Jam Chart: Jams Seen by slpingmnky (173 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1999-09-21 | Tucson, AZ | 17:19 | Huge, powerhouse version, featuring incendiary, Jimi-esque Trey, and pounding Page. More wall of sound than musical, the jam drones until, set off by some scattershot riffs, play cools to assume a remarkably chill, wavy groove, full-band improvisation suspended in sound somewhere between 99 and what would arrive circa 2000. | |
| 1999-09-21 | Tucson, AZ | 12:05 | If not quite a carrion, than perhaps a clarion call to the desert's mystic surroundings. Trey breaks from the vocals to launch an all-out assault, his signature 1999 tone on full display. After setting a loop, Trey's beautiful, patterned soloing, artfully phrased, is matched by Page, with Mike soon leading the band through deep and cerebral play. Fish's perfect off-beat and stylized play soon smooths, with Trey's cool, slashing chording informing the -> "LxL". Awesome. | |
| 1999-09-21 | Tucson, AZ | 17:09 | A killer Antelope that starts off with swirling, whirling loops and a relaxed energy typical of Fall '99, builds up tension by Trey playing some stabbing chords, then builds to a ferocious peak. Proof positive that Antelope still had its fastball even after the mid-90s. | |
| 1999-12-30 | Big Cypress, FL | 10:07 | A wonderful compact jam that starts with some dark energy but soon enough taps into classic '99 sounds and soars into the stratosphere. Welcome to Big Cypress. | |
| 1999-12-30 | Big Cypress, FL | 11:15 | The wild Big Cypress version showcases some cool staccato playing (see also "Plinko") in the middle and an unusual jamming style, while still staying pretty close to the normal theme. | |
| 1999-12-30 | Big Cypress, FL | 6:44 | Though the band starts in a metal chug similar to other versions in the era, Mike is in a much more exploratory mood than normal, bringing the band briefly into a major key, and later initiating several interesting rhythmic exchanges. | |
| 1999-12-30 | Big Cypress, FL | 16:50 | A stunning, gorgeous jam. | |
| 1999-12-30 | Big Cypress, FL | 15:27 | "Immigrant Song" teasing early on sets the tone for this dark, angry wall of sound. A single jam segment, but it's heavy duty stuff, filled with spacey effects and a driving, seemingly accelerating Mike and Fish-led groove. | |
| 1999-12-31 | Big Cypress, FL | 9:23 | Great lead work from Trey and some nice fills from Fishman in this one from Big Cypress. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | Multi-section, improvisational groove-based jam, including typically dark "SOAM" grooving, funky upbeat major mode jamming, and a -> to "Catapult." Vastly different from 7/15/99. | |
| 1999-12-31 | Big Cypress, FL | 1:17 | -> in from an excellent "SOAM." | |
| 1999-12-31 | Big Cypress, FL | 23:41 | Laid back but joyful millennial celebratory groove. This is feel good music. Unfinished with -> to "Llama." | |
| 1999-12-31 | Big Cypress, FL | 15:47 | A very different "Gin" begins with extended vocal jamming through 9:25, then shifts to an enchanting groove. | |
| 1999-12-31 | Big Cypress, FL | 13:15 | A tranquil ambient groove emerges with delay loops and an eerie Page solo on the Fender-Rhodes. -> to "Prince Caspian." | |
| 1999-12-31 | Big Cypress, FL | 30:23 | This wide-ranging, 30-minute monster from Cypress starts off in an excellent bluesy groove, before quieting down to a percussive, groovy, organ-led cowbell movement with anthemic riffing from Trey. The jam then coasts along at a low simmer, with very quiet, introspective playing and massive bass bombs, before exploding into an epic, earth-shattering firestorm of a conclusion at 26:00. | |
| 1999-12-31 | Big Cypress, FL | 22:22 | Crowd-assisted CHEESECAKE VJ. (No B&D.) | |
| 1999-12-31 | Big Cypress, FL | 20:14 | This is one of the center-piece jams of one of Phish's most storied and highly-lauded sets. This one quickly hits a slow groovier jam. With a good foundation set by Gordon and Fishman, Trey and Page have ample room to explore several gorgeous and melodic passages. | |
| 1999-12-31 | Big Cypress, FL | 26:16 | The masterpiece of the '99-'00 style "Sands" from the early morning at Big Cypress. A dark groove develops with all sorts of eerie effects added to the mix. Trey's lead work is scintillating and gives the jam an ominous feel as it builds to a devilish peak and then transitions to the hypnotic second movement replete with looped minimalist elements which continue into -> "Quadrophonic Toppling". A must-hear jam from the band's ambient era. | |
| 1999-12-31 | Big Cypress, FL | 10:11 | Debut begins with the deployment of Mike's Siket Disc vocal sample in the midst of the meditative, ambient jam which emerged from "Sand". Guitar and keyboard delay loops are eventually joined by a fuller arrangement but the volume never rises above a reverent hush. | |
| 1999-12-31 | Big Cypress, FL | 15:11 | The longest "Type I" version. If you like a slow, really stretched out "Slave," this one is for you. But the peak is nothing remarkable, in fact it sort of collapses under its own weight. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | -> in from "Drowned." A patient, sparse, and well-textured groove-based jam. | |
| 1999-12-31 | Big Cypress, FL | 19:03 | New millennium Swamp Worm (it was played about 4:00 AM on 1/1/00) opens with all guns blazing before settling down with a Mike and Page led groove including "Bug" teases from Page. | |
| 1999-12-31 | Big Cypress, FL | 35:03 | Launches into phenomenally intense improv almost from the start as it embarks on an at-times-breathtaking journey. Eventually grows dissonant before briefly regaining its feel-good vibe. | |
| 1999-12-31 | Big Cypress, FL | 13:40 | 35th song in the second set is the infamous "Hood" fake out. Breakdown at 5:40 is sicknasty and Trey sounds as fresh as he did in 1983. Second jam features a reggae filth groove. | |
| 1999-12-31 | Big Cypress, FL | 8:44 | Closes out the Big Cypress festival with a short ambient outro. | |
| 2000-09-29 | Las Vegas, NV | 9:32 | After a few minutes of soloing, Trey gets into a demented, octaved-down, shred zone, and the band reciprocates with pulsating, demonic energy. Seek out video of this extended, metal-tinged version to see Trey workshopping his 'First Tube feedback sword-fighting moves' during the noisy outro which segues unexpectedly into Spock's Brain. | |
| 2000-09-29 | Las Vegas, NV | 16:57 | The standard jam gives way at about 9:30 to a great Mike-led, bouncy groove that grows increasingly rocking and intense. | |
| 2000-09-29 | Las Vegas, NV | 9:40 | The last big "Moma" of 2000, played in the same powerful style as 7/6 and 9/23. Strong, rocking version. | |
| 2000-09-30 | Las Vegas, NV | 8:21 | A more ranging and interesting jam than any performed up until this date. It's also blissfully serene and delicate. All performances after these September '00 versions would feature much greater variation in the jam. | |
| 2000-09-30 | Las Vegas, NV | 9:12 | "She's dead. She died." A flub paves the way for both lyrical and musical improvisation, and "Esther" truly goes for a ride. A feeling of warmth and mirth, as opposed to anger or frustration, informs great, soulful jamming, which eventually breaks for a > into "Weekapaug Groove." | |
| 2000-09-30 | Las Vegas, NV | 10:38 | Not so much a groove jam as some excellent funky and rhythmic jamming with awesome playing by Mike and Fish. Has moments that recall the excellent "Suzy" from 9/14/00. | |
| 2000-09-30 | Las Vegas, NV | 7:49 | Big contrast to the 7/14/00 version as this jam has a more eerie, morose sentiment. An ominous cloud. | |
| 2000-10-01 | Phoenix, AZ | 15:07 | -> from "Piper". Terrific '00 style space groove including Trey on the mini keyboard for a spell. -> to "When the Circus Comes". | |
| 2000-10-05 | Irvine, CA | 18:29 | Similar to 12/29/97 where there is a shift to major mode (at about 11:56) that continues for 3:00. | |
| 2000-10-05 | Irvine, CA | 16:03 | Good quality groove-based jam with nice modulation of intensity. | |
| 2000-10-05 | Irvine, CA | 8:30 | > Piper, Trey alights upon a cool, swinging riff, and the version rides this vibe, with on-point fills from Page, the jam not so much building as unfurling, a heavy sort of bass and drum stomp. Play then becomes outright weird when Page shifts to his keys and a moody, brooding, outro ensues, with Trey quoting "Fast Enough For You". | |
| 2000-10-06 | Mountain View, CA | 15:34 | > from "Cities." Starts with a mellow, airy loop and Trey on the keyboard before he switches to guitar and gives the jam a boost with some great playing. | |
| 2000-10-07 | Mountain View, CA | 12:37 | Power rhythm clinic from Trey. This baby rates very highly on the danceability scale. Grab your helmet. | |
| 2000-10-07 | Mountain View, CA | 16:08 | Good version and the last one in "1.0." | |
| 2003-02-15 | Las Vegas, NV | 15:03 | Some great exploration starting at 6:40, with no return to "Wolfman's." Upbeat, far-ranging, and funky, the jam eventually softens and > to "Reba." | |
| 2003-02-15 | Las Vegas, NV | 12:03 | Beginning of the jam is straightforward, but once they head for the peak, it's worth hearing. Quite nasty. | |
| 2003-02-15 | Las Vegas, NV | 18:38 | Swaggering space roullette "Oh Happy Day" groove with a watery wobblefunk rage side slide into deep space cathedral vespers outro. [An awesome and very groovy early section with great Page gradually cycles up to euphoric party mode, breaks into a funky reprise, and settles to great quiet play.] | |
| 2003-02-15 | Las Vegas, NV | 18:46 | The jam seems to peak at about 13:00, then breaks into several minutes of angry and dissonant rocking before returning home. | |
| 2003-02-16 | Las Vegas, NV | 17:49 | First "Bowie" opener since 12/30/93. "Manteca"-like jamming early, then it breaks from the standard several times, only to return. Includes "Bowie" -> "Catapult" -> "Bowie" in the jam. | |
| 2003-02-16 | Las Vegas, NV | 0:33 | -> in from "DB." Brief version near the end of a big "Bowie." -> back to "DB." | |
| 2003-02-16 | Las Vegas, NV | 2:03 | -> in from "Catapult" to complete this solid version. | |
| 2003-02-16 | Las Vegas, NV | 11:53 | Excellent and extended low-key outro jam. | |
| 2003-02-16 | Las Vegas, NV | 11:05 | "DwD" -> "Seven Below" -> "DwD." "DwD" gets a little beyond straightforward. | |
| 2003-02-16 | Las Vegas, NV | 9:32 | -> in from "DwD." A short but very good "Seven Below" -> back to "DwD." | |
| 2003-02-16 | Las Vegas, NV | 2:24 | -> in from "Seven Below" to close and complete the sandwich. | |
| 2003-02-16 | Las Vegas, NV | 19:51 | Short intro leads to up-tempo, rhythm driven, melodic jam. This is a favorite version for many fans, for reasons that will be obvious when you check this version out. Fishman's snappy work propels this funky jam. | |
| 2003-07-07 | Phoenix, AZ | 14:01 | A great version with a combination of good, low intensity 2.0-style funk grooves and quiet, spacious exploration that -> to the debut of "Scents And Subtle Sounds." | |
| 2003-07-07 | Phoenix, AZ | 11:11 | Debut includes intro section. Pretty intense playing in the standard jam section that follows "colors in the void." | |
| 2004-04-15 | Las Vegas, NV | 13:48 | Sloppy intro, but the first jam segment (1:55-4:25) is excellent. The main jam absolutely erupts and burns as hotly as "Moma" ever has. | |
| 2004-04-15 | Las Vegas, NV | 9:17 | The jam starts off in very fine fashion, with a cool and different groove, but then veers increasingly toward chaotic dissonance. This darker sentiment is underscored by Page who shifts his harmonic underpinnings to minor mode. | |
| 2004-04-15 | Las Vegas, NV | 16:58 | Shaking off a rough start to this version, Trey leads the band into the jam which begins intensely with great thrumming Mike and growling, distorted guitar effects. The intensity gradually diminishes, resulting in more quiet play which retains an ominous sense of melancholy. | |
| 2004-04-16 | Las Vegas, NV | 12:01 | Jam mellows after a bit and sustains a decent pulse with nice Page work. "Low Rider" teases. | |
| 2004-04-16 | Las Vegas, NV | 7:56 | Well played, extended outro jam with good segue (->) into "Possum." | |
| 2004-04-16 | Las Vegas, NV | 13:56 | Sloppy and takes time to peak, but when the band finally comes together and eventually peaks it's a gorgeous moment of clarity that cuts through everything and makes things happy for a minute, before getting goregously goopy and grimy like only '04 can. | |
| 2004-04-16 | Las Vegas, NV | 23:58 | Exploratory and multi-faceted jam emerges around 8:00 after some nice variations on the "Twist" theme. Intense, the jam includes power rocking, distortion and effects, and builds to a furious peak before returning to "Twist." | |
| 2004-04-16 | Las Vegas, NV | 5:18 | Trey's voice is pretty beat, but he quickly gets into a twisted, chaotic, octave-hopping, 2.0-style, shoegazey mode, as Mike stretches the groove out over snappy Fishman fills. | |
| 2004-04-16 | Las Vegas, NV | 0:59 | In the chaos that usually precedes "BLAT BOOM", Trey leads the band into a "Little Drummer Boy" vamp, at first festive, and soon going down a more evil path in a minor key, desert rock mood over droning church organs while a quiet, but harsh loop sounds throughout. | |
| 2004-04-16 | Las Vegas, NV | 0:41 | Trey "BLAT BOOMs" his way out of Little Drummer Boy to conclude a unique version of Wilson. | |
| 2004-04-16 | Las Vegas, NV | 19:27 | This "Hood" shifts to a rocking "Type II" groove at 8:45, briefly returns to "Hood," then departs into a dark, rhythmic minor mode section before finally coming home to close around 17:25. | |
| 2004-08-14 | Coventry, VT | 15:19 | Jam breaks from the standard at 11:00 into a mellow groove that builds energy and > to "Runaway Jim." | |
| 2004-08-14 | Coventry, VT | 12:23 | Very improvisational, "Type II" version with a -> to a very improvisational, "Type II" "Gotta Jibboo." | |
| 2004-08-14 | Coventry, VT | 15:23 | The yang to 4/16/04's yin. Tight playing for '04. Dark and grimy up front, but once it pushes through to the heavens this "Gotta Jibboo" is breathtaking. | |
| 2004-08-14 | Coventry, VT | 13:10 | Jam segment rages practically non-stop, and Tom Marshall assists with the "Rocco" lyrics. | |
| 2004-08-14 | Coventry, VT | 20:07 | Nimbly textured and surgically precise like the big '97 "Bags?" No. Highly improvisational, well played AND a great listen? Absolutely. This version is MUST-HEAR, like 11/21/97, 12/30/97 and 9/14/99. The Coventry "Bag" is full of "2.0-style jamming," is played very well overall, and it's highly listenable. -> to "46 Days." | |
| 2004-08-14 | Coventry, VT | 12:57 | Trey talks about writing "David Bowie" for 4 1/2 minutes before the song - well worth hearing. The jam itself is pretty decent with a nice little shift to major mode and an intense ending. | |
| 2004-08-14 | Coventry, VT | 16:36 | A decent jam develops which has an underlying Mike and Fish fueled groove that continues almost throughout. Trey at times uses a lot of distortion, and his seeming lack of direction gives the jam a disjointed feel. Great -> to "The Wedge." | |
| 2004-08-14 | Coventry, VT | 20:42 | While the composed section is far from spotless, the jam is very good and multi-dimensional, including a nice move to major mode followed by some great exploration. Unfinished with a > to "Free." | |
| 2004-08-14 | Coventry, VT | 9:54 | Some sweet Mike bass, then gets very quiet with just Mike and Trey playing, then Fish and Page jump back in. | |
| 2004-08-14 | Coventry, VT | 26:06 | Very raw in parts (at least Trey), but a serious piece of improvisation nonetheless. At the 7 minute mark, the band gets very quiet and almost stops. Trey plays solo for a stretch, and briefly addresses the crowd. Around 12:30, the other band mates rejoin in a very upbeat and rocking jam that accelerates into near fury by 21:30. | |
| 2004-08-15 | Coventry, VT | 13:46 | Extremely improvisational version which leaves "CDT" behind near the end and -> to "Possum." | |
| 2004-08-15 | Coventry, VT | 19:02 | Very unusual version. The first jam segment is strange, spacey, and Trey sounds off-key at times. Then there's a second jam following the closing riff (without vocal refrain) which has some interesting moments and is pretty soulful. | |
| 2004-08-15 | Coventry, VT | 31:04 | Skip the composed section (ugly) and go straight to the jam (released on Live Bait Vol. 5), which is excellent, extended and improvisational. The final 6 spacey minutes are a combination of sad, eerie and haunting, with a hint of optimism near the end. Unfinished with a -> to "Ghost." One of many great jams from the morass of Coventry. | |
| 2004-08-15 | Coventry, VT | 17:30 | Through a crack in the fabric of space-time a horde of flaming orange locusts cascaded down the fetid slope of manure, became a cyclone of debris, limbs, and offal in the muddy bowl then coalesced into a sheet of light which rapidly withdrew upslope back into the void of infinity. [-> in from a strong "SOAM." The jam breaks into an angry, rocking groove that grows dissonant, tension-filled, and includes Trey's eerie yelling and digi-guitar effects.] | |
| 2004-08-15 | Coventry, VT | 9:25 | Blistering, fierce, machine-gun Trey, akin at times to Hendrix at his best! | |
| 2013-08-05 | Hollywood, CA | 9:21 | Page solo > Fish playing Mike's bass with mallets > whole band drum solos > klezmer > chanting by Mike and conclusion. | |
| 2013-08-05 | Hollywood, CA | 22:32 | Ground-breaking version that ushers in a new era of exploratory "Hoods." After some typical play, the jam turns rocking and percussive, including some "Woo" jamming. Things settle and the play becomes introspective and probing. Turning upbeat but with tension, the jam takes a final deep breath and returns to "Hood." | |
| 2014-10-24 | Inglewood, CA | 8:47 | Like the Portsmouth "It's Ice", Page hops on the clavinet out of the gate, but this time Trey chips in some wah-scratching and Echoplex to this funky jam before sticking the landing. | |
| 2014-10-24 | Inglewood, CA | 12:50 | This fun version starts with teases of "Low Rider" and "Long Tall Glasses" before accelerating into an energized "Type I" jam. | |
| 2014-10-24 | Inglewood, CA | 16:24 | After extended and very pleasant "Type I" jamming, Mike and Trey drive the play down into some murky and atonal depths. Then this diseased ship gloriously resurfaces to a magnificent conclusion. | |
| 2014-10-24 | Inglewood, CA | 14:14 | Amidst of sea of exploratory '14 versions, this fine one is a welcome reminder that the plain old "Hood" jam, when well executed as it is here, is pretty damn good stuff. Fish and Page are key in bringing up the energy and adding great color to the jam. | |
| 2015-07-25 | Inglewood, CA | 7:47 | A nice version which begins with a fun "Follow The Yellow Brick Road" tease, then gradually builds up to a solid peak. | |
| 2015-07-25 | Inglewood, CA | 12:29 | Trey makes a dive into minor-key Fall '97-esque territory, then the jam takes on a menacing vibe not unlike "Psycho Killer" before a > into "Carini." | |
| 2015-07-25 | Inglewood, CA | 9:30 | Trey, Page, and Mike weave in, out, and around each other harmoniously throughout this entire breathtaking jam, while Fish holds down the fort and leads them to a glorious peak. > "BDTNL" for CK5's birthday. | |
| 2015-07-25 | Inglewood, CA | 20:42 | Gimmicky version where Trey and Mike spooned eachother while playing each other's instruments. (see http://www.youtube.com/watch?v=5mK05T5cYdE). A phun time was had by some. | |
| 2016-07-22 | Inglewood, CA | 10:31 | Perhaps beset with tech troubles throughout this show, nonetheless the "Mule" is entertaining fun, with a Page solo > Trey and Fish Marimba Lumina "Duel" > klezmer > weird Mike chanting > conclusion. | |
| 2016-07-23 | Chula Vista, CA | 9:18 | "Did they jam out Tube?" YES. Witness the beginning of a new era of abundant "Tube" jams with this version, which, at the time, was one of the most improvisational versions to date, as it moves from funk to a hard-rocking groove with a big peak. | |
| 2016-07-23 | Chula Vista, CA | 9:45 | A slightly extended intro features a killer mu-tron "California Love" jam. Some off-kilter playing from Trey during the second half. | |
| 2016-07-23 | Chula Vista, CA | 12:46 | Trey modifies his tone early on to great effect, and solos quite strikingly. As the power grows, Fish, Page and Mike serve to colorfully and dramatically paint a wonderful, Trey-penned sketch. The powerful peak leaves everyone feeling good, and underscores why we all love this band so much. | |
| 2016-10-29 | Las Vegas, NV | 9:07 | Trey goes to the MuTron out of the final verse, and Fish hits on a "Manteca"-type beat that helps lead into a funky and psychedelic jam. Mike, in particular, is superb. | |
| 2016-10-29 | Las Vegas, NV | 16:06 | Second set opener is anything but elemental, illuminating the song's jam potential. Mike is super, and Trey modulates his tone, a liquid sound darkening to offer a bit by way of transition metal. A pointed, effects-enhanced -> gives rise to a centerpiece "Piper." | |
| 2016-10-29 | Las Vegas, NV | 14:31 | The customary "Piper" jam is melodic, rocking, and somewhat different from the typical, trilling shred-fest of years past. Around 7:00, the jam takes on a percussive aspect that grows increasingly powerful. Following great Fender-Rhodes action from Page, things settle, then blast into a spirited, celebratory conclusion. | |
| 2016-10-30 | Las Vegas, NV | 11:24 | Beginning with some great quieter playing, including some "Manteca"-like action, the jam warms for bit, then heads into the familiar tension and release head waters, with excellent Fish and solid Page/Trey interplay. | |
| 2016-10-30 | Las Vegas, NV | 21:15 | An intense, driving and multi-faceted juggernaut. Initially breaking into quieter, probing play, the mood brightens into a rocking, upbeat section. Then Mike destroys the world as the sentiment turns darker, intense and ominous. Page and Fish are pivotal, but Mike rules as the energy rises to a second, ferocious peak, before settling a bit. Talk about Ass Handed! | |
| 2016-10-30 | Las Vegas, NV | 15:05 | Supercharged -> from "DwD" sparks breezy, airy playing, which breaks down around the 5:00 mark. Page is great, and the jam never loses momentum as Trey modifies his tone and the band fluidly floats through a few different tempos before, ultimately, alighting upon a suspended plane of marked beauty and sustained grace. | |
| 2017-09-01 | Commerce City, CO | 13:29 | Strong soloing finds Trey augmenting his tone, before crunchy soloing peels apart in favor of deft delay atop a soft bed of effects. Page then runs point, with Fish's cool, patterned drumming eventually giving way to a passage of swirling calm. Intensity builds via strong and spacey full-band play, featuring notable bass. Trey breaks free and works the version to a peak and the song's closing refrain. | |
| 2017-09-01 | Commerce City, CO | 9:20 | Fluid jam, with Trey running through an airy, lilting line, his play accented by colorful fills from Page. After shaping his tone and working the version to a peak, Trey > for a fresh "Free", further toying with his effects, and working his Korg Kaoss Pad a bit like an instrument. Cool combo. | |
| 2017-09-01 | Commerce City, CO | 10:00 | Breaking directly to work through a wacky passage echo-rich and colored with wild effects, Trey eventually picks up a bright, spirited line, and leads the band through fun and impassioned major-mode play. An unusual period of quiet and contemplative calm follows, which slowly gives rise to a return of the song proper. | |
| 2017-09-01 | Commerce City, CO | 23:46 | Awash in 2017's signature synth and Trey's latest effects, an example, here, of space down to a science. As Page explores his keyboards, Trey sheds the guitar and uses a new device to create a hushed, astral plane. Back on guitar, Trey guides the musicians, who together shape a celebratory peak. | |
| 2017-09-01 | Commerce City, CO | 21:20 | Typically stormy, tense playing gradually mellows to some spacey grooving. Picking up a warmer vibe, the intensity slowly builds to a rocking, but not bliss-filled peak, with strong Mike and Fish. The energy eventually dissipates to percussive transitional space. | |
| 2017-09-02 | Commerce City, CO | 13:32 | After running through familiar ground, the jam gets rocking, then gradually settles down into some lower intensity grooving, including some nice Page/Trey interplay. Lacking a peak or other point of punctuation, the jam seemingly winds down over several minutes. | |
| 2017-09-02 | Commerce City, CO | 11:56 | A nice jam, which is really driven by an uptempo, percussive, Fish and Mike led groove. Trey and Page add color and effects, including some spacey synth, before turning the corner and coming home for a solid finishing peak. | |
| 2017-09-03 | Commerce City, CO | 10:03 | Breaking quickly for instrumental playing, the jam gets down and dirty, with spacey Trey and Page effects, layered over a solid bass and drum foundation. Although it never strays too far from home, this one is no typical stroll in the park. | |
| 2017-09-03 | Commerce City, CO | 20:50 | The jam is propelled atop minor mode loops into deep space, before touching down on a new world. The hatch swings open, and for a brief moment the scene is serene. Suddenly, the jam is transported at warp speed into the deep unknown, where electromagnetic thunder echoes from the Modulus, the Voyager opens transient portals through space-time, and the Languedoc transmits patterns into the spectral void in search of signs of life. Alas, we're surrounded only by the beeps of industrial robots as darkness sets in. But the >"Light" grows brighter... | |
| 2017-09-03 | Commerce City, CO | 12:03 | > from "2001", the version smacks of 1991. Approaching the jam quite differently, Trey's solo is awesome and strange, dissonant and improvisational. Melodic play and playful teasing gives way to a sound off-kilter, which slowly swells to inform a steady block of tension. This, then, builds to burst in classic "Possum" fashion. | |
| 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. | |
| 2018-10-31 | Las Vegas, NV | 9:57 | A solid, medium intensity exploratory groove emerges from the typical "Hallley's" outro, with nice interplay between Trey, Page and Mike. | |
| 2018-10-31 | Las Vegas, NV | 6:23 | Debut. | |
| 2018-10-31 | Las Vegas, NV | 9:24 | Compact bliss jam full of sustained whammy guitar leads over a bed of wavy electric piano. | |
| 2021-09-03 | Commerce City, CO | 21:47 | A real superb tour for "Carini" arguably peaks at Dick's with this Set 1 closer, which moves from major-key fare to a powerful and ferocious rockout egged on by the rhythm section to a twinkling Moment of Bliss to aliens-descending strangeness to a triumphant finale to (once again) "Carini" proper to finish up. A magnificent jam from the fantastic Dick's 2021 run. | |
| 2021-09-03 | Commerce City, CO | 20:15 | Moves into a sparse and low-key jam space with Trey going to his bag of tricks and Page neatly accompanying him on electric piano, while Fish absolutely hammers the skins in a way you don't hear in other jams this tour. The band luxuriates in this delightful jam before Trey hits on some chords akin to "Blaze On", Page goes to the synths, and the jam picks up the pace before galloping to the finish line. Twenty minutes long and feels like twelve, a hallmark of Summer 2021. | |
| 2021-09-04 | Commerce City, CO | 9:47 | At first minimalist and downbeat until Trey starts his solo backed by synth waves from Page, after which the jam really opens up for a majorly exuberant finale. | |
| 2021-09-04 | Commerce City, CO | 24:40 | A tale of two jams - the surprisingly downbeat late-night groove in the first half distinguished by Trey's effects and Page's captivating piano and synths playing, and a more typically Phish-y uplifting heavy-duty rockout in the second half. Really great jamlet at the end, too, with Trey playing some galloping chords and Mike doing some fine work. A really wonderful jam. | |
| 2021-09-05 | Commerce City, CO | 13:57 | This isn't your typical "Sand" jam, as the start of it wouldn't be out of place at the beginning of a "Tube" jam. Things mellow out later, then get to a murky outer-space place. The most impressive thing about this jam is Jon Fishman's refusal to quit; he is fantastic throughout. > a must-hear "Sigma Oasis." | |
| 2021-09-05 | Commerce City, CO | 15:05 | "Sigma Oasis" makes its jam vehicle debut as the second half of a surprise first set 1-2 punch with "Sand", settling into a lower-key late-night groove reminiscent of the prior show's "Everything's Right" before morphing into something even more wicked thanks to Trey and Mike's effects and then slowly morphing into "All of These Dreams". | |
| 2021-09-05 | Commerce City, CO | 18:58 | Pivots to low-boil major key effects-laden jamming out of the usual "SYSF" jam, moves to a more robust zone with Trey taking over with some nice soloing, then finishes with an insistent driving groove, with Fishman outstanding all throughout. | |
| 2021-09-05 | Commerce City, CO | 8:38 | Launches a tremendously fun segment and lays down the musical bones that carry through to -> "Catapult", back to "Simple", and later "Meatstick". | |
| 2021-09-05 | Commerce City, CO | 2:29 | Emerges -> from a "Simple" jam and digs into a deep, industrial groove, making this one of the more musically robust appearances to date. Then -> back to "Simple" for more of the same. | |
| 2021-09-05 | Commerce City, CO | 3:42 | -> from "Catapult" as the off-kilter robo-funk continues until > "Meatstick". | |
| 2021-09-05 | Commerce City, CO | 8:44 | > from a "Simple/Catapult/Simple" sandwich and recalls the machinelike groove heard in that jam with stops and starts, dial-tone Trey, and quotes of "Lonely Trip" and "Catapult". | |
| 2021-10-22 | Phoenix, AZ | 7:03 | Makes a surprising move out of the usual funk of "Martian Monster" into a crunchier groove, with Mike in particular doing some cool stuff. Grows more upbeat thanks to Page, then Trey leads them into "Soul Planet" via a nice segue. | |
| 2021-10-22 | Phoenix, AZ | 18:28 | "Hmm... this jam is okay, I can imagine many of my friends lapping this up but I'm mostly disintere-SWEET HEAVENLY LORD THIS FINAL PEAK IS AMAZING." | |
| 2021-10-22 | Phoenix, AZ | 26:03 | A long-winded journey through vignettes of constantly shifting happy and dark textures. Various peaks dominated by lush synth textures and whale call, all driven by the motor of Fish's cymbal work. Back half of the jam is dominated by a rhythmic pattern that would feel right at home in an extended "Chalk Dust Torture" as it does here. | |
| 2021-10-23 | Chula Vista, CA | 17:22 | "Fluff" is tough to play, and few versions approach Phish perfection. Here, however, the band delivers. The technically challenging sections are super clean; more interesting than this, however, is the tempo, with Trey and Page noticeably at ease. Plausibly because there is no deliberation, the band finds innovation, the jam not only "Arriving," but passing through an extended passage of really cool play to deliver a -> into "NICU." | |
| 2021-10-23 | Chula Vista, CA | 17:00 | A very neat and surprising -> out of "Fluffhead", and a tremendous jam befitting the North Island Credit Union Amphitheatre. After an extended take on the usual "NICU" jam, Mike suggests minor key and things get good and dark, before they slide into something more tropical, allowing Trey to weave in the "NICU" solo we all know and love (as he will several times in this show). The band snaps into a quicksilver groove at Fish's urging, which gives way to an effects-laden pitch-black zone, before briefly brightening and then dissolving into ambiance and a wonderful -> to a surprise "Bye Bye Foot". Nearly twice as long as any other "NICU", and well worth the run time. | |
| 2021-10-23 | Chula Vista, CA | 15:20 | Precisely at 5:15 the jam flips to major forming an upbeat "Weekapaug"-esque groove, and Trey slips in the first of three "NICU" teases. After some transition riffing at 7:00, the next segment launches with Moog waves from Page and beautifully coalesces into a fully-baked bliss jam from 8:00 - 10:00. Then, another round of minor funk (w/"NICU" tease) gets heavier with delays and leads into the last verse and one final "NICU" tease > "Slave". | |
| 2021-10-23 | Chula Vista, CA | 16:12 | As was his wont in 2021, Jon Fishman takes this jam over. He puts on yet another master class in drumming. Trey's soloing over Page's synth gives the jam an ethereal feel. Fish faithfully follows Trey wherever he leads during this one, and stands out the entire time. > into "Free". | |
| 2021-10-23 | Chula Vista, CA | 16:30 | > out of "NMINML". Trey weaves in one of the many "NICU" teases from this show into the first jam, then he suggests minor-key and Page follows him on synths, leading to a lower-boil groove replete with repeating loops and Mike goodness. The band climbs out of the muck and returns to a more upbeat rock jam, with the loops still going, and very neatly returns to "Free" proper. | |
| 2021-10-23 | Chula Vista, CA | 17:55 | Excellent -> out of "Sand". A driving, almost composed jam segment emerges from "Piper" proper, Trey hitting on a particularly catchy 70s-esque riff and Fish kicking into third gear. The beat switches up and Page moves to his synths as a new sound emerges, Trey going to his effects to really add substance to the on-stage roux. Fish picks up the pace again and the band moves into a hard-driving rockout, and then a cloud of ambient noise settles over the stage as the jam dies away and Fish hammers on his kit. But rather than end the jam, the band deepens and thickens the ambient cloud, everyone firing off whatever effects they can, Mike going to the drill to add some ear-splitting nastiness. Extraordinarily reminiscent of one of the more wicked improvisations from IT. A true Monster Jam. | |
| 2023-04-22 | Hollywood, CA | 13:35 | Beginning with the now familiar seam splitting descent, what erupts from the glowing core is a white hot fountain of liquid play from Trey. Fed from a shimmering reservoir of Page's piano and synths and driven to a boil by Mike and Fish, Trey's trills sustain jets of phosphorescent sound that cascade and decay before returning to "Melt" once again. | |
| 2023-04-22 | Hollywood, CA | 22:58 | Propulsive play out of the gate settles into a spirited melodic space. The space expands as the band moves into dreamier territory, albeit with an unrelenting foundation courtesy of Fishman. A brief switch to minor key occurs with an infectious riff from Trey, before moving back towards major key. A high-powered touch-the-sky crescendo follows before settling into a brief funky groove that executes a nifty -> "Twist." | |
| 2023-04-22 | Hollywood, CA | 10:25 | > from "2001". Eschewing the vocal jam, Sally gets the extended treatment for the first time in years. Mike's play shines through from the beginning as he leads the groove-based jam. The tempo gradually picks up, before > "Back on the Train". | |
| 2023-04-23 | Hollywood, CA | 18:48 | This first set delight comes out the gate with swingin' swagger. Trey locks the band into Bmin to escape the confines of "Cities" proper and the band develops an incredibly cohesive, melodic, effect-drenched boogie down. After the 12 minute mark, the music takes a hazy, cinematic turn towards patient psychedelia. This then develops into a gorgeous, technicolor dreamscape that crescendos towards anthemic territory before > "Tube." | |
| 2023-04-23 | Hollywood, CA | 18:18 | Another huge version of the once rare song in the catalog. Plucky playing from Trey around 9:30 changes the jam's trajectory. The searching, grimy jam sounds like the background to a noir detective show at times. The tempo gets kicked up towards the end, before eventually > "A Song I Heard the Ocean Sing". | |
| 2023-04-23 | Hollywood, CA | 9:32 | > from "Mr. Completely" comes a completely unhinged jam that immediately dives headfirst into an unrelenting, grinding, grimy groove, and in the blink of an eye flows back -> into "Mr. C". Heavy. | |
| 2023-04-23 | Hollywood, CA | 0:55 | -> from "A Song I Heard the Ocean Sing" to close out the "Mr C" > "ASIHTOS" -> "Mr C" sandwich. | |
| 2023-04-23 | Hollywood, CA | 13:56 | A thumping, relentless version marked by Mike's new bass. Trey plays with loops and gives Mike a run for his money with bass effects of his own before leading things in a more melodic direction over a soft bed of Page's keys and driven, as always, by the "brother" himself. The jam eventually cools and fades, unfinished, on a curl of ambience that breaks for "Ruby Waves". | |
| 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. | |
| 2024-08-06 | Grand Rapids, MI | 10:39 | Less by way of bells and whistles than vim and vigor, play is fierce. Trey seemingly signals for a shift after the five-minute mark; Page, however, blows through the stop sign, igniting an exciting audible - one which underscores what makes "basic" Phish c. 2024 (hint: Trey, here) so very peak. | |
| 2024-08-06 | Grand Rapids, MI | 15:27 | The band really ratchets up the speed and intensity just before 13 minutes to deliver a fast paced and eager stunner of a Gin to close the first set. | |
| 2024-08-06 | Grand Rapids, MI | 23:23 | This "Moma" is the first song Billy Strings sits in on over two nights of shows. His presence is felt and appreciated mere seconds into the song. As the jam begins, Trey and Billy engage in some fantastic interplay which sets the tone that this won't be a typical sit-in. This is the longest "Moma" to date and gets way out there. | |
| 2024-08-06 | Grand Rapids, MI | 7:23 | Billy Strings takes lead vocals and swaps geetar solos on this short but sweet version. | |
| 2024-08-06 | Grand Rapids, MI | 13:38 | Play showcases the twin-guitar stylings of Trey Anastasio and Billy Strings. A powerful, fairly straightforward version with, unsurprisingly, heavy Allman Brothers over- and undertones. | |
| 2024-08-06 | Grand Rapids, MI | 10:21 | A scrappy, high-energy take featuring Billy Strings on second guitar that oscillates between the psychedelic hard rock-isms that Carini typically serves up, as well as the familiar Allman's-esque melodic volleying that seems to naturally flow out of Trey and Billy like an unencumbered river. | |
| 2024-08-07 | Grand Rapids, MI | 15:20 | Big first set version brings the heat and stays punchy and rocking throughout. Capped off by some fine trilling and a relatively satisfying peak before returning to the lyrics to finish | |
| 2024-08-07 | Grand Rapids, MI | 10:27 | Debut. Features Billy Strings on guitar and added vocals (and a nice jam, too). | |
| 2024-08-07 | Grand Rapids, MI | 8:23 | Short but sweet sit-in version featuring Billy Strings on PRS electric guitar engaged in wild back and forth with Trey. One can easily imagine the force ghosts of Dickie and Duane looking on, smiling in approval. | |
| 2024-08-07 | Grand Rapids, MI | 7:01 | > "Wolfman's Brother," and played quite slowly atop a "Mound"-like beat, the space affords Trey and guest Billy Strings plenty of room to shred. | |
| 2024-08-07 | Grand Rapids, MI | 8:22 | Guest Billy Strings accents the verses with a country twinge that adds to the feeling of being one tiny part of a giant calculus of the universe. This deviation continues past the lyrics, providing an exceptionally spirited extended type-1 jam with noticeable roots in the expansive rural nothingness. (H/t to @maxhog for this note.) | |
| 2024-08-07 | Grand Rapids, MI | 5:52 | Remarkable version, featuring Billy Strings on acoustic guitar. | |
| 2024-08-07 | Grand Rapids, MI | 8:30 | Billy Strings blazes and shreds in this two guitar guest sit-in version | |
| 2024-08-07 | Grand Rapids, MI | 4:47 | Story goes, Billy heard "Frankenstein's" riff while rehearsing for the sit-in, and asks to play the song. Trey says, "Sure." They run it through. Humorous banter and a great version ensues, night two. | |
| 2025-04-20 | Portland, OR | 13:11 | Show opening version kicks things off with swagger and wastes little time getting aggressively rhythmic. Mike sets a gritty tone while Page and Trey add lift. A weighty conversation develops that blooms into a delicate and satisfying peak and return. | |
| 2025-04-20 | Portland, OR | 14:34 | -> from a small "Cities," Trey guides the band through a passage of subdued, moody sound, the sort of improv at home deep in some second set. While for some time the tempo remains thoughtfully slow and steady, Trey does augment his tone which, despite Mike adding some wild ideas, ultimately marks a decided shift. After the ten-minute mark there's a push to somewhat patterned and familiar play. This, though, is marked by a strong peak that overshadows a bit of a hiccup as the band drops back into the song's primary riff and return to close the song, proper. | |
| 2025-04-20 | Portland, OR | 21:20 | Heats up quickly with a suspenseful minor jam out of the gates before sprinkling in some major at 9:40 and then fully shifts at 11:00 for a brief bliss-out. The next few minutes are transitional (though Mike is getting busy), but soon enough the jam roars back to life as the energy builds and builds to a blistering peak and then smoothly return to the final refrain. | |
| 2025-04-20 | Portland, OR | 18:10 | A familiar spot for the song as it opens the second set and familiarly goes deep. Fish's play around the 11:00 mark is outrageous and must be recognized. Around 15:00, the jam turns into space funk on steroids. Things wind their way to an end by > into "Twist". | |
| 2025-04-20 | Portland, OR | 16:19 | The band take their time testing the improvisational waters, winding carefully and contemplatively at first, then quickly accelerate in a fluid race of ideas that weaves artfully into a sonic fabric accentuated in particular by the melodic telepathy between guitar and piano that drives a sustained peak before fading and > to "ER". |
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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