Jam Chart for the Year 2017 (98 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 12:36 | Although it follows a familiar trajectory, this strong version luxuriates in the funk, before flipping the switch and peaking in celebratory good form. Trey really brings it on quite nicely. | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 19:53 | After settling into some quieter musing, the jam takes on a percussive sense, and proceeds to build to a Trey-led, rocking peak. Gradually settling down, the jam transitions to a strong "Caspian." | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 9:37 | > from a superb "Fuego". Trey's trilling grows nasty and dissonant at times, and Page hops on the clavinet to help lead the band into a dark and low-key groove. Fish does some fine work throughout. | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 9:53 | Floating in on the waves of a powerful "Prince Caspian" -> and staying in G, the echoing "Twist" intro leads to a tropical and topical "Tequila" jam before sliding seamlessly into "Seven Below." | |
| 2017-01-13 | Riviera Maya, Quintana Roo, Mexico | 11:17 | Awesome, melodic play from Trey, and we're only 2:40 in. The jam continues to impress, with Trey in total control, his precise, cerebral work matched by Mike, who also takes some seriously strong runs. Fish, of course, is great. There's super synth from Page. And Trey (7:00) introduces an incredibly cool theme, which the band shapes to its seemingly logical conclusion, ending a dulcet "suite" before > for "Golgi Apparatus." | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 12:49 | Super first set closer, which, in no small measure, soaks up the spirit of "IT's" (8/3/2003) rhythmic, pulsing soul. Breaking from "CDT" around 5:20, the jam melts into a focused passage of metrical rhythm, before brightening considerably, with all four musicians contributing equally. Trey's spirited solo, rich with sustain and effect, is complimented by great play from Page, before the version returns to "CDT" proper. | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 11:34 | This version's outro is much more musically productive than the typical and includes a "C&P" tease from Trey. | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 10:14 | The "Prince of Music" neglects a verse but shrugs the flub and sets forth to shape one of the finest versions to date. The jam quickly assumes a quiet, delicate form, informed by great play from Mike. Trey's playing is patient and melodic, colored by customarily great fills from Page. The version skips along atop Fish's steady beat, with Trey building intensity via means of measured sustain and perfectly-placed notes, before working the surrounding space to a resounding peak. | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 15:15 | After a strong composed section, the band crosses the bridge confident and assured, entering a jam anchored by great play from Mike and Fish. Trey adds much by way of layered texture and nuanced grace, before straight-forward soloing, colored with great fills from Page, builds into a passage of percussive and echo-altered sound. A cool > introduces yet another white-hot "Light." | |
| 2017-01-14 | Riviera Maya, Quintana Roo, Mexico | 15:41 | The typical "Light" jam takes goes mildly dissonant, before shifting to some funk/rock action. This percussive section, with excellent playing led by Fish and Page, moves further and further away from "Light" proper, before eventually settling into a solid cool-down jam in the final few minutes. | |
| 2017-07-14 | Chicago, IL | 11:01 | Some feisty punctuation by Fish, at around 5:40, leads to some great mimic and mirror playing between Trey and Page. Adding power and pulse, Mike and Fish help bring this tasty concoction to a full boil. | |
| 2017-07-14 | Chicago, IL | 13:42 | Impressive debut. The band quickly clicks to create a chill groove, with Trey working a warm tone to solo atop steady bass, scattershot drumming, and excellent Page-propelled atmospherics. This, then, into extended trilling, which Trey distorts before breaking to assume a clean, bright line, which builds - to break - back into the jam's pulsing, Floyd-like vibe. Excellent. | |
| 2017-07-14 | Chicago, IL | 15:03 | Super version, which opens noticeably slower than 2016's fiery renditions. Trey augments his tone and solos with spirit, but the soul of this version arrives near the 8:00 mark, when Page moves to his synthesizer and leads the band through a spectral passage of "postmodern," improvisational sound. Liquid bass and stylized Trey work atop Fish's minimalist beat, with Page working different sonic shifts that would sound at home in a mature "IAWITW" jam. Chanting and more focused guitar return this reading to the song's coda before a bit of space informs a > into "Fuego." | |
| 2017-07-14 | Chicago, IL | 6:34 | The jam breaks away from the "Your Pet Cat" theme about 4 minutes in, growing warm and anthemic, then makes a surprising, Fish-led, and nifty -> into "Golden Age". | |
| 2017-07-14 | Chicago, IL | 5:49 | Acts as the "meat" of a "Your Pet Cat"/"Golden Age" sandwich, with nifty segues into and out of the aforementioned "YPC". | |
| 2017-07-14 | Chicago, IL | 3:30 | -> back out of "Golden Age". Page's electric piano adds some great color to this half of the "Your Pet Cat"/"Golden Age" sandwich. > into the debut of "Leaves". | |
| 2017-07-15 | Chicago, IL | 27:11 | A wide-ranging improvisational monster that moves from low-key grooves to powerful heavy rocking to a "Timber (Jerry)"-esque tribal zone to a majestic major-key finale with some lovely Trey trills. Must-hear stuff, no ifs, ands, or buts. | |
| 2017-07-15 | Chicago, IL | 7:39 | > from an iconic "Simple", the band continues to push and poke through sonic boundaries, shaping a cool, spacey, and highly unusual version. Trey foregoes his customary solo, creating instead a nice pocket of sound through which effects and some pretty work from Page swell and recede atop great percussion and bass. Trey's play soon becomes more direct but remains atmospheric, offset by the deft sort of super full-band play we've come to expect from the band in this spot. Some plucky guitar gives rise to a swirling momentum which builds to a cacophonous conclusion. | |
| 2017-07-15 | Chicago, IL | 12:03 | -> in from "Light". Trey hits on a cool repeating pattern at the start, and a bright, quicksilver groove emerges with Page and Mike at the forefront. Page goes to his synths and things turn inward and weirder, with Fish taking the reins, before the jam explodes back to life with some tremendous stop-start jamming. They return to rock-out territory, then -> neatly into "Cities". | |
| 2017-07-16 | Chicago, IL | 20:35 | After some typical "Carini" riffing, the jam simmers for a while as a low-key groove unfolds. When Trey becomes more active, the mood brightens and his melodic soloing leads to a peak with some Allman Bros. style licks thrown in along the way. Post-peak there is some pretty Page/Trey interplay and a gradual > to "Twenty Years Later". | |
| 2017-07-16 | Chicago, IL | 9:26 | Never quite breaks away from the standard jam, but (like the 8/2/15 "Seven Below") explores every inch of the "20YL" envelope, thanks to some pulsating guitar work from Trey, before heading back home to finish. A very neat version worth hearing. | |
| 2017-07-18 | Dayton, OH | 10:51 | Trey pushes through a few early miscues to share in Mike's incendiary groove. Via rhythmic shifts in meter and tone, Trey constructs a mellow, effects-enriched jam, which, colored by Page's wraithlike atmospherics, coasts atop Fish's steady beat, before driving the version to a strong conclusion. | |
| 2017-07-18 | Dayton, OH | 22:50 | Mixing some great new sounds, especially Page, with a fairly familiar jamming pattern, the band succeeds in recycling a formulaic, major mode and upbeat-oriented jam into a warm and very fresh sounding performance with a Trey-led peak. | |
| 2017-07-18 | Dayton, OH | 16:31 | If Super Bowl LI were a song... it would sound like this. [Excellent, unusual, and highly musical version. As if a malleable substance, Trey employs any number of ideas - and works an array of pitches - to fashion light from an atonal sort of darkness.] | |
| 2017-07-18 | Dayton, OH | 13:01 | "Wombat"'s second big ride shrugs off some dubious vocals to deliver a hard-charging "Ghost"-esque late night groove that morphs into delicious major key rocking out. Mike's work, in particular, is a joy to behold. Collapses into bubbly ambiance, then > into "Chalk Dust Torture". | |
| 2017-07-19 | Pittsburgh, PA | 15:26 | Inspired full-band play departs "Caspian" proper around the 5:00 mark. Trey shapes his tone, and his impassioned and varied soloing arrives as if from some astral plane. The jam then cools to float upon an atmospheric, yet highly musical wave, whose "No Quarter" undertones give way to trilling which slowly builds to the first of several very powerful peaks. | |
| 2017-07-19 | Pittsburgh, PA | 21:19 | Busted out after a 380 show absence, Phish goes 2 for 2 on delivering the goods with this TAB standby. The jam quickly goes "Type II" and features bliss jamming aplenty as well as some new synth sounds from Page. | |
| 2017-07-19 | Pittsburgh, PA | 9:36 | With Trey's struck notes skipping like stones atop bedrock Fish, a change leads to more by way of melodic soloing which, effortlessly, Trey whips into a blast of huge, clock-watcher sustain, play which separates this version from most others (see 10/20/21 for similar, inspired, jamming). | |
| 2017-07-21 | New York, NY | 8:29 | Unusual take. Unlike 11/16/97, which also features play that begins in traditional "Timber" style - before shifting to major mode play - here (just after the 4:00 mark) the move is neither delicate nor serene but, rather, is driven and forceful, so providing the foundation for the version's spirited conclusion. | |
| 2017-07-21 | New York, NY | 13:02 | Drops into a darker zone right out of the composed section, with Trey's fine guitar work and Page's synths leading the charge. Mike helps keep the jam at a low boil, before Trey makes the call for major key and they move to a blissful jam space, if a bit more restrained than previous jams from this tour. They build to a nice peak as Trey sustains one note before heading to Allman Brothers land, then they wind to a close on a bed of synths and > into "Billy Breathes". | |
| 2017-07-22 | New York, NY | 17:30 | Trey quickly strays from his typical "Moma" solo but the jam retains its usual character until around 9:20 when he introduces a brief darker-tinged passage. Strong group play continues as the mood shifts again, this time to a wonderful major-key zone with strong accompaniment from Mike and Page, and intensifies briefly before exiting with a > to a jammed "Breath and Burning". | |
| 2017-07-22 | New York, NY | 10:08 | > from 'Moma," the band breaks from the song proper to produce a sudden, unexpected jam, just the second since its debut. Trey works atop a great groove, alternately riffing and picking a lilting little melody, while Page provides fun, whirling fills. Strong bass and nifty percussion propel the version to a spacey outro and > into "Funky Bitch." | |
| 2017-07-22 | New York, NY | 10:26 | Beautiful "Baker's Dozen" version quickly assumes a measured, metered pace, affording all four musicians room to seemingly solo independently, yet in unison, resulting in that special sort of cohesion wherein the band uses music to channel their collective energy to uncover a particular charmed and enchanted space. | |
| 2017-07-23 | New York, NY | 10:59 | Super summertime version finds Trey channeling some sunshine to warm the Garden. Following a great groove - which slowly builds to gain serious traction - "Streets of Cairo" teasing functions as a change of sorts, with Trey skipping through a sweet little set of notes before shaping his tone and taking what amounts to a second solo. Bright and shimmering, this soon yields to a "simple," yet euphoric, release. | |
| 2017-07-23 | New York, NY | 15:14 | An absolutely outstanding version. Right out of the gate, Mike pushes the jam into a darker mode, and the band slides into a seductive groove, Lil' Punkin meshing beautifully with Trey's effects-laden playing while Mike and Fish hold down the fort. Trey fires off some lovely trills as a fog creeps over the proceedings, with Mike really stepping up his game in the latter half. The jam winds down into noise, then returns neatly to the "It's Ice" theme. Longest version to date. | |
| 2017-07-23 | New York, NY | 14:53 | At the jam's onset, Trey takes the lead and pours it on for a powerful peak, after which there is some "Type II" exploration, including a beautiful and stylistically refreshing spacious segment. Out of this space, the jam rebuilds for a nice finish and transitions to "Twist". | |
| 2017-07-23 | New York, NY | 15:59 | Page's synthesizer gets a workout in this jam which goes from pleasant major key playing to boisterous rocking before returning home to close. | |
| 2017-07-23 | New York, NY | 11:15 | A delicate but somewhat perfunctory customary jam is followed by an outro jam which shifts from soothing piano play to more dissonant, eerie outer space exploration. | |
| 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. | |
| 2017-08-01 | New York, NY | 20:02 | A bit slow to get going, but really takes off when an uptempo groove kicks in around 11:30 with Trey and Page providing leads over the swiftly moving rhythm section. Continues to pick up steam as Trey takes charge with some exciting playing and peaks the jam before it ends with some brief space. | |
| 2017-08-01 | New York, NY | 12:37 | Surprising jam vehicle from the Baker's Dozen. Grows dissonant out of the verses, then darker and more powerful as Mike fires off his meatball and Page leads the jam into cerebrally modulated pastures. Fishman's ride picks up and leads to some fine finger work from bluesy Trey. | |
| 2017-08-01 | New York, NY | 12:01 | Seriously rocking version becomes seriously percussive. Strong, funky, full-band play finds Trey, Page, and Mike breaking from their rigs to join Fish upon his kit. Trey picks a nifty little line upon the Marimba Lumina - lifted from his play preceding "Drums" - and a cool, upbeat jam ensues. Seriously percussive version then becomes seriously spacey. Back with their instruments, the four gel to create a sonic outro which smartly >'s into "Piper". | |
| 2017-08-01 | New York, NY | 13:05 | A typically upbeat, rocking "Piper" jam more or less through 7 minutes then shifts into a raw and funky groove recalling a style of jamming commonly found in its "2.0" brethren. Gets more out there after 10 minutes and takes on a darker tone with "46 Days" quotes and lots of bass effects. | |
| 2017-08-02 | New York, NY | 9:21 | Baker's Dozen Hole-themed "Meat" - dropped as means to further develop the first set's "morbid" milieu - takes a humorous turn when, from deep within the silent section, Fish jumps the band and butchers the beat. This miscue unearths a slow sort of zombie stomp, which, rising from a bit of primordial ooze, assumes a life of its own. Inventive soloing from Trey, and super contributions from Page, slowly bleeds into "Maze." | |
| 2017-08-02 | New York, NY | 22:07 | After a conventional first jam, this longest version since '96 (until being surpassed by 8/4/23) transitions in the back-in-the-day typical way (i.e., after the "tramps segment closing chords" are played) to a Second Jam that is anything but typical. The lengthy exploration peaks triumphantly at minute 20 and segues into "O Holy Night" of all things after a brief foggy outro. | |
| 2017-08-02 | New York, NY | 18:30 | "Taste" gets its first true jam, and it's a doozy, too. Darker-than-usual jamming leads to a lovely shift to major-key blissfulness, Trey's chord playing giving the jam some real warmth. The music shifts to more powerful, if still low-key rocking out, Page's piano at the forefront, then builds to a superb finish. Dies out and > into a superb "Wingsuit". | |
| 2017-08-02 | New York, NY | 11:02 | > from a huge "Taste" to cool a historic "Mike's Groove". While the version slowly builds with customary intensity, Trey (6:00) enters a passage of excellent inward play before joined by Page. This develops into pointed, inventive, and, for "Wingsuit", unusual full-band improvisation, before yielding to a strange, restrained, conclusion. > "Sally". | |
| 2017-08-04 | New York, NY | 16:34 | Moves quickly into a sprightly upbeat zone with sharp playing from Trey and Page giving the ivories a good workout. The band shifts to a new gear and builds to a squealing fireball peak, replete with a "NMINML" tease. Downshifts into a casual, almost tropical groove (helped by Mike's relaxed basslines and Fish's metronomic work), a groove reminiscent of some 2.0 jams. > into a superb "Caspian". | |
| 2017-08-04 | New York, NY | 10:06 | Blistering version > from an experimental "SaSS." Trey wastes no time finding his line - a huge blast of sustain ripped from the vocal refrain - and, accompanied by pounding Page, simply lays waste to any idea of melodic variation. Incendiary soloing seems to arrive from some other place before Page moves to his keys, Trey fades, and "Caspian" sinks into an eerie sort of abyss. Dark effects and "EIIRP" quotes float to color the surface space before the band breaks for "Fluffhead." | |
| 2017-08-05 | New York, NY | 12:23 | Some mildly meandering jamming at the beginning occurs as the band seeks a direction, but patience pays off as they eventually all lock into the groove and build energy together. This delivers a decent piano and whale call-dominated peak as the band continues to feed off the audience's energy. | |
| 2017-08-05 | New York, NY | 10:50 | > from "Alaska," serious, introspective play stands out amidst a series of standout moments. "Plasma," at its finest, often evokes early "Timber" jams, with impassioned improvisation by Fish and Trey. There's much of that on display, here, before Trey, deep in a liquid pocket, rides a watery blast of sustain, the band in tow, working the jam to crest and deliver a sunshine of feeling. | |
| 2017-08-05 | New York, NY | 20:40 | After YEARS of sustained lobbying by site users for its chart induction, it's time to have your doughnut, and eat it, too. Twelve shows in, it was just a matter of time before the band delivered a centerpiece "Ghost," and, following a smoking set-closing "Plasma," the band wastes no time, taking the stage and bathing the arena with a smooth sort of "pastiche," a accumulation of BD sounds that manifests around sixteen minutes in when Trey fires a series of notes (which Page traces in a sort of descending pattern) before Phish enters one of its most august moments. | |
| 2017-08-06 | New York, NY | 10:49 | Impressive debut. While colored with shades of Straus, the version remains true to Vida Blue through Page's vocal delivery. Trey then leads the band on a wonderful odyssey, swapping ideas with Page, who alternates between slinky synth and pointed acoustic, the duo driving the version to a rousing conclusion. | |
| 2017-08-06 | New York, NY | 25:28 | A multifaceted capstone, assuredly anchoring the final show of the historic Baker's Dozen run. Luxuriating in each movement, the playing morphs from dark, electro-funk, to brighter, swinging, groovy fun, and then to appropriately celebratory hose. The final winding down is a fitting glaze for this big doughnut. | |
| 2017-08-06 | New York, NY | 24:01 | Fiery jam segment with Trey really tearing it up. Mike teases "Izabella" during B&D, leading to a very cool full-band tease. The vocal jam includes quotes of songs previously played during the Baker's Dozen. | |
| 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. | |
| 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. | |
| 2017-12-30 | New York, NY | 19:30 | Key modulates a few mins into the jam, and a bright, effortlessly soaring groove transpires. Excellent interplay by the band as well, including as the jam mightily peaks before they return to the theme and conclude it old school. | |
| 2017-12-30 | New York, NY | 28:21 | Big-time version from the NYE run that moves smoothly through powerful grooves that touch upon several shades of darkness, thanks to some really heavy work from both Trey and Mike, before turning upbeat and anthemic and dazzling the crowd with a wonderful feel-good journey to The Land of Bliss. The band gooses some "woo"s, then wind down and segue neatly into "Steam". | |
| 2017-12-30 | New York, NY | 14:09 | -> from "DwD", a typically strong "Steam" dissipates well before the 8:00 mark. The band concentrates their effects to create an extended passage of pure space, its chilling, thrilling sounds informing an eerie and impressive din. | |
| 2017-12-31 | New York, NY | 14:58 | The most exploratory "Gotta Jibboo" since 7/4/00. After standard quiet interplay at the beginning, Page gets funky on the clavinet and Trey heads for funkier and bluesier pastures, until on a dime, the band modulates the key, and a light-hearted and bubbly jam warps time and space to ring in the new year. | |
| 2017-12-31 | New York, NY | 18:54 | Serving as the anchor of NYE's nautically themed set, this jam rides a current of warm major-key play into a funky groove and then sails to a swell peak before receding into the depths. |
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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