Jam Chart for the Year 2024 (141 entries)
Legend:
Highly Recommended
Attended
JOTY
| Info | Notes |
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BOAF (19:40)
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Even before the ten minute mark, the jam has already produced a big, hosy peak drenched in sheets of fluid trills, but what follows is an adventurous outro featuring wild space and tense, thematic exploration that defies conventional notions of "type", builds in rhythmic intensity, and finally climaxes with a satisfying return and attack. |
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Axilla (Part II) (11:10)
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After the initial onset of the typical outro jam, the music begins to gradually descend toward the depths with Trey's delay-drenched whammy sirens and Fishman’s samples setting up a dense soundscape. The form then fractures, dissipates and melts down into a dark, hypnagogic ambient goo before vanishing from whence it came. |
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ASIHTOS (16:49)
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Opening a second set for the first time since the 2017 Mexico shows, this "ASIHTOS" features a swirling, grimy intro that indicates the band may be ready to deliver the goods. The jam begins as a laid-back affair, an apt soundtrack for oceanside listening. The tempo picks up gradually; Trey's riffing and Page's play stand out. The jam slowly dissolves and > into a huge, must-hear "Wave of Hope." |
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A Wave of Hope (35:01)
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This tidal "Wave of Hope" raises the bar for one of the era's most consistent jam vehicles with a free-flowing marathon of improvisation. The opening 10 minutes are worthy in their own right, but the signature moment comes at 14:25 when the band in unison dives into deep-sea exploration of hard-edged rock. Relentlessly forging ahead with siren synths and wailing guitar over thunderous percussion and bass, the intensity remains at a fever pitch until the soothing exhale begins at 26:00, ushering the jam back to shore after the abyssal proceedings and > "Oblivion". |
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KDF (11:58)
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> from "46 Days." The continued renaissance of jammed out versions of "KDF" gets another entry with a fun, effects-laden jaunt. Fish's play shines through as a driving force. The jam culminates in a maelstrom of sounds, before eventually > "Wading." |
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CDT (39:54)
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The pull of lunar gravity seems to propel this massively improvisational odyssey that draws from the full ocean of Phish's current array of tones and effects. Embracing a wide berth of improvisational moods from the familiar and serene to the anxious and alien, this truly titanic jam flirts with jagged edges and plumbs the bubbling depths but stays afloat atop the ebb and flow of its multiple movements and eventually finds safe port > "Beneath a Sea of Stars pt. 1". |
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Simple (17:34)
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This show-opener allows the band to stretch their jamming legs with a version that fluidly transitions beyond typical "Simple" and finds a spunky, synth-backed groove over which Trey riffs thematically before a final turn towards bliss and then -> "Sanity". |
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Wolfman's (15:17)
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The band basks in the setting of playing on the beach by providing an apt soundtrack. The jam is calm and chill for a while, until it builds and builds into a mini-peak of energy highlighted by some sparkling play from Page on the piano. Trey then finds his way back home to the song proper for the coda. |
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Gin (20:50)
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A fairly rocking "Gin" splits around 9:00 for some densely-textured, high-quality "Type II" exploration with synths at the forefront and a stormy, probing sense, and then subtly brightens and takes on a more hopeful tone down the homestretch. |
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Wolfman's (16:04)
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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. |
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Life Saving Gun (16:24)
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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. |
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Sand (19:21)
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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. |
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Tweezer (25:15)
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> 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." |
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My Friend (9:50)
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-> 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. |
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Lifeboy (9:59)
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The closing instrumental is uniquely expanded and varied in this wonderfully heartening version. |
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Farmhouse (6:13)
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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. |
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Axilla (Part II) (16:52)
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"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. |
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Theme (13:42)
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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". |
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Tube (9:42)
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A subtler and more introspective take on improvisation than the consistently exciting groove fest "Tube" tends to bring, the band here sonically 'dims the lights' briefly before building melodically to the more familiar peak and return. |
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Stash (14:45)
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Like "Melt," Stash has seemingly assumed a new form (see 8/11/18, 7/10/19, etc.). Like "Melt," many of these jams astonish. (See just about any, recently.) Here, right around 6:50, we see Trey at the apex of his cerebral prowess, fingers and feet in lockstep. Pushed by Page, the friends move through wonderful drums and bass to create a jam that's as pleasant as it is demented, as melodic as it is measured. |
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Pillow Jets (15:30)
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NYE's "Bag" casts a long shadow; fans of that momentous moment can turn from that script to find, here, more by way of impassioned (improvisational) play. Heavy as a multi-beast's footprints stomped into the Mojave's sand, the band toys with an array of effects to produce something like melody before Trey alights upon a line, a path leading the listener through a grassy path where one sees the forest for its cosmic trove of trees. |
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Steam (12:43)
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At times, calm and tropical, and then moody and fierce, this quality version stretches the boundaries of the normal "Steam" jam without totally leaving the station. |
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Fuego (29:24)
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Smoothly coasts through various stages of effortless, upbeat jamming, becomes grimier as it approaches 20:00, and then turns up the intensity as the jam winds its way to an anthemic conclusion. |
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Plasma (15:08)
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A supreme version of the song, proper. Early, while chill, everything is ultra crisp, with singular notes, from all, landing like uppercuts. Around 6:40 there is a somewhat familiar shift, patterned play offset by acoustic Page and terrific Fish. A cool sonic surge arrives around 9:50, music just dripping with Mike beneath a series of echoes which, via extended Trey soloing, gels to inform "Plasma's" righteous riff. |
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Ghost (17:01)
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The band neatly avoids some familiar tropes to deliver a version that exists in a sonic space somewhere between exploration and contemplation. On the back of Trey's growling tone, they quickly hit on a fresh progression that colors the jam to come and inspires some swirling group play that looks towards the light briefly before shifting to a more aggressive, rhythmic pulsing approach. Capped off with stiff frothy peaks, this is a tasty version that delivers the goods and a clean return. |
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Hey Stranger (10:31)
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After a composed section punctuated by flourishes from Page, Trey starts the solo with some swelling guitar licks which give way to a funky, groove based jam which goes from deep and murky to a fun, flowing jam that doesn't stray far from the song's structure. |
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DwD (34:08)
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Very exploratory, wide-ranging jam that is rhythmically oriented but, unlike other Sphere (and recent) jams, seems a bit more spacious. The jam easily could've ended (and been a classic) before 25:15, but, from that point on, the band enters some of the run's best improv. Maybe so. Incredible version. |
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Light (22:09)
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Jam starts off in typical but inspired fashion, with the band taking a melodic, jazzy/conversational approach highlighted by Fishman and Mike's dynamic, syncopated play. A brief spell of "woos" signals a pivot, as emerging ambience coalesces into a spacey minor key groove. A major key shift then leads to peak-filled anthemic territory, followed by a brief, rhythmic groovy conclusion. > "Ether Edge". |
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Character Zero (9:37)
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Second song of Summer '24, Trey demonstrates his commitment to reimagining older material. Atypical, the take seems born from that sonic batter mixed at the Baker's Dozen, the band, in lieu of a typical set-closing rocker, moving from the song, proper, into quieter, contemplative, "jazzy" musings - a welcome change of pace that, while a just dessert, sets the table for a tour full of surprises. |
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Stash (13:55)
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The jam early on seems to draw from the ambivalence of the final lyrics as the band opens up a respectful space for each other. Fishman's insistent cymbal keeps some sense of direction as the conversation grows more fluid and brightens along Trey's melodic lead and Page's grand piano work. Mike hints at darkness and Trey responds with brief pedal play that quickly returns to cleaner tone and gives way to a tension free return to a thematic finish. |
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Ghost (19:01)
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The initial spelunk-funk of "Ghost's" outset jam breaks quickly for contemplative major key exploration, before escalating toward more rock- oriented pastures. The band plants their flag here and digs in when suddenly, a portal rips through space-time, catalyzing a dance with ""4.0's"" famous Dissonant Robots, before concluding with a >""Light"". |
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SOAMelt (14:54)
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> from "Beneath a Sea of Stars Part 1". Often imitated, never quite duplicated. "Melt" appeared four times in Summer 2024, with three of those (including this one) being the Set 2 closer. Each followed the same basic principle: utter deconstruction. How fine a line could the band walk while still keeping things slightly together? They did it best with the first try of the summer, mainly due to Fish's determined play that gives a backbone to the deconstruction happening all around him. |
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NMINML (15:07)
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Gallops out of the gates on the back of Mike's bouncing play and Trey's familiar riffs before transitioning into twinkling psychedelia that moves through diverse spaces becoming more melodic, never quite peaking, and eases through dissonance that deconstructs into "Monsters". |
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CDT (12:24)
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> from "2001," this electric version, quite similar to several "compact" jams of late (check out the song's JC), strikes that fine, Phishy line between melody and cacophony. Perhaps most notable, here, is Trey’s excellent, sustained, soloing. |
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Scents and Subtle Sounds (16:52)
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> from "Tweezer". The full "Scents" treatment with intro. The play is patient and slowly builds towards a celebratory jam. The jam takes a turn and is highlighted by some fantastic play from Fish. The tempo slows considerably and eventually > into "Twist". |
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KDF (19:12)
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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 Fishman’s rhythm section attack, eventually leading back to the "KDF" ending, and charging into "Carini". |
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My Friend (17:20)
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Spoiler: No "Myfe" ending. Instead, we are again spoiled as Trey pushes the band into extended, driving, and impressively focused improvisation. If this is "new norm," this version is arguably the most direct, with terrific intraband play well through the 11:00 mark. Here, play brightens, but eschews "bliss" in favor of more melodic, note-driven ideas, underscored by a terrific percussion rinse and play from Page on his concert grand. Jam peaks, but it's more in the form of a welcome release, and a huge blast of sustain; this cools to set up a wonderful "Brian and Robert." |
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Simple (40:20)
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This mammoth jam never drags or seemingly missteps while flowing so well that it may come across as deceivingly simple and stands as one of 2024's most illustrative testaments to the supremely complementary modern-day play style. More notable for the overall journey than individual moments as it reaches out in myriad directions and successfully latches onto practically each one. Longest "Simple" ever. |
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ASIHTOS (15:13)
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Impassioned opener which, while incredibly tight, assumes no set structure, Trey signaling a shift near the 7:00 mark for something more by way of major mode before play calms and the jam coasts; but a calm before the storm, this, as Trey, pushed by Fish, builds the jam to an incendiary, must-hear finish. |
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Wolfman's (14:03)
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Cool, slinky play from Trey early on is a good indicator that this version is a keeper. Nary a note is wasted as the jam picks up tempo over time. Before you know it, it's an absolute party. The jam crescendos nicely before winding its way back to the song proper. |
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CDT (13:48)
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Be it fourteen minutes or twenty-four, the band regularly slays the band's best (source: Trey) song. Atop his own sonic sound (loop), blended with Page's crazed-carnival somewhat-sinister swirl, Trey dreams up a couple inventive, wildly unique solos, music which sharply brightens to usher in a seriously curious conclusion. |
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Ocelot (10:25)
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A sparkling, vital version which builds with great focus and energy, at times sounding more like "Roggae" than your typical "Ocelot". |
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Theme (16:01)
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Extended take sets sail for "Type 2" waters, and cohesively shifts between melodic effects-based playing, hose-y major key rocking and finally a murky funk-rock section before shifting back to "Theme's" ending to close. Excellent. |
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Timber Ho (9:07)
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While arguably not as strong as 8/1/23 or 7/22/22 (Trey's tone feels a bit off, here), fans of this version should revisit play from 7/28/18 or "The Baker's Dozen." |
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Tweezer (39:48)
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Another massive entry in the (almost) 40 min club spends ample time mining deep crevices, discovering diverse bits of melodic beauty, and exploring riff laden spaces, before Trey and the band finally lock onto an ecstatic progression that takes the band through a series of peaks so gorgeous and gratuitous, the stunned crowd responds with a full minute and a half of ravenous applause |
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Ether Edge (12:21)
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> from "Tweezer," Trey's sprite soloing splinters to sparkle before more by way of serious improv. Terrific full-band play atop perfect, almost unnoticeable effects patiently builds, the four in total control, to make of this musical triumvirate (Trey summons, by strumming a series of simple chords, a > for a truly moving "Piper") something like one movement. Incredible moment. |
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Piper (12:20)
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-> from "Ether Edge", this version bounds along in familiar territory until a downshift at the midway point, after which the jam turns in a markedly different direction and quickly establishes a soulful, fully formed coda to take us home. |
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Boogie On (8:51)
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> from "Bouncing". A fireball version of the song with a mini-breakdown jam at the beginning and loads of energy throughout. Trey is on fire the whole time. |
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Mr. Completely (22:20)
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After transitioning away from the song, Page’s grand piano gives the improvisation shape and direction as Trey responds leading the band through uplifting and thematic play that modulates across both delicate and thornier spaces. Listen for Mike's "Meowdulator" pedal and Trey's "Hanon exercises" to make appearances before returning to the song proper to close. |
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Ruby Waves (18:22)
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> "Twist," a great, driving version which finds Trey (possibly) teasing "Holiday in Cambodia" after the ten-minute mark. Either way, dramatic, somewhat (pleasantly) droning play continues until, around 13:15, Trey strums - signals - a decisive shift, and play becomes more plucky, with more by way of sonic separation, before the jam bleeds out and > tease-driven "NMINML." |
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ADITL (6:17)
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Worth the wait (162 shows), Phish explodes. Everything about this version is excellent, including those in attendance (listen to the AUD). |
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DwD (15:05)
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Showing up in the rare spot of the third song of Set 2, this "DWD" has the band locked in and playing off each other the whole time. The jam gets introspective for a time and then a bit heavy, before giving way to peak-y play and then back into the "Disease" solo. It wouldn't be the last time that solo wove its way into the setlist that night. |
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Scents and Subtle Sounds (24:27)
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Making its first appearance at Deer Creek after more than two decades, "Scents" here is led by Fish’s frenetic play, which is anything but subtle. The jam takes a turn just before the 13 minute mark into a slightly more contemplative space that provides some breathing room for the band to engage each other in conversational interplay that gradually builds to a rhythm laden and percussive peak featuring a reprise of "Down With Disease" before concluding. |
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CDT (19:47)
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Mike takes charge early sending the improv to the basement for an extended minor stint layered with reverse loops and a hint of tension before play brightens and climbs to a rolling peak that spreads and diffuses as it -> "Plasma". |
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Plasma (14:26)
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> from "CDT," the song again assumes, like Nashville '16, a deeper, more fluid and cerebral, late-show form. Fish's signature off-beat play is on full display, while Trey's phrasing, moderate musings, and wild effects, coupled with great Mike (and inventive Page), create a truly intriguing and fresh soundscape, one which showcases Phish at their finest. |
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Fuego (13:30)
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"Fuego" admirably fills the role of set-closer for the first time with a tight, well-executed jam featuring melodic leads out of the verses and later a grittier section which brings certified "set-closer energy" to the rocking conclusion. |
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46 Days (10:34)
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Cool version. Near the 6:00 mark, Trey lays into languid, off-kilter, near-melodic variation, his soloing seemingly aimless before, with Fish, settling on a great passage unsettling previous play, the segment completely discordant, before abruptly, yet adroitly, returning to close and > "McGrupp." |
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Ghost (31:06)
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In latter-day Phish, extended "Ghost" intros typically portend greatness and this version is no different. Around 23:00, Trey and Mike link up and push the jam into a new territory and it takes off. Fish's driving play ensures the entire band keeps exploring the space. When the jam is seemingly still in a cool place, Trey forces the band back to the "Ghost" melody. He can be forgiven, given the huge version of "Soul Planet" that follows. |
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Soul Planet (26:13)
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Along with preceding "Ghost", this "Soul Planet" makes up one of the great 1-2 punches of the year as it sets off at a good pace and introduces dial-tone and other wonky effects in the opening minutes before a shift around 8:00. From there it drifts upwards into major bliss and is driven into gorgeously inspirational territory by Trey's coalescing riff for a terrific mid-jam hosing, after which the band briefly gestures towards a return home, only to quickly launch into more locked-in improvisation. With the vibe now turning towards hard-rock, the jam once again gels around Trey's riffage and surges to a head-banging peak, then > "Billy Breathes". |
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Sigma Oasis (10:39)
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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. |
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Gin (15:27)
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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. |
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Moma (23:23)
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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. |
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Possum (7:23)
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Billy Strings takes lead vocals and swaps geetar solos on this short but sweet version. |
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Everything's Right (13:38)
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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. |
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Carini (10:21)
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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. |
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Oblivion (15:20)
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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 |
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WGTYM (10:27)
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Debut. Features Billy Strings on guitar and added vocals (and a nice jam, too). |
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Wolfman's (8:23)
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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. |
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DDHVL (7:01)
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> "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. |
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Evolve (8:22)
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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.) |
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Mist (5:52)
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Remarkable version, featuring Billy Strings on acoustic guitar. |
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Blaze On (8:30)
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Billy Strings blazes and shreds in this two guitar guest sit-in version |
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Frankenstein (4:47)
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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. |
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NMINML (14:17)
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Trey augments his tone just so- a great nod to the song's roots- and wonderfully solos. There's a super, however subtle shift, following the 5:00 mark, and the jam assumes a different register. Blasts of sustain and more great Trey (nifty melodic and thematic variation) builds to bliss tinged with that "Allman's" twist which culminates in a fire conclusion offset by the song's vocal refrain. |
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My Friend (17:27)
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Atoning for a somewhat ugly composed section, Trey slashes his way through a jam ignited by near full-band "Fuego" teasing, the four then yielding to a cool idea come 8:45, which builds to scattershot, yet engaging and musical improvisation, Trey finally finding a fun, atonal line before turning all "Crosseyed and Painless," which, bettered by Page on his piano, leads to raucous improv, all of this building to inform a fun, playful, 'What the hell was that?' conclusion. Maybe so? Why not. |
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Tweezer (24:10)
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Like a labyrinthine Hall of Mirrors, this "Tweezer" shifts through several moods and themes in impressionistic fashion. Fishman's cerebral, yet grounded grooving keeps the ship afloat as the band modulates between locked-in funk, abrasive dissonance, nearly rudderless psychedelia and finally a super catchy, Allman Brothers-inflected country rock section that turns anthemic. This then resolves back to the "Tweezer" theme and > a powerful "Pillow Jets". |
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Pillow Jets (13:17)
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> from "Tweezer". If you didn't know any better, you might think the beginning of this jam was out of "Melt" and not "Pillow Jets". Out of the muck, Trey leads the band into an upbeat, driving jam that oozes energy. Trey weaves his way back to a smooth segue -> "Tweezer". |
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Tweezer (3:03)
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-> from "Pillow Jets," Trey and Fish work their way into a snappy, musical and inventive "Tweezer" segment featuring rather cool contributions from Mike and Page. Fish is just fantastic and clearly having a blast, while Trey does his thing. A bit by way of noise drops; Trey strums; and the band -> into just what you'd want: "Piper." // Part "Piper" and "song-"outro, a return to the iconic "Tweezer" riff unquestionably caps this incendiary Summer 24 segment. |
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Piper (15:20)
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Led by Trey's relentless invention and energy, this version is all gas and absolutely no breaks. Fiery group play abstracts at will, downshifting and upshifting without ever sacrificing cohesion, coalescing into a breakneck psychedelic rock clinic with Trey's guitar practically shooting off sparks. A brief return to the "Tweezer" theme (albeit in a different key) provides a fitting reprieve, before finally cooling off for "Shine a Light". |
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CDT (11:46)
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Don't let the timing deceive you, as this "Chalk Dust" is packed to the brim with ideas and energy. Trey and Mike's inspired, high-energy interplay lead the band through multiple modulations, a "Yankee Doodle" tease, and finally a burn-down-the-house peak, closing up shop on a killer set 2. |
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DwD (17:56)
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Breaks out of traditional "DWD" space almost immediately for a swirling, psychedelic zone, featuring excellent dynamic play from Mike. With a steady rhythmic attack providing a platform, play grows more and more densely layered, with tonal shifts popping up like wormholes along the way. The train rides on undeterred, before executing an excellent ->"Waves". |
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KDF (17:24)
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Centerpiece of a strong, cohesive set. > from "Twist," the band directly exits the song and throws just about everything, except Billy Strings (whose sound from the recent Michigan sit-ins looms) at the wall, creating, in fact, not so much a wall of sound, but a light/dark, bright and breezy psychedelic tapestry. Truly great version. And evidence, perhaps, why "just" Phish is more. > to "BASOS." |
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46 Days (9:23)
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Trey screws around early, setting a great (if strange) tone, and an excellent, somewhat demented jam develops. Naturally, Mike features heavily. Some of the most off-beat Phish - the sort of improv one could listen to for days - does, in time, sync up, building to an upbeat, if familiar, conclusion. |
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Gin (18:28)
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After toying a bit with beat and meter, play calms at 6:30, and Trey, atop Fish, runs through a nice solo, informed by a (welcome) melody you've heard before. A few minutes later play nearly stills, with Mike and Page emerging to inform much by way of synthy sound. Trey latches on, and in time the jam, pushed by Fish, breaks to become a full-band celebratory affair - music, perhaps at its best, when Page jumps to his concert grand. |
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Bag (21:21)
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Another big "Bag" following NYE 23's masterpiece, though in lieu of tracking a multi-beast, Trey follows his instincts and summer's touring sound. Halfway through the version Trey discovers a great theme and we're off on another, special, voyage (somewhat reminiscent of MSG's sound), the jam then moving through a number of highly charged and disparate improvisational passages. |
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Moma (12:37)
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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. |
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Wolfman's (19:19)
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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. |
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Sand (14:52)
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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. |
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WGTYM (25:09)
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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. |
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Light (11:41)
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> from "CDT," play is gorgeous, melodic, and enchanting, before a stunning drop into dizzying mayhem eventually >'s into "Prince Caspian." Choice version. |
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Caspian (15:03)
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> 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. |
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Ruby Waves (15:16)
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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." |
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Pillow Jets (9:49)
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> 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." |
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Your Pet Cat (6:57)
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> from "Pillow Jets," the song, some of the faster Phish you’ll 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. |
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Ruby Waves (0:44)
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> from "YPC" to complete the version. |
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Fluffhead (16:07)
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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. |
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Jibboo (12:34)
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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. |
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46 Days (10:32)
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A heavy, listener-unfriendly jam which utilizes brooding effects more than traditional harmony to create a nightmarish industrial soundscape. |
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DwD (19:15)
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Big festival version goes deep at the Woodlands in Dover as one course in the middle of an absolutely stacked second set entree -> "Tweezer". |
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Tweezer (19:32)
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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". |
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Scents and Subtle Sounds (16:20)
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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. |
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Bag (8:31)
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"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. |
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Gin (12:29)
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It doesn't take long for this "Gin" to abandon its usual approach and morph into a warped electro-funk groove. > "Izabella". |
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Fuego (16:32)
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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. |
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Cities (13:39)
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Summer '24 Phish truly blurs the line between "average-great" and notable. Perhaps a case in point, here. Precision play from the jump before, come the 6:00 mark, Trey unleashes a series of savage licks. The band truly wakes, each adding "parts" informing this great sum. Play coasts before Trey finds a great melodic (pick a tease) riff, which Page mimics. A true Dick's harbinger. |
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Ocelot (11:07)
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"Ocelot" might be '24's surprise song; press play, here, to hear why. Patient and introspective, Trey shuns anything by way of ham-fisted (re: distracting) vocal delivery to, following super Mike and Fish, meander in a near "Meat"-like fashion. Trey shows restraint and walks away - such are his lines - from such sentiment, his soloing, with (or against) Page's high-register play, delivering a legit first-set highlight. |
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Sigma Oasis (19:13)
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Pretty version, ft. pronounced echoes through Trey's vocal section. Some of those strong "TFTB" vibes as play coasts. Trey augments his tone - also pretty - and the band works through a light, airy jam, with particularly notable play from Fish. Trey alights upon yet another great theme (he makes it seem so easy these days) which, owing to his patience, allows for a restrained, yet thoughtful, conclusion. Quiet highlight. |
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Pillow Jets (23:05)
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Jam takes a sudden and incredibly frenetic turn coming out of the grimy "Multibeast" section. The band conjures not just thunder, but a multifaceted visionary journey through shifting sounds and moods as diverse as the Vedic pantheon before settling into a rhythmic and loop laden space that gives way abruptly to "2001". |
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CDT (26:33)
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This installment of the annual Dick's "CDT" is a big winner. This massive, multi-sectioned jam is must-hear. It searches for a bit, but the band locks in around 11:30 and takes the listener on a journey that culminates with a nice peak before finishing with a return to the chorus. |
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Sand (13:57)
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Less Sand (although, astonishingly, the band keeps the song's signature line - mostly - running throughout) and more method of critical analysis of philosophical and musical language, one which emphasizes the internal workings of expression and conceptual systems, the relational quality of meaning, and the assumptions implicit in Phish-forms of expression. > "Ruby Waves". |
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Ruby Waves (21:09)
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Act One: Listen for Fish playing with the rhythm of Trey's feet. Act Two: Enjoy .... Intermit. Act Three: Listen to Trey listen to Page's melody (11:14-ish), follow the line, and go CRAZY. For a bit, it sounds something like "Guyute" chasing "David Bowie" around "Esther's" cemetery before... Well, while there is a conclusion, the whole thing is better off listening to, rather than reading about. It is that cool. |
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YEM (26:37)
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After a rather laid-back opening, the jam reaches its customary end point with the Bass and Drums section and vocal jam, after which the band kicks back in with more "YEM"-like grooving and builds to a ferocious peak punctuated by "Wash Uffizi Drive me to Firenze" vocals to close out a tremendous show. |
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Oblivion (18:15)
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While the band may not cover a lot of new ground, they certainly traverse a lot of interesting territory. The song's signature line (which many have already likened to "Sand") runs, at least for some time, "like" Sand. Moody, atmospheric play does break for airier sounds, with Trey splashing through sonic soil, the version becoming an airier affair. Page pounces, and the second "half" of the jam is marked by great full-band play before a return to song, proper, to close. |
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Gin (18:55)
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Builds in a straight line from "Gin's" typically bouncy outro into a more funkish and rhythmically based section before barreling to a rocking conclusion. |
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KDF (25:58)
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> from the second set-opening "Loving Cup". Another fantastic version of "KDF". Things slow way down after the song ends, seemingly only so it can slowly build back up. Great play throughout keeps building and building to a blistering peak. After, things slow down as the band figures out how to -> into a huge "What's Going Through Your Mind". |
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WGTYM (16:34)
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Question isn't when, but if "WGTYM?" won't jam. Seems improbable, given Trey's line from the vocal section is, like a drug, seemingly designed to bring the band back for more. Impressive, extended, synth-heavy improv runs to break for a very notable -> into "Crosseyed." |
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C&P (13:52)
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> from "What's Going Through Your Mind". Fish's aggressive, driving play ensures this "Crosseyed" never lacks in tempo or energy. A fireball version popping up late-ish in the second set. |
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My Friend (17:56)
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Another "MFMF," another huge, exploratory excursion. Out from a screaming vocal section, the band quickly locks into a groove that, while certainly marked by distinct, excellent segments (including, after the 12:00 minute mark, a bit by way of melody akin to the set-closing "LSG"), runs for a seamless near-twenty minutes > an extended, whimsical, vocal refrain. |
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Set Your Soul Free (24:40)
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Throwing it all against the wall, the last big jam of Summer 2024 kicks off with some relatively quick shifts between echo/delay grooves and blissful arena rocking, before a sludgy, industrial stew takes hold and stays put. Listen for Fishman's subtle rhythmic deconstruction as the music slowly descends into the swamp, and finally emerges > "Tweezer", covered in psychedelic goo. |
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Tweeprise (6:17)
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A uniquely extended version which raucously brings the show (and tour) to a close with an added "Walk Away"-esque solo section and a second pass at the closing build and lyrics. |
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Theme (10:50)
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"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. |
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Piper (18:05)
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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". |
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Wedge (7:22)
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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. |
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Gin (14:59)
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> 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. |
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Fuego (15:43)
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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. |
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Slave (11:13)
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Very strong 4.0 version. The first half of the jam segment is playful and punchy, with everyone contributing multiple ideas to a cascading musical conversation, with Fish and Page standing out as especially inventive. Eventually everyone coalesces into multiple raging peaks, and right when you think it's over, the band adds one last peak. |
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KDF (17:51)
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Bursting out of the compositional portion of the song, "Kill Devil Falls" finds inspiration early yet again in 2024, as an engaging Type 1 attack breaks for uncharted waters at the 7:00 minute mark. Fishman's indefatigable pulse anchors an effects-heavy, psychedelic buffet that traverses from minor key pastures towards serene major key play and back again, at points abstracting into a polyrhythmic synth-filled Eden. The music then shifts towards a celebratory major-key romp, before resolving back towards "KDF's" jam/vocals for one last crescendo. |
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CDT (22:35)
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Chalk Dust becomes fuel for a thunderous full burn by the rhythm section which propels the improv irrepressibly forward, arcing through low earth orbit by way of a brief "Stash" tease and yet beyond, the band shedding stages, pushes into a space where relative motion becomes obscured and transmissions are sent and received without atmospheric interference. Rather than merely glancing toward the rafters, Trey rides the band to the starry realm of The Muse and back, splashing down triumphantly. |
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Mercury (14:04)
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Emerging from the compositional portion of "Mercury" with ample aplomb, the jam immediately takes on a family-style, delayed-out electro funk vibe. With each member actively engaged in the melodic conversation, the jam stays in "Type 1" territory, opting for dynamic escalation over deep exploration before closing out with "Mercury's" vocal ending. |
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Velvet Sea (7:22)
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Showing up as the penultimate song in Set 2, this "Wading" is not at all perfunctory. Beautiful and emotive play shines through, hearkening back to the nascent days of the song. |
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Simple (12:59)
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Opens the NYE run with a bang right out of the gates with a jam that first plays on the usual "Simple" theme with gusto and then flows directly into a more rhythmic transition segment. From there, the intensity quickly rises to a frenzy and concludes with a celebratory peak before returning home. |
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Bag (9:51)
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Just prior to 5:00 this version follows the recent trend of veering from the normal progression into "Type II" territory and continues with an upbeat jam until a brief return to "Bag" to close. |
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Moma (9:30)
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Though the actual jam is of the typical variety, this version distinguishes itself with its patiently extended intro, reminding us all once again just how comfortable the band feels in the Garden that is Round. |
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Caspian (12:46)
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Play downshifts from "Caspian's" typical melodic volley towards murkier minor-key territory, evoking "A Song I Heard The Ocean Sing". The music then shifts towards major key, eventually leading back to "Prince Caspian's" chorus to close it out. |
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Runaway Jim (10:16)
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Extended tension building and tonal changes send this jam spiraling to an eventual triumphant release. Excellent normal-lengthed version. |
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YEM (18:02)
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Perhaps the chillest version to date with a jam segment that consists solely of a laidback funk groove that never rises above a whisper, and after a brief vocal jam -> "Ghost". |
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Ruby Waves (36:37)
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A colossal, must-hear "Wave" washes over Madison Square Garden. The jam expands exponentially through multiple sections, including contemplative but optimistic melodicism, driving rhythmic play, and harmonically dense electro-funk before finally crash landing back to the "Ruby Waves" theme, concluding the epic journey. |
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Hood (14:35)
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Gorgeous and inspired latter day version that is notable not just for the extended "long note", but for the super-abundant fluidity of trills that Trey unleashes upon its supremely satisfying climax. |
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My Friend (19:59)
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After a generous helping of the aggressive murk we've perhaps come to expect from recent plays, the jam cools slightly and settles into an atypically groove laden space that pulses with hypnotic energy and drive, eventually sharpening on the edge of Trey's incisive riffing and concluding with a vocal reprise in lieu of the "myfe" ending. |
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Pillow Jets (13:38)
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Part of the NYE festivities with additional vocals from the conjurors of thunder, the jam is primarily a moody, dark affair that eventually builds to a crescendo. |
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WGTYM (17:13)
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The centerpiece of the NYE '24 extravaganza with additional backing vocals, the jam takes a drastic turn into EDM, a genre heretofore unexplored on the Phish stage, and is interspersed with vocal quotes from several other Phish tunes (see setlist notes) before finally crashing -> into "CDT". |
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
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