Jam Chart: Jams Seen by Midcoaster (354 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1987-08-09 | Burlington, VT | 10:46 | The debut includes both the highly composed section we now think of as The Curtain, as well as the flowing and spriralling instrumental section familiar to us as the With jam. Melodies and musical ideas from this classic would later be incorporated into "Reba" and "Rift," while songs which debuted subsequently, especially "Mockingbird" and "Esther," both seem to draw inspiration from With. | |
| 1987-08-09 | Burlington, VT | Debut. No recording available. | ||
| 1987-08-10 | Burlington, VT | 8:24 | -> in from "AC/DC Bag." The first 2:10 is the transition jam between songs. Great recording quality and typical of many early versions in which Trey's solo is followed by a Page-led solo. Also one of 8 "Bag" -> "Possum" pairings in '87 - '88. | |
| 1987-08-10 | Burlington, VT | 4:58 | First recorded version includes the lyrical section and a very brief closing following the final refrain. | |
| 1987-08-10 | Burlington, VT | 14:33 | Screaming maniacs VJ. | |
| 1987-08-10 | Burlington, VT | 15:49 | First extended, "Type II" version. The jam veers away from the standard at about 7:50. Has moments similar to sections of "Fluffhead," "DEG"-like jamming, and a bluesy, Allman Brothers-like vibe. A strong early version that any "Bowie" fan ought to check out. | |
| 1987-08-10 | Burlington, VT | 7:15 | Debut establishes band's structure for covering this ZZ Top song, with a Page solo after the second verse, a Trey solo and building jam after the third, and a final, closing verse. Great organ playing on this one. | |
| 1990-01-26 | Portland, ME | 8:15 | Excellent version with solid exploratory jamming as well as simmering tension as the jam progresses. | |
| 1990-03-03 | New York, NY | 16:46 | Awesome segue into "Possum!" | |
| 1990-03-03 | New York, NY | 8:53 | Great "Esther" with strong, full-band playing. Both Page and Trey standout amidst this version which features a unique, shuffling tempo. | |
| 1990-10-04 | Durham, NH | 8:54 | Great pacing and impressive musicianship. Trey modifies his tone and solos beutifully, with Page striking a fine balance. | |
| 1990-10-04 | Durham, NH | 10:03 | Mildly dissonant, "DEG"-like jamming early on. Then some great Machine Gun Trey action as the jam cranks up. | |
| 1990-10-04 | Durham, NH | 5:25 | An early misstep seems to put a little extra pep in Page's playing, most notably his solo. But not before Trey takes a truly cool line and runs through a series of descending chords to create a jam "Foam"-like in sound and spirit. | |
| 1991-11-16 | Washington, DC | 7:41 | Good early "Gin." The jam (like most from pre-August '93) is grinding, decelerating and somewhat dissonant. Nothing like the melodic hose jams that would emerge later. This one also has amusing screaming and yelling at the end. | |
| 1991-11-16 | Washington, DC | 5:53 | Some unusual bass lines from Mike and organ playing by Page create a strong sense of tension in this ripper. | |
| 1991-11-16 | Washington, DC | 20:54 | Must-hear jam segment; legendary "Mrs. Pizza Shit" YEM. | |
| 1995-10-05 | Portland, OR | 15:41 | A much more exploratory version than most Fall '95 "Bowies," which despite being very well played and intense, stick pretty close to the basic theme. | |
| 1996-11-24 | Portland, OR | 13:46 | Lightning fast composed section, brimming with extra temerity. Speedy play extends into the jam, only the band, collectively, dials the sound way down, which makes for an interesting sonic juxtaposition. Notable full-band play informs this fun, quirky version, as Trey's solo builds voluminously, and the others match his intensity. | |
| 1996-11-24 | Portland, OR | 12:21 | Crazy spaced out intro. Sigourney Weaver is floating around this version somewhere. Page stars. | |
| 1996-11-24 | Portland, OR | 22:20 | Strong jam. | |
| 1997-08-02 | George, WA | 15:18 | Only played 4 times in 1997, Trey's restraint in this soaring, sunset version from the Gorge (released on Live Bait Vol. 4) allows the others to shine, and being that it's 1997, Mike surely does. | |
| 1997-08-02 | George, WA | 18:02 | Sure, you can characterize this as "Type I." But within that, you get 6 solid minutes of '97 funk and 6+ minutes of power-rocking release action before returning to "Wolfman's" to close. | |
| 1997-08-02 | George, WA | 16:34 | All kinds of good funk in this strong version that -> into "Tweezer," after which "DwD" arguably returns for a minute or two. | |
| 1997-08-02 | George, WA | 17:15 | Segues out of "Disease." Brief "DWD" tease near the end as well. Very laid-back, slow, funk-ish version. Weak at times, though. | |
| 1997-08-02 | George, WA | 17:42 | After Trey asks CK5 to kill the lights so fans can enjoy the Gorge starlight, a stunning and sublime jam ensues. | |
| 1997-08-03 | George, WA | 12:06 | > in from "Bathtub Gin." Very cool, exploratory Page solo. Trey's solo is enhanced by an echo-like effect. A bass and percussion rich build-up leads to a soaring finish. If you aren't on the edge of your seat when the final verse starts, your soul has gone missing! | |
| 1997-08-03 | George, WA | 8:17 | > "Dirt", the version demonstrates considerable growth over a short period of time. Page's fills fall like scales between Fish's off-kilter percussion, the jam itself a revelation. Trey's riffing and soloing is forceful, with each musician acutely attuned and playing "out" as if a means to somehow reign their sound "in". Impressive. | |
| 1997-08-03 | George, WA | 11:54 | A good, rocking and bluesy jam develops at 7:30 and continues until -> to "Jesus Just Left Chicago." | |
| 1997-08-03 | George, WA | 11:57 | -> in from "Twist." Great version from the Gorge with Page switching keyboards and a fiery ending to the jam. | |
| 1997-08-03 | George, WA | 11:37 | A very different version from 7/31/97, with more staccato playing by Trey, and minor key fills from Page at points. | |
| 1997-08-03 | George, WA | 13:00 | Jam begins in a great, bluesy groove with Page on the B-3 for a few minutes before he jumps to the piano. Trey is relaxed in his playing, gradually building this one up, but never loses the swinging feel. | |
| 1997-08-03 | George, WA | 14:47 | Beginning in 1997 and forever since, "Fluffhead" has suffered from some performance malaise. Whether due to lack of practice, fewer live performances, or other causes, the band's precision has declined. Yet this summer 1997 version is an anomaly, a nearly flawless rendering. Thank you Kevin Shapiro for releasing this version officially on Live Bait Vol. 17, because the audience recordings of this classic performance don't do justice to a truly exceptional, outlier version. | |
| 1997-08-03 | George, WA | 11:58 | Around 6:30, this version comes very close to breaking free of "Taste" altogether into free form improvisation. Fantastic peak and finale. | |
| 1998-07-15 | Portland, OR | 8:51 | Classic "Type I" version that lets go of the funk, making way for some blues-inflected power jamming with great Page. | |
| 1998-07-15 | Portland, OR | 3:58 | Standard "Horn" -> to an incredible and classic '98 ambient jam. | |
| 1998-07-15 | Portland, OR | 6:19 | -> in from "Horn." A superb cerebral and lush, vintage '98 ambient jam uncorks itself on the back end of "Horn." | |
| 1998-07-15 | Portland, OR | 7:27 | Slightly extended jam with the beginnings of some exploration beyond the standard. | |
| 1998-07-15 | Portland, OR | 12:35 | In addition to a stretched out, well-played jam, this version has a nice ambient closing that segues -> to "Simple." | |
| 1998-07-15 | Portland, OR | 6:19 | "California Love" tease, "Manteca" theme. | |
| 1998-07-15 | Portland, OR | 1:52 | -> in from "Tweezer." "California Love" is sandwiched in the "Tweezer" jam. | |
| 1998-07-15 | Portland, OR | 7:17 | -> in from "California Love" to continue this "Tweezer." | |
| 1998-07-15 | Portland, OR | 11:22 | -> in from "Tweezer." An awesome jam develops that is unique, with great Fishman and Page on the B-3. Unfinished. | |
| 1998-07-15 | Portland, OR | 13:23 | Delicate, directed, and fantastic playing by Trey leads to a soaring peak. Mike and Page are great, too. | |
| 1998-07-15 | Portland, OR | 7:04 | Encore version has Trey leaning into a heavy power chord riffing extravaganza out of the initial "solo" section. The jam threatens to go even deeper before returning to the lyrics, but after "Can you still have fun?" Trey proceeds to unload a furious, rapid quiver of wah licks for a slightly extended fanfare. > "Tweezer Reprise." | |
| 1998-07-16 | George, WA | 16:59 | Trey employs a silky, milky-whammy sort of effect, generating a really groovy, laid-back jam. Extremely fluid, extended, and atypical jamming features strong, rhythmic play from all, the version coasting, moving pleasantly upon its own kinetic energy, not quite building but rather dissolving to create a fantastic > into "FEFY." | |
| 1998-07-16 | George, WA | 11:32 | Another version where the jam is made more interesting by starting with a nice swinging groove, and only very gradually building the intensity. | |
| 1998-07-16 | George, WA | 11:54 | Good, funky playing before the lyrics. The main jam segment has a very nice peak and scat singing throughout. | |
| 1998-07-16 | George, WA | 9:53 | Slow grooving at the Gorge combining funk and ambience. > to "Slave". Released on Live Bait Volume 9. | |
| 1998-07-17 | George, WA | 12:49 | > in from "Makisupa." Nice, easy going summer outro jam follows typical "Ya Mar" jam. Followed by a big "Gumbo." | |
| 1998-07-17 | George, WA | 11:44 | Slow funk groove with "Manteca" teases. Last few minutes is funky Trey solo and it finishes off with one slow chord. | |
| 1998-07-17 | George, WA | 17:11 | On the heels of a show opening "Makisupa" and chart versions of "Ya Mar" and "Gumbo," and notwithstanding 8/2/97, this is The Epic Gorge Sunset Version. Just wish KS would release the sbd of this whole excellent show (also with a stellar "2001" and "Mike's Groove" in Set II)! [This petition has been answered as of 2022's The Gorge '98 release.] | |
| 1998-07-17 | George, WA | 24:13 | Longest "2001" ever, the first jam is longer than some entire versions of "2001". Second jam is as gorgeous and fiery as the scenery where it was created. | |
| 1998-07-17 | George, WA | 18:38 | Some might characterize the heavy duty, groove-based 1st jam which continues to 10:55 as repetitive and dull. Regardless, the 2nd jam is so different, melodic, and inspired that bopping along to a sludge-like groove for a bit is well worth it for the ambient hose-down payoff that follows. | |
| 1998-07-17 | George, WA | 13:23 | An exhilarating version highlighted by filthy funk, a nice "Taste" tease, and a chunky blues-rock groove to close, unfinished. | |
| 1998-12-29 | New York, NY | 11:02 | Page is the star, jumping around to various keyboards in this "Type I" but interesting and different space funk "SOAM." | |
| 1998-12-29 | New York, NY | 9:53 | Trey out in front instead of Mike. Swirling metallic jam that sounds more '99 or '00 than '98. > to "Limb By Limb." | |
| 1998-12-29 | New York, NY | 9:52 | Page in particular shines brightly (but also Trey) in this strong, full-powered version. Segues to a stellar "2001." | |
| 1998-12-29 | New York, NY | 17:24 | Possibly the best intro ever. This version has it all. Aliens, tractor beams, Trey flamethrowing, "C&P" teasing, Liquid Nitrogen Mike in the second jam. It all combines for 17 minutes of "2001" magic. | |
| 1998-12-29 | New York, NY | 23:39 | Dynamic, captivating version from start to finish. (No B&D.) | |
| 2009-08-14 | Hartford, CT | 9:32 | Similar to 11/13/98 in that this version mostly stays "in bounds," but likewise pushes the envelope. A quality version. | |
| 2009-08-14 | Hartford, CT | 13:00 | Atypically soulful soloing from Trey, with a strong "Reba"-like jam, shortly before the ending segue into "Wilson." | |
| 2009-08-14 | Hartford, CT | 13:02 | Once past 3 minutes of somewhat unpleasant string bending from Trey, the jam becomes quite improvisational and multi-faceted with some great Mike and Page contributions, including a "Spill The Wine" Page tease. | |
| 2010-10-19 | Augusta, ME | 8:04 | Spirited piano action from Page is matched by electric and rocking playing by Trey. | |
| 2010-10-19 | Augusta, ME | 14:28 | Magnificent and varied throughout touching on at least four or five different jam styles highlighted by an outstanding "calypso" stanza. | |
| 2010-10-19 | Augusta, ME | 15:51 | Awesome "Reba." Trey works atop a really cool beat, which, at times, seems to stop and then start, a special sort of space carved by Mike's bass. Excellent effects work to enhance the jam, as the band plays exceptionally well as one. Trey nudges the band into a spacey and protracted legroom, which the band explores with aplomb before Fish breaks for "Manteca." Super guitar brings this version to a close. | |
| 2010-12-30 | New York, NY | 18:16 | Kind of a mixed bag until this spell-bindingly intricate, spectacular "staccato-esque" improvisation takes over. | |
| 2011-05-28 | Bethel, NY | 8:58 | Nice little extended outro with a good Trey-led peak. | |
| 2011-05-28 | Bethel, NY | 12:03 | Percussion driven, exploratory version that manages to cover a lot of ground in a relatively short time. | |
| 2011-05-28 | Bethel, NY | 11:47 | "Gin" -> "Manteca" > "Gin." The "Gin" sections, although largely straightforward, include improvisational playing by Trey. "Manteca" includes "Golden Age" jamming, with fans thus dubbing this version the "GoldenGinTeca." | |
| 2011-05-28 | Bethel, NY | 1:44 | -> in from "Gin." The jamming just before and during this "Manteca" includes teases of "Golden Age," causing fans to dub this version the "GoldenGinTeca." > back to "Gin." | |
| 2011-05-28 | Bethel, NY | 0:59 | > in from "Manteca" to end this fine version. | |
| 2011-05-28 | Bethel, NY | 12:10 | The band incorporates a lot of "DEG" teasing/jamming into the standard format. The mood shifts back and forth from bright to dark several times, with "DEG"-like playing at various times throughout, before returning to "BDTNL." A very cool version. | |
| 2011-05-28 | Bethel, NY | 7:35 | An energetic, funky jam emerges at around 5:30 after some chanting on "House." This is a fun, well-played version. | |
| 2011-05-28 | Bethel, NY | 12:38 | This "Hood" has a really nice jam that sounds similar to "Faht" at times. Returns to "Hood" to close. | |
| 2012-06-23 | Burgettstown, PA | 11:04 | Most improvisational version in 12+ years that includes an extended Mule Duel with Page on theremin at one point. | |
| 2012-06-23 | Burgettstown, PA | 9:21 | The typical jam breaks into a short dreamy, lightly pulsing abstraction, before settling into extended transition space and > to "Light." | |
| 2012-06-23 | Burgettstown, PA | 10:20 | Nice plinko-style funk breakdown, a second little Mike/Page breakdown, then more improvisational play before an unsual conclusion which -> to "Seven Below." | |
| 2012-06-24 | Cuyahoga Falls, OH | 11:17 | A very good, psychedelic jam including an introspective ambient section in which Trey uses his delays/pedals to great effect. > to "Ghost." | |
| 2012-07-07 | Saratoga Springs, NY | 11:50 | > in from "Peaches en Regalia." Nothing like some good "Gin" on a nice summer night. This "Type I" version is 3.0-style HOSE at its best. Great nimble and directed playing by Trey later in the jam. | |
| 2012-07-07 | Saratoga Springs, NY | 6:17 | > in from "BDTNL." Band wastes no time getting beyond typical the "Caspian" jam , instead settling on a beautifully delicate, but substantive groove that unexpectedly segues -> to "SOAMule." | |
| 2012-07-08 | Saratoga Springs, NY | 8:39 | Really solid and extended straightforward jamming with great Page and Trey. | |
| 2012-07-08 | Saratoga Springs, NY | 11:45 | One could argue that they dick around and waste several minutes in the land of "meh." But after the 8:00 mark, this one suddenly gets pretty damn solid with some good old fashioned tension and dissonance. Hell, even throw in a little chaos. | |
| 2012-07-08 | Saratoga Springs, NY | 10:44 | Intense "Type I" jamming continues after the final lyrics before dipping into some darker playing that quickly brightens before ending with a -> to "MFMF." | |
| 2012-07-08 | Saratoga Springs, NY | 15:31 | Multi-dimensional, very high quality jamming. "Piper" has come back a long way since '09. > to "Free." | |
| 2012-07-08 | Saratoga Springs, NY | 11:22 | A very well played version overall, but the ending section in particular is extremely powerful. | |
| 2013-07-03 | Bangor, ME | 9:39 | A clean bridge!!! The jam that follows is melodic, varied, and interesting. Trey makes good use of the "allotted" jam space. | |
| 2013-07-03 | Bangor, ME | 14:14 | Laid-back and funky jamming abounds in this one (including a "Manteca" tease). > to "Twist." | |
| 2013-07-03 | Bangor, ME | 8:12 | Excellent "Type I" version with great variation and playing by Trey, and no flat notes taboot! | |
| 2013-07-03 | Bangor, ME | 12:33 | Jam starts out predictably enough, then surprisingly breaks into an upbeat major mode groove. Old school peak. | |
| 2013-07-06 | Saratoga Springs, NY | 6:43 | Begins with the usual Page-led funk on the clav, settles briefly, and picks back up with Trey leading the way. Later, Trey reverts to a rhythmic role as a second, different groove is explored before the closing guitar solo. Here's to more "Tubes" like this in the future. > to "Julius". | |
| 2013-07-06 | Saratoga Springs, NY | 18:17 | Very exploratory jam that contrasts sharply with the "old school" style 8/18/12 version. This one more closely resembles standouts from '96 - '04, and includes mode modulation. Messy closing section; needs practice. | |
| 2013-07-06 | Saratoga Springs, NY | 12:08 | Serious "HOSE"! Jam quickly breaks from the typically dark, throttling form into the now commonly upbeat, major mode style with good modulation of intensity. It then darkens in minor mode, lightens briefly and -> to "Architect." | |
| 2013-10-25 | Worcester, MA | 12:44 | The second jam swells to blissful heights once, recedes, then builds to a Freedom Rock peak, finally crashing into Carini. | |
| 2013-10-25 | Worcester, MA | 9:49 | Solid jam that retains a dark sentiment throughout, and is also infused with great staccato, funk, and rhythmic playing. | |
| 2013-10-25 | Worcester, MA | 7:40 | High quality "Type I" version with spirited soloing by Trey and strong Page backing. > to "Ghost." | |
| 2013-10-26 | Worcester, MA | 18:50 | A quality multi-section jam emerges. A quiet spacey section breaks first, followed by punchy and rocking playing with an "Oye Como Va"-like vibe. From there, a nice dose of 3.0-style "HOSE" develops and > to "Light." | |
| 2013-10-26 | Worcester, MA | 13:14 | An excellent jam breaks from the "Light" at 8:00 into a funky and rhythmic groove. The melodic content gradually increases, Fish add "Hey" vocal interjections, and Mike's bass takes the con. | |
| 2013-12-29 | New York, NY | 8:21 | This one has a bad-ass "Ice" jam with some wild and rocking playing by all four. It almost sounds like some of the crazy versions from Spring '94 and also makes a nice clean return to "It's Ice." | |
| 2013-12-29 | New York, NY | 6:31 | Another clavinet-led outro, but with added mind-scrambling from Trey. | |
| 2013-12-29 | New York, NY | 18:27 | Great version which rocks along in familiar territory before becoming deep, dark and thought-provoking. The jam lightens in sentiment around 12:00, breaks into a power-rocking groove and makes a stately return to "DwD" to close. | |
| 2013-12-29 | New York, NY | 15:16 | > in from "DwD" (only the 2nd time ever). A very good exploratory jam that retains a largely dark sentiment throughout, features great playing by Mike and Page, and concludes with brief "Woo" jamming. | |
| 2014-07-01 | Mansfield, MA | 10:50 | A really nice break to major mode with good Page/Trey interplay smoothly works back to typically tension-filled "Stash." | |
| 2014-07-01 | Mansfield, MA | 18:34 | A thunderous, powerful, exploratory and very improvisational jam breaks almost from the get go. After landing in uncharacteristically darker terrain, the jam finds brighter ground, ventures further astray, and finally winds its way back to the land of "Hood." | |
| 2014-07-11 | New York, NY | 16:21 | A high intensity "Type I" jam breaks away at 9:45 into some low-key exploration. Page adds color as he switches keyboards, and Trey reignites the intensity with some moderate "hose." Finally, the jam gradually ramps down, closing with a return to "Gin." | |
| 2014-07-11 | New York, NY | 18:22 | The jam breaks at 8:00 into some funky stretching, but Trey quickly seizes on a great riff, which the band coalesces around. As the boys bring the jam up to celebration mode, there is some brief "Woo" jamming before it settles to quieter play with great Page. | |
| 2014-07-12 | New York, NY | 16:32 | Those who believe in wormholes will shout "Timber" when they catch a chilling thrilling glimpse into a future haunted house during the early moments of this quarter speed heartbreaker that evolves into a twirling fountain of incandescent sparks passes through a cyclotron and emerges as a multi-dimensional space funk groove. [A strong, rocking "Ghost" includes jamming that is the likely genesis of "Timber," as well as an extended pulsing and electric outro jam that is well regarded by many.] | |
| 2014-07-12 | New York, NY | 9:24 | Rising from "Ghost's" super spacey >, Trey takes us higher still, his patient soloing inspired and emotive, complimented by Fish's shuffling, upbeat drumming. An early example of the song's potential all but fully realized. | |
| 2014-07-12 | New York, NY | 16:32 | For the 2nd time in 2014, the band takes "Harry" for a ride into uncharted waters. This time, while Trey and Page alter the harmony away from the familiar, Fish keeps a steady hand on the rudder, eventually guiding the ship safely back to home port. | |
| 2014-07-13 | New York, NY | 12:34 | A nice "old school" version with good dissonance and tension building, and also has some cool chanting by Trey and others towards the end (very '93 - '94ish). | |
| 2014-07-13 | New York, NY | 27:49 | A fantastic, improvisational and exploratory "CDT" that stands very comfortably with the best "CDTs" from any year or era of Phish. Must-hear material, the jam includes multiple sections, with each building smoothly and cohesively to the next. | |
| 2014-07-13 | New York, NY | 11:34 | Near the 8:30 mark the band really keys in on the jam and Trey absolutley takes off for hyperspace at 10:00 for an amazing, albeit brief, crescendo. | |
| 2014-07-13 | New York, NY | 15:54 | Slow, steady, melodic climb to a triumphant peak, and then an old school ending with a few twists. | |
| 2014-07-13 | New York, NY | 8:01 | What a difference an era makes. Or not. Mike surprises, early on, offering just a bit more. Pushing through a few sour notes, Trey, playing with his feet almost as much as his hands, lays into an impassioned solo, offset by, no surprise, on-point Fish. Of course Page is nearly front and center, and is right there to bring this Randall's Island play to a memorable close. | |
| 2014-07-18 | Chicago, IL | 16:34 | Fish keeps this jam in high gear as it alternates between segments of funky and upbeat jamming until a wave of ambient effects are introduced around the 15 minute mark and concludes with a > to "The Mango Song." | |
| 2014-07-18 | Chicago, IL | 11:51 | "Wombat" goes for its first big ride, leaving the formal song structure behind around 5:00 and breaking into some light and contemplative play. The pace picks up and the intensity gradually increases, before -> to "CDT." | |
| 2014-07-20 | Chicago, IL | 11:43 | Rocking Page solo > weird spacey Trey section > all 4 band members on Fish's drums and Marimba Lumina > klezmer > weird chanting by Mike and others > ending. | |
| 2014-07-20 | Chicago, IL | 14:29 | At 5:45 the jam moves beyond the standard into medium intensity, rhythmic and mildly funky play. The funk builds, then the jam shifts to an uplifting melodic section which sounds similar to "Paradise City" and/or "Roll With the Changes" before actually returning to the customary closing. | |
| 2014-07-20 | Chicago, IL | 11:29 | Swirling Samurai with a Sawzall wields the power blade on a scintillating space disco mirror ball. [A really solid, rocking and improvisational version features great playing by all four, especially Mike. Little of this jam sounds anything like "Ghost." -> to "Weekapaug."] | |
| 2015-08-21 | Watkins Glen, NY | 11:08 | The Magnaball-opening "Simple" wastes no time in getting the festivities underway. After some standard jamming in the typical chord progression, the band opts not to resolve to F and instead stays in B-flat, churning out a fuzzy, pulsating groove led by the rhythm section. | |
| 2015-08-21 | Watkins Glen, NY | 22:50 | Exceptional version including diverse jam segments. Hard-edged rocking, murky funk, and melodic "hose" all feature in this top-shelf "Gin". | |
| 2015-08-21 | Watkins Glen, NY | 18:15 | Yet another "CDT" boasting a post-refrain jam, and yet again does Phish deliver the goods. The jam starts off sparsely and rebuilds to a low-key, part melodic, part hard-edged passage with a "WTU?" tease before > Ghost. | |
| 2015-08-21 | Watkins Glen, NY | 11:45 | Doubles down on the Mann version with two separate rock-oriented jams, occasionally hinting at the climax of "CYHMK." Returns to the "NMINML" ending twice, then dissolves into an ambient fog and -> neatly into "Slave." | |
| 2015-08-22 | Watkins Glen, NY | 10:57 | With an exception or two (11/30/94, 8/11/04), "Antelope" always begins and ends the same way. What's in between separates the great from the typical. This version nicely strays from the ranch from 4:50 - 6:15, and includes a nasty, gnarly and tension-loaded push to the peak. | |
| 2015-08-22 | Watkins Glen, NY | 14:15 | The jam moves beyond the rocking norm to some dark probing, before gradually shifting to serene and introspective exploration. After swelling to a modest peak, the jam -> to "BDTNL." | |
| 2015-08-22 | Watkins Glen, NY | 17:39 | Fierce, punchy version that soars from the get-go, with Trey employing killer effects. The jam then plateaus, and then launches into melodic, major key mode for a while before dissolving into Caspian. | |
| 2015-08-22 | Watkins Glen, NY | 16:10 | The jam that emerges from this "Caspian" at around 6:00 is superb and must-hear Phish. Whether you think of this as a "Tweezer" or "Caspian" jam is a pedestrian concern; just enjoy this band kicking asses in its 33rd year!! | |
| 2015-08-22 | Watkins Glen, NY | 16:01 | At the 7:45 mark, Trey's chording shifts this top-notch "Blaze On" from straight ahead bopping to deep melodic exploration for five minutes, when suddenly the band flips a switch and begins a psychedelic horror show filled with off-kilter intervals and eerie effects that last until the jam somehow careens swiftly into (and leaves explosive residue on) -> "Possum". | |
| 2015-08-22 | Watkins Glen, NY | 7:22 | Another strong and typically funky "Cities" -> "Mind Left Body Jam" sandwich. | |
| 2015-08-22 | Watkins Glen, NY | 0:58 | -> in from "Cities." Last heard in 1998, 17 years earlier, this throwback recalls great moments throughout the band's history. | |
| 2015-08-22 | Watkins Glen, NY | 0:57 | > in from "Mind Left Body Jam." Concluding section sets up a nice transition to a solid "Light." | |
| 2015-08-22 | Watkins Glen, NY | 15:57 | Particularly delicate playing from Trey in the first jam which is broken off by Fish in thunderous fashion. Second jam features calypso rhythms reminiscent of the Augusta version. | |
| 2015-08-23 | Watkins Glen, NY | 9:30 | Trey's comping during Page's solo really adds good tension, then his shortish but intense solo puts this version in the "win" category. | |
| 2015-08-23 | Watkins Glen, NY | 12:21 | Some good and varied playing, in addition to a warming modulation to major mode provide the differentiation that make this version well worth checking out. | |
| 2015-08-23 | Watkins Glen, NY | 8:32 | Although the first half of this version is played in a now predictable manner, the second half breaks orbit and heads into the Exosphere, nearly achieving true outer space exploration. Trey's heavy use of effects play a decisive role, as the band seems more intent on jamming this "Martian Monster" than focusing on funk or comic relief. This strong version eventually drones-out, and slides neatly into "DWD." | |
| 2015-08-23 | Watkins Glen, NY | 5:26 | -> in from "Scents & Subtle Sounds." Dies away to a near hush at the 2 minute mark, then wonderfully explodes back to life. The Kent '94 "Hood" version of "WTU?," and proof that you really can teach an old dog new tricks. | |
| 2015-08-23 | Watkins Glen, NY | 7:45 | Though short, this "Twist" isn't lacking in creativity. As @n00b100 points out, the jam almost immediately pulls itself apart, leads to a Trey-Mike duet of sorts, and moves into a Chilling Thrilling Drive-In space that swings into a "My Soul"-esque take on the main riff, before a heavy metal theme morphs into "Immigrant Song" for a moment and segues -> Weekapaug. | |
| 2015-12-30 | New York, NY | 22:06 | After a relatively straightforward first jam, albeit with a dash of dissonance, this "CDT" takes off post-refrain like all the other heavy hitting versions from 2015. A crunchy MuTron / Clav' groove kicks off the second jam. Things appear to be coming back to earth when Fish and Trey kick it into high gear, leading to a major mode bliss section that winds down into a freaky carnival vibe that -> Ghost. | |
| 2015-12-30 | New York, NY | 15:17 | After a kooky vocal jam the band eschews the typical "Gin" jam style, instead opting for a graceful groove which flourishes in stunning fashion. | |
| 2015-12-30 | New York, NY | 6:46 | Unbelievable -> out of "Weekapaug." Drops into silence like Magnaball, then builds to a glorious peak. Sounds like a late '90s "Hood" style peak. -> back into "Weekapaug" without hesitation. Superb version. | |
| 2015-12-31 | New York, NY | 13:38 | Around 6:30, Trey leads this one into the "Type II" zone, where it remains for the duration as it drifts through some low-key psychedelia before a > to "Piper". | |
| 2015-12-31 | New York, NY | 16:17 | The final "Twist" of the year clinches its title for "Jamming Song of 2015". Like the Shoreline and Mann versions, after a relatively straightforward first jam, the band comes back home to the opening riff before taking off again. After some probing and warping and abstracting of the riff, things grow darker and sparser, before Fishman steps on the accelerator after the 11 minute mark, Trey goes Pink Floyd, Mike Meatballs, and Page plays Cap'n Crunch, leading to a Tweezer Reprise-like peak. | |
| 2015-12-31 | New York, NY | 21:02 | Awesome NYE prank version. The jam begins in a mellow zone with sprinkles of bliss. After a sparse, ambient section, Fish kicks things back into a solid groove, before "Drive-In Jam"-like effects and sounds overtake. Must-hear Phish. Note: a few minutes were probably pre-recorded as part of the NYE "gag". | |
| 2015-12-31 | New York, NY | 15:35 | There's a reason Phish chose "Blaze On" as the song to open 2016, and this version delivers the celebratory goods. Like the past few versions, near the seven minute mark, Trey's chording sends the jam out into a world of spacey effects. These effects are reeled in quite quickly this time around, and Trey opts for a clean tone as he plucks beautiful trichords high on the neck and leads the band through a major mode passage that takes on a rough edge to it, grows percussive, and winds back to finish the tune. | |
| 2015-12-31 | New York, NY | 11:29 | Clever major/minor mode contrasting by Page and Trey at a couple of different points, plus some good old fashioned tension provide the finishing touches for a solid year for "Bowie." | |
| 2016-07-01 | Saratoga Springs, NY | 22:37 | Trey powers through "Carini" like a cold front, and a perfect storm ensues with "CDT." After breezing across familiar territory, the band embarks less upon a jam than an eclectic sort of symphony. The jam floats through a calm yet unsteady passage, atmospheric and effects-laden, before disembarking in comforting bliss, swapping instruments for a spell, and sailing into > "Caspian." | |
| 2016-07-02 | Saratoga Springs, NY | 12:27 | One of those jams that straddles the fence between "Type I" and "Type II". They never quite leave Fuego's structure, but some warm Trey interplay with Page make for a nice departure from the "Fuego" norm. | |
| 2016-07-03 | Saratoga Springs, NY | 11:01 | Solid Page solo > Fish on Marimba Lumina > Weird, spacey electrified bass action from Mike > klezmer, prayer-like chanting from Mike > conclusion. | |
| 2016-07-03 | Saratoga Springs, NY | 8:02 | Colorful bluesy licks. "Southern" swinging lines. Page and Fish might set this "Possum's" steady, swampy shuffle, but it's Trey who dominates this dense, extremely solid version. | |
| 2016-07-03 | Saratoga Springs, NY | 17:34 | One of the longest and most improvisational "Momas" to date isn't just an extended exercise in vamping and grooving. The jam pushes further from shore at the 6 minute mark, modulates by the 9 minute mark, sails through an octave-alternating thump, and the moment doesn't end until Mike drops his bombs and Trey weaves his friends into > "Twist." | |
| 2016-07-03 | Saratoga Springs, NY | 11:00 | Ever versatile, in the past few years, "Harry Hood" has spanned the range from a centerpiece improv-heavy jam to a lilting, polished encore. Here, after really cool, rarefied, and old-school stylings, Trey works this powerful classic to an archetypal peak. | |
| 2016-07-08 | Mansfield, MA | 13:47 | Early technical issues, a Brian Brown introduction, and a guitar switch do nothing to deter the band from taking "Cities" on a journey across the globe. Some strong but typical jamming leads to more instruments switching and the jam evolves / devolves into highly percussive near free-form jazz. | |
| 2016-07-08 | Mansfield, MA | 19:16 | Amusing vocal challenges and a slight return to atonal phrasing by Trey at first. Then this excellent jam courses through hard charging rock, start-stop "woo"-infused play, and funky, "Manteca"-like action. Serious sonic exploration as each player deploys an instrumental weapon of choice, before finally giving way to cathartic space and the rise of the "Wolfman." | |
| 2016-07-09 | Hartford, CT | 8:36 | A strong version which features contemplative, quiet, and delicate playing, unusual for "BDTNL." Ultimately, this warm, restrained playing gives way to a traditional shredding and trilling peak. | |
| 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. | |
| 2016-12-28 | New York, NY | 12:41 | A swampy groove propels the jam forward in the first half before Trey revs up and caps it with a strong peak. | |
| 2016-12-28 | New York, NY | 20:37 | Coming effortlessly out of the song proper and oozing with wah-funk, the band comes running out of the gates. A thoughtful, almost ambient jam emerges before descending into a Page-led section; Fish consistently building up the percussive attack and Trey doing much the same on guitar. The transitions are seamless throughout, and the end result is a cohesive revelry of celebration. Like 10/28/16, > to "Simple." | |
| 2016-12-28 | New York, NY | 5:32 | Starts off slower and funkier than the usual, then unexpectedly -> into "Tweezer Reprise". | |
| 2016-12-28 | New York, NY | 2:28 | Part of a segue sandwich with "Martian Monster". Trey and Page sing "your trip is short" in lieu of the usual "Tweezer Reprise" vocals. | |
| 2016-12-28 | New York, NY | 0:32 | -> back out of "Tweezer Reprise", with a "Tweezer Reprise tease thrown in at the end for fun. A tremendously fun version. | |
| 2016-12-29 | New York, NY | 9:57 | This version starts with fun banter and slips into a breezy, mostly bass-led jam. At around 4:40, Trey moves over to the Marimba Lumina, and then Mike and finally Page join in and a full-on percussion jam develops. It's enjoyable, but typical of the percussion excursions of '16. At around 9:20 the drumming stops on a dime and the band drops right back into Makisupa, finishing off the most musically significant version of the song since 11/19/97. | |
| 2017-07-25 | New York, NY | 9:11 | "Jam"-flavored show opener, Trey wastes no time busting "Sample" wide open, the spirited intro a sort of anthemia which unfolds via a huge, warm, solo. Play considerably cools, and the band enters a jam proper, with Page providing great fills, alternating between electric and acoustic piano. Trey works the version up and through a euphoric build, before a perfect change delivers the band to the song's closing verse. | |
| 2017-07-25 | New York, NY | 29:59 | Page keytar solo + sharp and funky groove + dark and lovely Mike-driven minor-key rocking + smooth turn into major-key bliss featuring a sustained note from Trey and excellent piano from Page + blastoff into a charging fiery jam that devolves into spaciness + immense playing from Trey as the band drives towards a massive peak + delicate finale and > into "My Friend, My Friend" = an all-time jam. Yes, in "Lawn Boy". | |
| 2017-07-25 | New York, NY | 11:39 | > from a "Lawn Boy" so incredibly long that Trey forgets some of song. But what of it? Page assaults any semblance of calm with his "screaming" effect, and Trey, following some great interplay with Mike, sparks an extended improvisational passage, working a funereal line to create a sedate and spooky atmosphere, awash in a spray of Fish's cymbals. Page's stately play resurrects the jam from this welcome darkness, and the jam bleeds to brighten before a period of pleasant ambiance closes what was, at the time, the longest "MFMF" to date. | |
| 2017-07-25 | New York, NY | 18:41 | Patient and serene, the play here illustrates a band at the peak of their collective powers. Trey's smooth and textured play is matched by Page, whose work on the piano adds an effortless air. A subtle shift finds Page going electric, and the version assumes a sound surreal, with Mike working his drill, which seemingly opens a portal through which any number of ideas are released. Trey's tranquil strumming cum soloing provides a colorful legroom, which is filled by particularly fine play from Fish and produces a super > into "Thread". | |
| 2017-07-25 | New York, NY | 33:07 | An astounding version which opens up with some exquisite, melodious grooving and surges to a peak that would serve as a worthy finale, but as this took place in the "jam-flavored" show, there's still lots more to come. The second half begins with some quiet, uneasy space, only for another lovely progression to emerge from the void and produce one more exclamation point. A final funky segment leads back into the song's refrain to wrap up a magnificent display of improvisation and the longest "C&P" to date. | |
| 2017-07-26 | New York, NY | 14:34 | A wonderful Set One-ending surprise, this fabulous multi-part "Tube" features a groove not unlike "The Very Long Fuse", syrupy effects-laden rocking out, clavinet-driven gnarled funkiness, and warm, lovely major-key jamming, before neatly returning to the "Tube" theme. | |
| 2017-07-26 | New York, NY | 16:02 | A terrific "Type II" venture with multiple parts woven smoothly together. Inspiring major-key play gets its due early on and is contrasted nicely by a mysterious theme which takes hold in the latter part of the jam. Ends with a -> to "Mr. Completely" initiated by Fish. | |
| 2017-07-26 | New York, NY | 14:37 | After busting a 524 show gap, the band breaks from "1999" proper and drops into a synth-heavy and funky jam, the four seemingly pushing for maximum freak-out effect. Each musician's contributions deserve attention, their collaborative effort adding much by way of subdivision value. Trey's soloing adds gain and grit, before a marked shift into major mode play produces a spirited release. Cools. Super -> into "Steam". | |
| 2017-07-26 | New York, NY | 13:39 | The jam between verses begins with some guttural Trey soloing and briefly hits upon a riff close to "CYHMK". Mike then drives the band into a segment befitting the supernatural tone of the song with some propulsive bass, while Page and Trey add to the haunting atmosphere with effects and delays. Continuing after the final lyrics, a short outro serves as an effective bridge to the thematically similar "No Quarter". | |
| 2017-07-26 | New York, NY | 9:41 | Woah. Sweet show-closer finds the band biding their time, and taking it slow. Straightaway, the jam assumes a smooth, bluesy feel, tinged with some stomping "Martian Monster" texture. Trey augments his tone to shape a cool solo, Fish and Page drop out, and great guitar is met in equal measure by Mike, whose liquid tone gels as the two share a solo. Casually, the version builds to regain its customary intensity, and Trey leads the band through "Zero's" impassioned conclusion. | |
| 2017-07-28 | New York, NY | 16:25 | After a sluggish start, Trey settles in nicely, employing huge, warm blasts of sustain. Play cools to enter a quiet passage rich with texture and great full-band play, before Trey, toying with the song's familiar meter, altering his phrasing and timing - akin to 11/9/95's sublime version - works the jam to an inspired conclusion. | |
| 2017-07-28 | New York, NY | 24:13 | A sweeping "Type II" masterpiece brimming with inspired thematic jamming capped off with an outstanding peak. Unfinished. | |
| 2017-07-28 | New York, NY | 11:02 | Hot Chocolate cover (befitting that night's "Double Chocolate" theme), with Mike using every last bit of his vocal range to sing it. Just like "1999", it turns into a surprising improv vehicle, with a weird Page-led groove emerging from the back end as Trey goes to the wah-wah and utilizes his effects. The jam grows in power, then gets deep and dark, with Mike really pushing things forward. > into a great version of "Mercury", which this song actually sandwiches. | |
| 2017-07-28 | New York, NY | 3:00 | Hilarious -> out of "Mercury". Trey takes a soaring guitar solo, then things move into brief punchy funkiness. > into "BDTNL". | |
| 2017-07-28 | New York, NY | 9:34 | Finds its footing on the outset by way of near-telepathic melodic interplay from Trey and Mike, spring boarding a ride that takes us from warm-breeze chill-mode play to inspired, spirited classic rock riffing to close. | |
| 2017-07-29 | New York, NY | 9:10 | Longest "Wilson" since their reunion, Phish has fun and throws down a version featuring two distinct jams, one truly bizarre "Blatt! Boom!" vocalization, and a spacey > into "STFTFP." | |
| 2017-07-29 | New York, NY | 8:25 | A really great version, with a easy-going, lilting, and generally upbeat instrumental jam section. | |
| 2017-07-29 | New York, NY | 8:27 | Although somewhat brief, a cool little jam develops where Trey typically solos, and here, Trey and Page incorporate some interesting spacey effects, signature sounds from the historic Baker's Dozen run. | |
| 2017-07-29 | New York, NY | 4:30 | Unusual, up-tempo version, reflects the studio recording, but with a twist: Page's "synthesized" solo. Accompanied by beautiful play from Trey, Page creates a warm wave ethereal and gorgeous, before once again teaming up with Trey, going acoustic, and working through the conclusion with a spirited flourish. | |
| 2017-07-29 | New York, NY | 23:20 | Fish's dynamic drumming drives the jam early while the band probes for a hookup until a more defined, upbeat segment forms 13 minutes in. The next big shift occurs around minute 18 when Trey fires off some echoing chords and Page whips out the synthesizer as the jam heats up and climaxes strongly with Trey back in the lead. > to "Twenty Years Later". | |
| 2017-07-29 | New York, NY | 16:05 | Departing from the traditional jam, excellent Trey/Page interaction swirls atop dark, minimalist bass and percussion. Trey's well-placed and sustained "There is a Mountain" teasing functions almost as a cue, with the band transitioning from a dark, mysterious majesty, to "Hood's" characteristic build and euphoric release. | |
| 2017-07-30 | New York, NY | 21:27 | Moving beyond The Who classic, the jam initially settles into some mellow, synth-infused grooving. Around 12:30, the sentiment brightens, and as the power builds, Trey unleashes some effects and trilling which recall the unique style and tone of '00. The jam gradually mellows into probing space. | |
| 2017-07-30 | New York, NY | 18:02 | After a nice low-key standard jam, the music dissolves into a delicate guitar scratch/minimal percussion duet, almost like King Crimson's "Moonchild". Page and Mike jump in and add color to the proceedings, then Page and Trey hit on a repeating pattern that reignites the jam. The band wallows in odd '94-style atonality, weird vocals and Mike's envelope filter and all, then a pitch-black late night groove emerges with Page's electric piano at the forefront and Fish adding a militaristic edge. Exceptionally deep music. | |
| 2017-12-28 | New York, NY | 8:06 | Page's signature '17 synthesizer, Trey's new organ tone, and Mike's bass effects all enhance this jam's texture which energizes and peaks with Trey out front. | |
| 2017-12-28 | New York, NY | 9:40 | Cool, slight spacey sounds and effects are intermixed within the conventional jam structure, giving this version a decidedly altered tone. Page's return to the baby grand initiates a rousing finish to a solid performance. | |
| 2017-12-28 | New York, NY | 24:10 | Quality NYE version. Drops down to minor key out of the verses as Trey switches on a gloopy effect and Page matches him on the synths, with Fish keeping the snappy "NMINML" beat. The jam grows more warm and upbeat, thanks to some really nifty electric piano work from Page and Mike stoking the mood, then melts away into gossamer-thin ambiance, albeit still pushed forward by Fish's insistent drumming. The tempo picks back up as Trey fires away with squealing notes and Page hammers the ivories, and they triumphantly return to the "NMINML" theme before the jam dies away and they make a neat effects-laden > into "Twist". | |
| 2017-12-28 | New York, NY | 16:20 | Nifty > out of "NMINML". Pushes its way to a really lovely major-key jam with Trey stepping up to the forefront, then gets gruffer and nastier thanks to Mike before collapsing into a stomping synth-laden finale and > into "Everything's Right". | |
| 2017-12-29 | New York, NY | 21:02 | Drops into a spartan jam right out of the gate, then makes a move to a major-key jam via some memorably neat playing from Trey. A relaxed low-key groove emerges, led by Fish's insistent rhythms and Mike's melodic basslines, then Trey steps back in front and drives the jam to a triumphant peak before maneuvering into "Ghost". Very fine version. | |
| 2017-12-29 | New York, NY | 13:14 | Departs standard "SOAM" rather quickly and dips into some nebulous improvisation which straddles the line between light and dark before growing more tense and returning home. | |
| 2018-07-20 | George, WA | 8:40 | Phish debut | |
| 2018-07-20 | George, WA | 14:40 | Quickly leaves blissful "Simple" jamming behind and steadily gains intensity with a dark undercurrent en route to a rocking peak and then returns to the song's riff to close. | |
| 2018-07-20 | George, WA | 23:31 | A few minutes into the jam, Page's synth leads Mike into the goop. The jam trots along back in a shuffle, flirting with the grimy depths until 12:30 when the hose engages. Building with patience and poise, a massive bliss jam with multiple celebratory peaks ensues. Trey sustains a note to signal the highest and longest peak; this dissolves into a plinko jam driven primarily by Page and Mike, who make it spacey. > "My Friend, My Friend." | |
| 2018-07-22 | George, WA | 10:43 | Trey showcases several of his new-for-2018 guitar tones in this jam that goes from growly funk vamping to a synth-laden space groove and a final rock peak all in < 11 minutes. | |
| 2018-07-22 | George, WA | 17:52 | A slower-paced, more textural jam that drops us into the ether and midway through takes on a brighter tone but retains its otherworldly feel. | |
| 2018-07-22 | George, WA | 13:05 | Mike takes point on this deliciously spacey and gnarly jam, replete with fun "Heartbreaker" and "Crosseyed" teases. Dies away into a contemplative jam with a repeating theme from Mike and some lovely electric piano work from Page. > into "Waves". | |
| 2018-07-22 | George, WA | 17:05 | More 12/29/17 than 7/6/13, the band quickly drops any sense of composition, and the version assumes a dark disposition, colored more by (Mike) a sense of cloaked "space" and "introspection", than thematic unity or tension. It being 2018, the jam crosses, then enters, play at the gates of Page, his contributions eerie and emblematic of the era, while Trey, after some jarring soloing, deftly works in the song's closing theme. | |
| 2018-08-11 | Columbia, MD | 9:46 | Surprise jam from a strong stand, "Party Time" offers what has been so cool with regard to 2018, and, generally, of late: A little "jamlet." Emerging from what might ordinarily bring the song to a close, extended, if not quite protracted jamming, is filled with "YST" teasing and inspired Trey soloing atop Fish's pounding beat. Trey steps upon a pedal to flip a switch, and a strong solo ensues. | |
| 2018-08-11 | Columbia, MD | 10:59 | While not flawless, certainly one of the era's finest. Mike's salsa-riffing (around 7:00) seems to inspire Trey, whose minor-key jamming creates a "Spanish Jam" vibe, while, interestingly, evoking 4/26/96's "David Bowie" - particularly the version's "Caravan" jamming (around 9:20) - both of which assume similar melodic lines. | |
| 2018-08-12 | Columbia, MD | 6:57 | Fun, inspired version. Trey runs through a few solos - each featuring a distinct tone - before the band builds a nifty little pocket of spooky sound (awesome Mike, matched by Trey) which builds to break down. | |
| 2018-08-12 | Columbia, MD | 11:21 | This groovy first-set pairing with "Tweezer" doesn't stray too far away from the usual upbeat "Gin" jam, but features some wonderful rhythmic games from Fish and builds to a pretty sweet peak. | |
| 2018-08-12 | Columbia, MD | 9:44 | A forceful version that quickly enters an extended segment of semi-dissonant play, sounding more like something from '93-'94 than the modern era, and then returns to "CDT" with the band wringing every last drop of tension out of the jam. | |
| 2018-08-12 | Columbia, MD | 13:27 | Propulsive, "percussive" play propels the jam early, before Trey shapes his tone to solo more directly. Trey then lays back and Page controls the narrative, with super Mike and Fish coloring a groove which lets the children boogie. Trey takes a second solo, his feel-good play dissolving into some of Page's synthetic "space". > "Twist". | |
| 2018-08-12 | Columbia, MD | 12:21 | The type I portion of the jam is enhanced by watery Leslie vibrations, which paves the way in short order for a brief bliss passage. This in turn pushes for a slightly darker, minor-key effects-laden jam that seamlessly -> back to a "Tweezer Reprise" jam. | |
| 2018-12-28 | New York, NY | 15:40 | Synth lord Page pushes the jam to light and airy bliss pastures. Mike teams up with Fish's ride cymbal to create a delicate pad upon which Trey launches layers of whale call on the backs of delay. Mike uses effects to create a reverberant wash that blanket the fray; this leads to a passage marked by heavy rhythmic downbeats. | |
| 2018-12-29 | New York, NY | 12:22 | Around 5:30, the playing shifts from the usual fire and brimstone stuff to a quieter, percussive groove. As Page and Trey link up, the jam develops energy and a brighter tone. The band neatly modifies the energy up and down several times, before cleverly -> to "Cities." | |
| 2018-12-29 | New York, NY | 16:01 | Begins with a bit of vocal jamming and then gets into an upbeat clav-groove and continues building in a section bookended by "Party Time" quotes before some more "Wolfman's" scatting and a final ascent for a guitar-driven, high-energy conclusion. | |
| 2018-12-29 | New York, NY | 19:54 | First section features an extended, fiery jam that is akin to "I Know You Rider" (Grateful Dead) before funkily dissolving into "Death Don't Hurt Very Long." | |
| 2018-12-29 | New York, NY | 6:50 | Version is sandwiched between heaping slices of "Tweezer." | |
| 2018-12-29 | New York, NY | 7:51 | Second section is melodic, patient, and mystical, and includes a smooth transition to "No Quarter." | |
| 2018-12-29 | New York, NY | 7:45 | > out of a fan-favorite "Tweezer" > "Death Don't Hurt Very Long" -> "Tweezer" sequence. A particularly passionate version befitting the set it's in, with sharp playing from everyone and a truly fiery Trey solo on top. Reminiscent of the cooking-with-gas 2011 "No Quarter"s. > into an equally killer "Also Sprach Zarathustra". | |
| 2018-12-29 | New York, NY | 9:49 | A dynamite version that demonstrates Phish's mastery of the "Also Sprach Zarathustra" groove, as the band neatly weaves around Fish's four-on-the-floor beat and both Trey and Page wonderfully mesh together. | |
| 2018-12-30 | New York, NY | 9:14 | Although no "second jam," the post-tramps-segment jam is extended, with Trey passionately soloing (and even trilling) quite fiercely, and there's an excellent peak to the jam taboot. | |
| 2018-12-30 | New York, NY | 12:38 | Perhaps the real giveaway that this is a stellar, ferocious, extended 3.0 version is the segue into Crosseyed (which could certainly be smoother, but is still welcome). | |
| 2018-12-30 | New York, NY | 6:04 | Abandons funk for a spacey groove with plenty of synthesizer and twinkling staccato notes and then makes a surprise -> "Weekapaug." | |
| 2018-12-30 | New York, NY | 2:19 | -> in from "Tube." Hot little "Weekapaug" reprise jam before -> back to "Tube." | |
| 2018-12-30 | New York, NY | 1:36 | -> from "Weekapaug" into the breakdown to wrap up another strong 2018 "Tube." | |
| 2018-12-30 | New York, NY | 15:30 | Subtle, magisterial, and grand, the jam, bright as DMT (if, in actuality, colored with "WTU?" DNA), slowly builds, gently rising more than gaining intensity, the band riding Trey's wave of sound which crests to swell to become play notably restrained and pretty. This, then, into a perfect > for "Plasma." | |
| 2018-12-30 | New York, NY | 9:09 | As a platform for improvisation, "Plasma" continues to impress. Here, > from a huge "Everything's Right," the band does not cool so much as they are cool. Trey lays way back, yet still manages to inform much of the version's signature sound. Fish's play is polyphonic. Page answers. And Mike offers some of the run's most interesting, and varied, runs. An awesome, cerebral, jam. | |
| 2018-12-30 | New York, NY | 20:01 | Slides into a warm and relaxed Page-driven jam with Fish's woodblock adding color, then dives into a space not too far away from the preceding "Plasma" at Mike's urging, before building to a huge trill-laden finale and dying away into spaciness. Tremendous version. | |
| 2018-12-30 | New York, NY | 16:47 | Almost one year later, the band closes another holiday set with a crazed "Melt." Like 12/29/17, the version sheds form after assuming nothing more than a perfunctory structure. Unlike the 17, however, the musicians - and Page in particular - expand upon 2018's "SOAM" sound, creating that haunting, Phishy sort of shoegaze; another mind-bender; in nature more spectral than musical. | |
| 2019-06-25 | Bangor, ME | 14:12 | Fish picks up the pace early with an insistent beat and the jam seems poised to peak around 8 minutes but instead enters a brief transitional period and then gets funky for a spell before wrapping typically. | |
| 2019-06-25 | Bangor, ME | 10:21 | The jam begins quietly, then drops into minor mode with more rocking play. The music quickly shifts back to inspired, soaring play which sounds similar but slightly different than "LxL" and concludes with a quality peak. | |
| 2019-06-25 | Bangor, ME | 19:23 | This version is Mike-led from the very beginning. He and Page take the reins early, creating a cool, textured sound. By the 9:00 mark, a full band jam has emerged, which morphs into a funky, dance-party jam. Fantastic play from Trey punctuates the jam as it > into "Play By Play." | |
| 2019-06-25 | Bangor, ME | 19:32 | The typical outro dissipates into spacious twilight and then very gradually heats up while retaining its late-night feel as Trey's riffs get more rocking en route to a peak. A funky staccato section caps the jam before > "Piper". | |
| 2019-06-26 | Bangor, ME | 11:06 | Fairly intense but inbounds playing continues until 6:45 brings a shift to a warmer, more relaxed zone which gives Page and Mike space to step up before Trey brings things back to a rocking finish. | |
| 2019-06-26 | Bangor, ME | 17:18 | Sprite and airy play dominates until, following the 13:00 mark, the band revisits the song's primary melody (nice and growly) and descends into a welcome, if not quite warm, passage of controlled, near-chaotic play. Trey augments his tone and leans into his effects, with Mike sounding off (any number of possible teases) before the four, as if rehearsed, line up their -> into a world-class "Cities." | |
| 2019-06-26 | Bangor, ME | 12:50 | -> out of a superb "Fuego". Gets deliciously, almost heavy-metal sludgy dark right out of the gate, Mike and Fish really powering this gruesomeness. Fish snaps into a wickedly danceable beat which the band rides for all it's worth (nearly swerving into "Sand" at one point), before they swing into a new key and pull out a sick -> into "The Final Hurrah". A wonderful jam. | |
| 2019-07-02 | Saratoga Springs, NY | 20:30 | > from "Cool Amber and Mercury." One week later, and another monster "Disease" is played. This is a multi-layered jam with multiple themes; if you don't like where the jam goes at one point, just wait three minutes and it will go off in another direction. Trey navigates and leads the band with the ease and confidence we've come to expect. > into a cool "Scents and Subtle Sounds." | |
| 2019-07-02 | Saratoga Springs, NY | 15:14 | > from "Down With Disease" and featuring the proper song intro. The jam is patient as the band lets things happen organically. Nimble play from Trey leads the way as the tempo and intensity gradually pick up, before eventually > "Twist". | |
| 2019-07-13 | East Troy, WI | 11:01 | > from "A Song I Heard the Ocean Sing." While not quite reaching the heights of the Charlotte version from earlier in the summer, this version certainly has merit. Atypical jamming for the song starts around 5:30 as Page begins playing some truly spooky sounds. Mike jumps in and together they create what sounds like the backing music to a scary movie. Trey and Fish eventually lead the band back to more familiar jamming and then a nifty segue -> "Undermind." | |
| 2019-07-13 | East Troy, WI | 9:03 | The jam begins predictably enough, with quieter straightforward playing. But the locomotive on this train really builds up a head of stream, and by 6:00, it is rolling down the tracks and continuing to pick up speed, before finally easing the passengers safely into the station. | |
| 2019-07-14 | East Troy, WI | 38:08 | An unflagging improvisational behemoth that moves from moody rocking out to a low-simmering groove to a propulsive Trey-led anthemic rush to swampy blissfulness to reggae (!) to motorized power riffing with a thrilling peak to ambient space to a surprising and welcome effects-laden gallop into the unknown to a breathless and ferocious finale (and second ambient deep space segment, for good measure) with neither muss nor fuss. At the time of writing, the longest modern era jam and seventh-longest ever to date, and not a second wasted on top. Listening to this masterpiece is non-negotiable. | |
| 2019-11-29 | Providence, RI | 7:53 | Instead of the typical, crescendo-oriented jam, here the band breaks into an atypical major mode jam, providing a warm and more relaxing sentiment. | |
| 2019-11-29 | Providence, RI | 13:42 | Better late than never, "Plasma" now seems a Phish (centerpiece) staple. Here, the band drops immediately from the song's signature licks to enter a synth-driven exploration, with major (or minor) "Crosseyed and Painless" undertones. Ever percussive, and, as always, interesting, a full-band psychedelic swirl peels apart as Trey shape shifts, his soloing brightening to inform, with Page's carnival-esque keys, a fun, celebratory vibe. | |
| 2019-11-30 | Providence, RI | 9:15 | > from a big "Gin" (and THX effects) , the band performs one of the finest versions to date. Early, everything drips with a bit of "gusto," before Trey, around 5:00, augments his tone and shapes sound, creating a crunchy, "Martian Monster" sort of stomp. Fish splashes in compliment as the band toys with tempo and meter, before a cool outro (the version remains unfinished) > "What's The Use?". | |
| 2019-11-30 | Providence, RI | 14:24 | Following a warm, directed opening, the jam slips into the now familiar minor mode play. What distinguishes this version is Trey's rapid-fire note picking, trilling, and spirited playing, which continues even as this "Hood" shifts back for a traditional closing. | |
| 2019-12-29 | New York, NY | 13:20 | After coursing through typical "Carini" territory, the jam breaks beyond at 7:30 into a pulsing, probing phase with cool effects by Page. The intensity ratchets up, then transitions to lighter, warmer exploration, which mellows and resolves to "BOTT." | |
| 2019-12-29 | New York, NY | 15:44 | Splits from typical "Gin" at 5:45, first moving through a darker rock section, then a lively organ-led romp and finally a spacey washout. | |
| 2019-12-29 | New York, NY | 17:42 | The jam swiftly shifts to minor mode, but the band takes some time to really probe and explore this darker terrain. The intensity increase, settles, re-builds, and shifts back to familiar "Hood" territory. As the jam begins to peak, Trey deploys a long sustained note, for 115 seconds, much to the delight of MSG fans, before finally releasing into the familiar conclusion. | |
| 2019-12-30 | New York, NY | 17:17 | A bouncy shuffle is led by Page's clavinet and Mike into a "Mind Left Body"-like chord progression. This returns to a mild shuffle, eventually turning into a bliss passage in Eb. A very pleasant melody erupts from Trey and Page, and a pleasant peak evolves. While not a prominent jam peak, it has some longevity and gets to a nice place before winding back down. A pleasant though not intense journey. | |
| 2019-12-30 | New York, NY | 34:58 | Symphonic in scope, this version features a host of strikingly disparate sections with tempo and key and harmonic and melodic changes galore. Inarguably among the most sublime masterpieces of improvisation in Phish's illustrious history. | |
| 2019-12-30 | New York, NY | 2:26 | Punches out of "Steam" and soars triumphantly, hearkening back to the peak of the set's opening version, before seguing into "Ruby Waves." | |
| 2021-08-06 | Noblesville, IN | 12:02 | The jam follows a fairly typical funky and crunchy path until around 8:00, when lift off is achieved. A strong peak ensues before downshifting to close. | |
| 2021-08-06 | Noblesville, IN | 14:14 | The actual "Sand" proper is taken at a slower and milkshake-thick pace, and the band luxuriates in the usual "Sand" jam until about the 7:30 mark, when Trey hits on a particularly gorgeous major-key riff and the band follows him to a very pretty space. Page's work on the keys and Mike's rock-steady accompaniment are what to look out for here. Pretty strong peak at the end, too. | |
| 2021-08-06 | Noblesville, IN | 12:28 | Fish adds an extended flourish on the snare at 7:02, which is only a brief look at his fantastic work during this version. He's matched by some aggressive play from Trey in a jam that stays within the bounds of the song. | |
| 2021-08-06 | Noblesville, IN | 27:07 | The first of the two monster jams upon which the reputation of 8/6/21 II sits. Immediately moves into a more low-key zone out of the usual jam, with Page stepping to the forefront on both electric piano and synths and Mike adding some real hip-shaking funkiness to the proceedings. Trey finds a new key, but the funkiness stays intact as Fish kicks into a new gear, and then Trey finds a really neat riff and the band catches on as the jam molds itself around that tropically flavored riff. The jam grows in power and then moves into another danceable segment at Mike's urging, with Trey moving to his effects, then Page goes major key and the band dances around "Mind Left Body" once again before hitting a superb peak and heading home. Absolutely majestic version. | |
| 2021-08-06 | Noblesville, IN | 23:31 | Why we travel from points far and wide to Noblesville, Indiana. Pick a timestamp. 6.37 finds Trey alighting upon a lovely, carefree vibe. Jump to 10.35, and the band is moving through a passage of gnarly, tripped-up disco funk. 12.45 finds Trey (and listen to Page!) working his pedals like it's 1995. Or something. 15.15 features Trey shearing sound, the band deep in psychedelic play that makes recent Melts blush (the focus / the cohesion). Pick a point and it just might be your favorite .... Before the band, taking a victory lap, returns to simply sing us back home. | |
| 2021-08-07 | Noblesville, IN | 16:13 | Makes a significant departure from "Stash" proper into largely nonformulaic bliss, save for a minute-long rock section from 11:00 - 12:00. Trey's ascending swells at 12:30 are a highlight, after which a few delayed riffs and a push for -> "NICU" from Fish ultimately leads back home at 14:30. | |
| 2021-08-07 | Noblesville, IN | 21:54 | Trey and Mike lead the band into a muscular groove out of the usual "Everything's Right" jam, which gets darker and nastier as Page goes to his synths and Fish switches up the beat. Trey finds a new key and the jam gets weird and alien-sounding in that Summer 2021 way we all know and love, with Page on piano keeping things somewhat grounded, then Fish snaps into a brand new groove and they build to a neat peak. The jam then collapses into an atonal free-jazz zone, Fish really enjoying himself, before the band goes back to "Everything's Right" proper. | |
| 2021-08-07 | Noblesville, IN | 11:05 | Mainly distinguished by Trey fiddling with his effects before Mike moves things into the blissful upbeat hose zone, but once they get there the band really guns the engines and builds up the jam quite nicely. Trey hits on a cool repeating note pattern, and the jam peaks well, before returning to "Crosseyed" proper, with Fish throwing in some of his own effects for fun. Dies away, then > into a nifty reprise of "What's The Use?", played the song before. | |
| 2021-08-08 | Noblesville, IN | 12:22 | A neat first-set surprise, Trey mixing in some soupy effects right away, then making a surprise move to more upbeat waters, with Page complementing him nicely on electric piano. Fish really does some work in this warm and anthemic jam segment, including a particularly ferocious drum fill at the 8:30 mark. Neatly slides back into "Mike's Song" proper to finish up. No second jam, but a pretty darn good first jam. | |
| 2021-08-08 | Noblesville, IN | 3:30 | The start of a wild segue/jam sequence, as right out of the song proper Trey -> directly into "Makisupa Policeman". | |
| 2021-08-08 | Noblesville, IN | 0:56 | -> out of "Twist" as part of a wild segue/jam sequence. Trey swaps in "Sally" (as in "Sneakin' Sally") into the lyrics. | |
| 2021-08-08 | Noblesville, IN | 0:56 | Trey sharply swerves out of "Makisupa Policeman" back into "Twist", which the band briefly plays before -> back into "Makisupa Policeman". | |
| 2021-08-08 | Noblesville, IN | 8:31 | -> back out of "Twist". Trey throws in some verbal and musical quotes from songs played earlier in the set. Page fires up a sample from "Martian Monster", and the band vamps on a combination "Makisupa"/"Martian Monster" groove, then the jam gets darker and more powerful, with a blast of feedback auguring this dark turn. Trey stirs up the witches' brew, with Mike adding some nice color, as the band rips into a fiery jam reminiscent of the heavy-duty 12/31/15 "Twist", before collapsing somewhat anticlimactically into "Twist" proper. | |
| 2021-08-08 | Noblesville, IN | 1:25 | -> out of the "Makisupa Policeman" jam. An amusingly anticlimactic end to a really strong and weird piece of music from a really strong and weird show. | |
| 2022-04-20 | New York, NY | 18:41 | Opening a show for the third time in eight months, Trey/the band clearly feel comfortable with this rocking show setting the tone for the first set. There's an interesting contrast from the hard-rocking intensity of the song proper and the bliss that follows. After not playing for two months, the band is ready to jam. Trey leads with nimble playing throughout and the rest of the band follows suit in yet another solid Carini opener. | |
| 2022-04-20 | New York, NY | 12:13 | A strange design, this unfinished version features smooth, relaxed play from Trey (pre-vocals) and typically great Fish. While never quite abandoning the song, proper, Trey's impassioned play, notable for a wonderful array of effects, runs for some time before > for "Leaves." | |
| 2022-04-20 | New York, NY | 12:15 | Trey enters the fray with tight staccato picking which Mike counterpoints with a fat and funky tone. From there, the jam skirts around the edges of "Stash" proper with a playful swagger, all the while the music focused and suspenseful, until boiling over around 11:00 with Trey tearing it up and Fish really digging into his kit. A dank "Stash" indeed. | |
| 2022-04-20 | New York, NY | 22:48 | A botched composed section leads to what the band does best these days: extended improvisation and longform jamming. Departing the song proper, Trey, atop Fish's incendiary offbeat playing, eases into a melodic line (offset by fiery riffing) and accented by awesome Page on his concert G. A cool, almost stately jam emerges, with Trey shaping his tone to make of familiar territory something new. Mike and Fish add a lot of color before the jam regains intensity and finds its rugged way to the song's anthemic closing refrain. | |
| 2022-04-21 | New York, NY | 13:45 | Straightforward in structure, this version builds momentum by way of clever full band interplay. Trey makes his intentions known right away by shifting through multiple effects, toggling between lead playing and funk-oriented rhythm comping. The rest of the band follows suit, as the jam develops into a laid back, conversational groove session. This then patiently builds to the classic, spirited "Wolfman's" ending. | |
| 2022-04-21 | New York, NY | 16:29 | The jam begins with an upbeat tempo anchored by cool playing from Trey. Later, the tempo slows as Mike takes the lead with deft work on the bass. Just when you think the chunky notes of the song from Trey are leading to the end of the jam, the rest of the band isn't quite ready to let things go, which leads to a maelstrom of a peak, before finally returning to end the song. | |
| 2022-04-21 | New York, NY | 17:38 | Heads into low-key psychedelia-tinged jamming out of the song proper thanks to Trey's thick and goopy effects, then Page suggests major key and a pleasant groove emerges with Mike steadily holding down the fort. The jam gets more delicate and dreamy, even as Fish keeps his usual rock-solid tempo, then builds to a marvelous rock-out climax and a big-time peak thanks once again to Mike's efforts. -> into a great "Tweezer". | |
| 2022-04-21 | New York, NY | 14:03 | Although "average-lengthed" among all versions e'er performed, this gem-of-a-version shines, with the first few minutes of the jam featuring steady, intermittent, "Your Pet Cat"-esque chording and comping by Trey, and a melodically charming/glittering section during which Trey sustains a note for many measures (a modest peak) over excellent accompaniment (that's never dark), before the version concludes atypically with a single chord from Trey that is sustained into the first note > of "2001." | |
| 2022-04-21 | New York, NY | 4:42 | Trey loves MSG, a fact made clear here, when, in lieu of capping the set with a typical "Hood," he elects to floor the Garden, moving from zero to sixty in split seconds, bouncing around the room with typically rocking play (featuring a "Heartbreaker" tease) which, surprisingly, breaks for "Tweezer." | |
| 2022-04-21 | New York, NY | 1:56 | Your Pet "Tweezer" returns, buzzing, if not quite purring, for a few more minutes. | |
| 2022-04-21 | New York, NY | 2:42 | -> from "Tweezer" to cap a fun, inspired close to a set rearranged and redefined. | |
| 2022-07-16 | Bangor, ME | 30:31 | Old meets new. > from a strong Sigma Oasis, the band erupts, "DWD" exploring myriad sonic territories. Better off dancing about architecture than writing about this one. Just drop out. Or tune in. > a perfectly placed "WTU?" | |
| 2022-08-12 | East Troy, WI | 17:53 | Trey's frenetic playing before the song proper ends indicates this won't be a typical "Moma". The tempo slows momentarily before culminating in a classic latter-day peak. The last minute sees Trey meander his way back to the "Moma" riff which allows the band to finish the song. | |
| 2022-08-12 | East Troy, WI | 5:25 | Following in 10/29/21's footsteps, the band again launches into a jam which rocks through a few sections and ends > "SYSF". | |
| 2022-08-12 | East Troy, WI | 14:55 | A light and breezy, highly danceable groove is followed by some soul-piercing guitar when Trey gets out in front on the backend. | |
| 2022-08-12 | East Troy, WI | 13:10 | Upbeat major key bliss turns fiery and funky, getting 'ass-handed' before the band carves out a final trench of grimy filth that breaks for "The Howling". | |
| 2022-08-12 | East Troy, WI | 12:07 | Peeling away just after 6:00, the jam rolls along with swinging feel-good vibes and a bit of countrty twang, then does a few fakeout returns before finally reverting back to "Bowie" at 10:30. | |
| 2022-08-13 | East Troy, WI | 22:13 | Toss a dart at a summer show and you're bound to be delighted by any date's opening song sequence. It may not get better than this. If you don't know "Fluff's" Alpine travels, check the Jam Chart. Here, following a fan-favorite "1999," there arrives that once-in-a-tour rush where (at 14:00) you realize this time it's going to be different, and you're going to see "it" again. When Trey lays down his loop and then kicks his pedal to augment his tone? Well, you're better off listening than reading what we have to say. Awesome. | |
| 2022-08-13 | East Troy, WI | 6:46 | Completing the 7/24/99 throwback sequence, this version's outro rocks hard and then becomes even more noxious with an accompanying siren loop and synthesizer backing. | |
| 2022-08-13 | East Troy, WI | 9:18 | Outro diverges from standard and quickly enters a dreamy late-night groove before ending with a -> "BOTT". | |
| 2022-08-13 | East Troy, WI | 13:39 | A reminder of why we fell in love with Trey in the first place. Trace this play, marked by his incredibly warm tone, backwards or forwards, through rhythmic shifts and offset variation - of course accompanied by his best bud Fish (whose fills are outrageous) - through a passage of surprisingly stately improv, accented by Page on his piano and on-point Mike. Cerebral. Surprising. An awesome Alpine-II opener whose late-patterned play bleeds into "Maze." | |
| 2022-08-13 | East Troy, WI | 14:15 | First locks into a super-cool and menacing, textural jam with a perfectly integrated "Crazy Train" tease from Trey, then slides into major for a heavenly spell before more familiar bliss brings it all home. | |
| 2022-08-14 | East Troy, WI | 10:24 | "Slave" is often relegated to rote status, these days... A means to cap a terrific show... A "call" your 'bro' made a mile away. This is not one of those. Patient. Melodic. Forceful. Special. Here, the four, as if time (or curfews) were not invented, artfully work a version worthy of multiple re-listens, music worthy of myriad, fist-pumping adjectives. Awesome. | |
| 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?". | |
| 2023-07-23 | Syracuse, NY | 18:46 | Firmly in the conversation for best "KDF" to date, this version diverges quickly with a driving, upbeat jam which then becomes more textural and hard-edged after 9:00. It then reverts to major for the stretch run to a strong peak which Trey hammers home with a memorable melodic hook. | |
| 2023-07-23 | Syracuse, NY | 27:53 | Begins with a brief major tangent but then reverts to a typically rocking "Tweezer" jam, albeit in a different key, then finds its footing again with a segment anchored by Trey's off-kilter, cyclical lead. From there, it builds more conventionally until the main riff returns, seemingly to bring things to a close, but the band really makes a meal out of this denouement by running through different permutations of the "Tweezer" theme, reintroducing Trey's mid-jam riff, and closing with a Moog-ified final volley, then -> "Oblivion". | |
| 2023-07-23 | Syracuse, NY | 20:58 | The second leg of a mammoth 1-2 punch following "Tweezer", "Oblivion" proves to be a prime vehicle for synth-drenched improvisation. A late-night, portentous atmosphere persists until the pivot to major shortly after 11:00, bringing to bear an encouraging blissful payoff. | |
| 2023-08-04 | New York, NY | 11:42 | Jam starts with typical play before the band hooks up on a major key motif. High level interplay follows, and Trey touches the sky with a long, sustained note which culminates in a full band crescendo. The energy shifts towards minor key before returning to the "46 Days" riff to close. | |
| 2023-08-04 | New York, NY | 9:00 | Fire Fish rolls on through the four-minute mark, when he teams up with Trey, the friends synching to create the first of a couple markedly cool improvisational passages. Breaking free, Trey soars above Page, who, with Mike, creates all sorts of colors in sound. Play concludes with a decidedly Allman's vibe, Phish just fresh enough to be surprisingly unfamiliar. They return to "BOAF's" signature melody and classic coda. | |
| 2023-08-04 | New York, NY | 11:15 | The jam escapes the confines of "Halley's" by way of staying on "A", and a brief but potent excursion ensues. A propulsive, upbeat minor key groove develops, with Trey cycling through effects atop Page's Rhodes, Mike's synth bass, and Fishman's steady pulse. A major mode shift then catalyzes a smooth -> "Roggae". | |
| 2023-08-04 | New York, NY | 23:19 | Almost exactly 6 years to the day, "Mike's" gets another monster run as the Set II opener at MSG after 8/2/17's Baker's Dozen stunner. After a spirited, if routine first jam, the second jam forges ahead at 8:45 with a progressively upbeat display of the band's ability to weave a tapestry of interplay as they cycle through the changes. Trey's walkup at 19:20 signals a blowout finale on the horizon which arrives in full a few minutes later, after which the closing chords are repeated, then > "Sand". | |
| 2023-08-04 | New York, NY | 11:45 | Acting as the palate cleanser between a titanic "Mike's Song" and a breakneck "Crosseyed and Painless", this version opts for supreme patience despite its short run-time. Trey's throwback Whammy loops set the tone, as the band settles into a blissy psychedelic space. This then slowly builds to a swirl of hose-y playing before setting MSG on fire with a -> "Crosseyed". | |
| 2023-08-04 | New York, NY | 12:55 | One of the fastest paced versions to date explodes -> out of "Sand" and launches a thrilling straightforward jam before taking its foot off the gas around 7:30 and downshifting into a more contemplative space. | |
| 2023-08-05 | New York, NY | 5:57 | This Trey-led version has a cool jam that breaks free of the song around 4:15. While not the longest "MM" ever played, it's full of energy and packs a major punch before > "Divided Sky." | |
| 2023-08-05 | New York, NY | 16:25 | Truly monstrous first set version marked by tone shifting ferocity and relentless drive that samples from a range of effects, builds through several movements and eventually unleashes an ungodly peak that subsequently deconstructs before segueing to "NICU". | |
| 2023-08-05 | New York, NY | 6:23 | Opening composed section and early part of the jam segment before Mike begins "Guy Forget." | |
| 2023-08-05 | New York, NY | 2:07 | Mike begins "Guy Forget" out of pure improv (so-called "type II" jamming) and Trey catches on in seconds, and after only a few measures Fish starts singing "Guy Forget," and Trey and then Fish rap/speak the only lyric of "Guy Forget" over upbeat improv. | |
| 2023-08-05 | New York, NY | 22:50 | "Type II" improv continues after the "Guy Forget" silliness ends, sounding absolutely nothing like "Tweezer" for several minutes (and then only Fish temporarily returns to "Tweezer's" drum line for a few measures). Collective "full-band" improv at its finest, with each band member complementing each other so well the improv at times sounds like it could have been composed, even as it soars through several key modulations and time signatures. Yet another masterful version, providing further evidence that "Tweezer" is Phish's most consistently wondrous jam-vehicle since 2009. | |
| 2023-08-05 | New York, NY | 15:12 | After a delicate, nearly ambient start, the jam takes on a foreboding tone and builds anticipation as it gradually intensifies until bursting into the traditional climax just after 13:00 to memorably close out the seven-night run at the Garden. | |
| 2023-08-26 | Saratoga Springs, NY | 13:15 | A guest appearance and surprising cover selection lead to shimmering play that transcends expectations. Even in the composed section, what the estimable Derek Trucks brings to this special flood recovery benefit performance makes this version, and what follows, must-hear. | |
| 2023-08-26 | Saratoga Springs, NY | 15:42 | > from "Golden Age." The first "Everything's Right" with a guest featured is must-hear. From the beginning of the song, Derek Trucks adds a layer to the song that makes it feel fuller and more whole. Around 10:00, Trey and Derek lock in after having traded licks back and forth and within a couple minutes, the jam takes on (as one might expect) a distinctly Allman Brothers' Band feel. This is most certainly a unique take on "ER." | |
| 2023-08-26 | Saratoga Springs, NY | 8:08 | This song closing the second set is about the only thing normal about it. Part of the Derek Trucks sit-in, this standout version is unique in "First Tube" history. Derek and Trey's play is complementary as they navigate the song. Derek then takes center stage with some truly deft playing, sounding almost like he is playing with a slide. Things eventually reach a screaming, soaring peak. Must-hear version. | |
| 2023-08-26 | Saratoga Springs, NY | 10:30 | With Derek Trucks, whose slide-like guitar work greatly enhances "Possum's" bluesy flavor. The jam first features DT and Trey trading lead duties before culminating with the two joining forces for a blistering conclusion. | |
| 2023-12-28 | New York, NY | 6:50 | More punch than normal in every respect. Mike's vocals; Page's work on the piano - electric or otherwise; Fish's Fish; and Trey's play (his deployment of the echoplex and a bit more by way of soloing): Excellent. | |
| 2023-12-28 | New York, NY | 17:23 | Spacious playing sets the tone before a shift at the 7 minute mark turns towards introspective psychedelia, led by a cascade of synthesizers and Rhodes piano from Page. Mike then suggests some spicy modulatory directions before an energetic major key motif takes hold. The band rides this all the way as Trey takes his time to build a smooth yet powerful crescendo before yielding to the "Gin" motif, puddling into mind-scrambling guitar effects, and > "Ghost". | |
| 2023-12-28 | New York, NY | 23:35 | > from "The Howling", "AWOH" continues its run of huge, improv-heavy versions in 2023. Heavy effects from Trey early give way to a slowed tempo by the 10 minute mark. The band shows patience as they work through the jam. At 17:00, in a place where you might expect a new song to pop out, they instead find a new groove. Sprite play from Trey sends the jam into a feel-good, upbeat place. The jam fizzles to an end and -> into "Rift". | |
| 2023-12-28 | New York, NY | 10:32 | The namesake sound effects from the set's preceding "The Howling" are repeated in the intro, and then this "Mike's" launches into an appropriately funky jam to further cement the former's influence before becoming more typical at 7:15 as it crescendos into the closing chords, then > "Simple". | |
| 2023-12-28 | New York, NY | 14:01 | A tale of two "Simples". Providing a great contrast from a notable "Mike's", the band drops quickly into less by way of bebop to traverse more bucolic terrain. A welcome approach, the version rewards repeated listens-given that the extended improvisation is ineffable-before Trey subtly signals a change, leading the band with unusual, restrained soloing that builds but doesn't break. | |
| 2023-12-29 | New York, NY | 10:36 | A soaring, muscular version distinguished by bright and conversational interplay is especially notable for the return of Trey's "Deluxe Reverb" which paints the affair with cascades of crystalline peaks, settling eventually into a cloud of sound that uncurls into "Mountains in the Mist". | |
| 2023-12-29 | New York, NY | 22:24 | A teeth-gnashing multi(sectioned)beast of a jam, this take traverses through various disparate yet cohesively-arranged themes, including hyper-drive psychedelic rock, "Woo's", dense mind-bending dissonance and finally, a stoner/doom metal-esque dirge that grinds down > "Oblivion". | |
| 2023-12-29 | New York, NY | 16:26 | After a brief stay in the minor synth zone, the jam trends more upbeat by 8:00 and shortly thereafter features more seriously rocking riffage, then deftly turns on the hose with a few long sustained notes from Trey along the way for a surefire crowd-pleasing conclusion. | |
| 2023-12-29 | New York, NY | 10:21 | A spirited version in its own right, Trey's vocal incantations (and power chords) build into a blistering "heavy metal" jam capped with a ferocious, percussive outro; here's swagger that winds down to inform an uncanny groove - like a series of handstands in grand fashion. -> into "Sand". | |
| 2023-12-29 | New York, NY | 14:12 | Because the divergent "Hood" has become ubiquitous in recent years, sticking to the classic format and delivering a purely "Type I" jam as this version does is a welcome subversion, especially when the climactic build and peak are executed as passionately as they are here. Old-school "Hood" lovers, this one's for you. | |
| 2024-04-18 | Las Vegas, NV | 16:04 | The jam starts out laid-back and chill, like many "Wolfman's" jams do. A few minutes later, things change as effects are employed by the three non-percussionists. Fish keeps things in check with some mastery behind the kit. Trey's piercing guitar brings the jam out of the muck and into an upbeat, fiery ending before winding back around to the song proper. | |
| 2024-04-18 | Las Vegas, NV | 16:24 | Retains the song's promise as a set centerpiece. Bending, but not quite breaking new ground, percussive, celebratory play evokes, elementally, "Crosseyed" and "Paug," respectively, hewing that feel-good sound from a score seemingly built to spill into euphoria. | |
| 2024-04-18 | Las Vegas, NV | 19:21 | Spends little time in the typical "Sand" zone with an early modulation to major and is soon transformed into a dreamy soundscape awash with synths. Over the next several minutes, the jam is gradually shaped by subtly shifting riffs while maintaining its ethereal heading, until a more grounded peaking section emerges in the final minutes. | |
| 2024-04-18 | Las Vegas, NV | 25:15 | > from "Sand." As if the band wasn't going to drop a huge version of "Tweezer" at the Sphere. A fun and bouncy jam becomes triumphant around 17:00 with an incendiary Trey peak. Immediately afterward, things slow down and the "Tweezer" riff emerges. What follows is must-hear as the band has an extended outro, staying within the bounds of "Tweezer" until it has been fully deconstructed. The deconstruction eventually -> into "My Friend, My Friend." | |
| 2024-04-18 | Las Vegas, NV | 9:50 | -> from an old-school "Tweezer" outro (the true highlight, here), Trey once again >'s from "MFMF" to lead the band through a winding, droning passage of pleasant, somewhat discordant doom rock. | |
| 2024-04-18 | Las Vegas, NV | 9:59 | The closing instrumental is uniquely expanded and varied in this wonderfully heartening version. | |
| 2024-04-18 | Las Vegas, NV | 6:13 | An otherwise standard and delicately-played version is distinguished by Trey's usage of acoustic guitar in the intro and outro, taking full advantage of the Sphere's dynamic bevy of sonic accoutrements. | |
| 2024-04-19 | Las Vegas, NV | 16:52 | "Axilla II"'s improvisational identity is seemingly now fully established, with spacey, effects-heavy playing setting the tone immediately. Using this template as the platform, the band then effortlessly glides between cosmic life-affirming bliss, diverse textural coloring, and hazed-out driving groove rock before returning to the "Axilla II" ending to close. | |
| 2024-04-19 | Las Vegas, NV | 13:42 | Comes loaded with extra sauce, a generous dollop of "Dave's Energy Guide", and a schmear of 'type II' flirtation that takes an edgier turn adding some improvisational heft to the otherwise uplifting play we've come to expect from "Theme". | |
| 2024-07-23 | Uncasville, CT | 19:12 | Anchoring an improv-heavy set 2, this big-time "Kill Devil Falls" utilizes the consistency of its double-time rhythmic launchpad, allowing for the Phish textural machine to intensify and grow in density. Colorful ambient synthesizer textures coupled with Trey's seemingly endless bevy of melodic ideas dress the freight train that is Mike and Fishmanâs rhythm section attack, eventually leading back to the "KDF" ending, and charging into "Carini". | |
| 2024-08-15 | Dover, DE | 12:37 | Trey dials up a friendly fest opener, the band eschewing "funk" in favor of warm, inviting play, with (these days) unsurprisingly sprite Trey, solid Mike, offset by particularly plucky contributions from Fish and Page. | |
| 2024-08-15 | Dover, DE | 19:19 | An expansive, Festival Phish worthy take that sees the band casting a wide net through multiple sections. As the initial "Wolfman's" muck-funk jam breaks apart, the band then passes through multiple vignettes, including a "Cissy Strut" tease, an extended passage of sunset psych-grooves, and a near-pivot towards "Heavy Things" that instead catalyzes an anthemic peak section, before returning to the "Wolfman's" theme to close. | |
| 2024-08-15 | Dover, DE | 14:52 | Strong set-closer marked by impressive, collective, improvisation. Patient, Trey pushes the band to, and through, a pointed peak before the band returns to land "Sand's" signature riff. | |
| 2024-08-15 | Dover, DE | 25:09 | Nothing green here. With Trey back on lead vocals, a great version of the song breaks from what already seems like a signature lick to spark a huge jam. About seven minutes in, sound swells to inform that patterned bounce, and then the effects kick in, with Page laying heavy on his synths. Play coasts before, as one, the four become more active, propelling the play. Trey shears blocks of sound, an impossibly cool pattern, one that, on Fish's back beat, builds to a thrilling conclusion. | |
| 2024-08-15 | Dover, DE | 11:41 | > from "CDT," play is gorgeous, melodic, and enchanting, before a stunning drop into dizzying mayhem eventually >'s into "Prince Caspian." Choice version. | |
| 2024-08-15 | Dover, DE | 15:03 | > from "Light". Given this was the first festival "Caspian" since Magnaball, this version had a lot to live up to. It's a fun jam featuring a "Sneakin' Sally" tease, a smattering of "Woos" and a truly sublime end section. A worthy follow-up to Magna's. | |
| 2024-08-16 | Dover, DE | 15:16 | Bananas - there's possibly something like six (or whatever) key changes - Phish arguably performs a parody of a "Type II" Phish song. While there may be segments one might not recommend, it's almost as if there's willful-sh*t in this version. And so perhaps you'd rec. it all. It's crazed. The ending might leave you thinking, "WTF?", too. Awesome. > "Pillow Jets." | |
| 2024-08-16 | Dover, DE | 9:49 | > from "Ruby Waves," the jam (once through the song) is more an interlude, a punishing kaleidoscope of sound sure to please shoegazers and those with their heads in the clouds. Terrific outro-cum-drawn-out segue for a rabid "YPC." | |
| 2024-08-16 | Dover, DE | 6:57 | > from "Pillow Jets," the song, some of the faster Phish youâll hear these days (this version, anyway), functions as an extension of the set's sound, "YPC's" signature-lick taking several speedy laps before Trey breaks to solo, at points melodically, and hammer the -> drawing out "Ruby Wave's" conclusion. | |
| 2024-08-16 | Dover, DE | 0:44 | > from "YPC" to complete the version. | |
| 2024-08-16 | Dover, DE | 16:07 | In keeping with Phish's renewed appreciation for faithful performances of their classic material, this version is distinguished not only by high-level execution through "Fluff's" most challenging passages, but also by an incendiary "Arrival" section, with Trey sending sheets of euphoric sound throughout the Woodlands of Dover. | |
| 2024-08-17 | Dover, DE | 12:34 | Soaring play from Trey is underscored masterfully by Mike's thunderous bass. There's even some nifty playing even after the jam finds its way back to the "Jibboo" riff as it seems as if not everyone was ready for the return. | |
| 2024-08-17 | Dover, DE | 10:32 | A heavy, listener-unfriendly jam which utilizes brooding effects more than traditional harmony to create a nightmarish industrial soundscape. | |
| 2024-08-17 | Dover, DE | 19:15 | Big festival version goes deep at the Woodlands in Dover as one course in the middle of an absolutely stacked second set entree -> "Tweezer". | |
| 2024-08-17 | Dover, DE | 19:32 | The second of a potent 1-2-3 punch, this "Tweezer" initially stews in layered psychedelic funk fitting for its festival setting, before shifting towards eruptive, celebratory rock. Mike's seismic bass bombs provide a platform for Trey's pumped-up blues rock heroics, before a return to the "Tweezer" theme signals a denouement, dissolving into scratchy guitar loops and > "Scents and Subtle Sounds". | |
| 2024-08-17 | Dover, DE | 16:20 | Call and response between Page and Trey sets the tone early, as the jam gradually but surely grows more psychedelic. A repeated riff from Trey then fires up the intensity, with Page and Mike's agile effects-based play helping to create a harmonically minimalist, but texturally dense sonic landscape. | |
| 2024-08-18 | Dover, DE | 8:31 | "Mercy, Mercy, Mercy" is becoming a "big show" tease (see 9/1/12 and 4/18/24, respectively). Here, Trey and Page again team up, finding in Adderly's melody a means to considerably brighten this "Bag". Easygoing play swings a bit like "Gin" jamming, before a really rad return to the song's theme at 7:30 fuels a fiery finish. | |
| 2024-08-18 | Dover, DE | 12:29 | It doesn't take long for this "Gin" to abandon its usual approach and morph into a warped electro-funk groove. > "Izabella". | |
| 2024-08-18 | Dover, DE | 16:32 | Following a strong composed section, the version gains greater momentum come 7:30. Laser-focused breathless jamming becomes unhinged late (some really cool sound) before, pushed by Fish, play becomes wildly percussive and, again, impressively air-tight. | |
| 2024-10-25 | Albany, NY | 10:50 | "Theme" has frequently featured on the Jam Chart in recent years (this being the 7th entry since '22), with most versions distinguished by play that goes beyond the traditional format, but here the band delivers big time in a relatively small package with a vibrant, purely "Type I" rendition. | |
| 2024-10-25 | Albany, NY | 18:05 | Pivots quickly from the usual high-flying "Piper" jam into a moderately suspenseful minor-key zone and gains direction and drive after 8:00 with Mike and Trey riffing in tandem while Page paints the background with synths. After a brief sojourn back in major, the jam reverts to its more foreboding tone as it builds anticipation for an explosive finale and -> "Light". | |
| 2024-10-25 | Albany, NY | 7:22 | Emerging on the back of a sneaky segue from "Tweezer", the band, led by Trey, delivers a version notable for its bounce and heft. More confident than exploratory, Trey's lines never falter or hesitate on the back of the band's rhythmic punch, particularly Page's fine piano play. | |
| 2024-10-26 | Albany, NY | 14:59 | > from "Tube". Brooding and searching from the outset of the jam, the tempo and intensity gradually pick up steam. By 11:00, the jam is a vortex of energy; the band functioning as one organism. Trey's guitar shines as Page underscores with great play. Trey winds things back to the "Gin" riff to put a bow on this one. | |
| 2024-10-26 | Albany, NY | 15:43 | Continuing their capacity to surprise, Albany's "context collapse" comes when, exiting "Fuego" proper, Trey directly ignites another creative spark. It's fun to hear a callback to "Jimmy .... Jimmy ...." playing as the band follows an impossibly cool, unprogrammed pattern. After the 9:00 mark, Mike offers an idea, and while the improv doesn't change direction, a slew of sonic sounds emerge, bathing the audience in bending musical 'modes' pleasantly atonal, much different from, yet similar to, a "modern" Melt. Listen to the run's "Mercury" for a completely inverse improvisational approach. |
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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