15 | Sparkling play from Page helps lead the band out of "Mercury" proper into a cool, laid back jam. The jam progressively gets more upbeat and energetic, before dropping into a funk breakdown and eventually > into "Soul Planet". | |
| 2025-07-12 | North Charleston, SC | 12:15 | There's no time wasted in this all killer, no filler jam, which gets especially gnarly after 8:00 when it develops a mean streak and goes screaming through space to a supernova conclusion. | |
| 2025-07-12 | North Charleston, SC | 14:32 | The intro here finally gets a little extra attention but as usual the real action comes later and right away it's clear that both band and crowd are primed to pop as the jam cascades and sparkles effervescently and bubbles over with abundance and abandon. It feels very good indeed. | |
| 2025-07-12 | North Charleston, SC | 6:57 | This psychedelic set closing version gets a gratuitous extra helping of yellow matter custard and that special weirdness that makes Phish covering The Beatles in 2025 such a mind warping and revelatory experience in the last year of the first quarter of the 21st century. | |
| 2025-07-13 | North Charleston, SC | 15:04 | The Wolfman surfs in on a van fueled by Trey's slick blues licks laid over a road bed of rhythmic funk that grooves and bumps along a linear trajectory without detours headed straight for peak town and delivering a tight and satisfying package. | |
| 2025-07-13 | North Charleston, SC | 10:46 | "Thread" finally delivers on its initial improvisational promise with a knotty ,urgent exploration. Using its odd meter as a launch point, the jam holds tight to the bar line, with Trey, Mike and Page's effects-laced play creating a dense landscape that grows tenser and slightly dissonant as it moves along. The howling refrain of "You're Alone!" emerges from the morass of sound to close it out. | |
| 2025-07-13 | North Charleston, SC | 29:48 | Leaves the station after a bit of funk, coalescing around a spacey synth section over which Trey solos melodically. The jam then seems poised to return home at 15:00, but relaunches with more rugged riffing before eventually closing strongly with a celebratory peak and the reemergence of the "Tweezer" riff which unravels -> "Ghost". | |
| 2025-07-13 | North Charleston, SC | 15:55 | A spirited, high-energy take that is particularly dominated by Trey and Page's nimble play early on. The syncopated jazz-funk-isms that are familiar to "Golden Age" are particularly tight here and inspired as this feel eventually rides to an anthemic major-key rock out. This then builds to a lovely peak before the "Golden Age" beat barges in to wrap it up. |
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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