Jam Chart for the Year 2025 (139 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 2025-01-29 | Cancun, Quintana Roo, Mexico | 17:38 | Things build slowly at first as Trey and Page politely occupy the same tonal space. Mike and Fish, by contrast, are driven and focused throughout. Trey eventually finds firm footing and digs his heels into more rocking and rif laden territory, and with the help of Page, now on piano, they push the improv to a satisfying peak and return. | |
| 2025-01-29 | Cancun, Quintana Roo, Mexico | 10:34 | Sporting a significantly slowed-down tempo, this version finds itself moving fluidly from typical melodic "Weekapaug" fare towards funkier territory. As the band luxuriates in this space, effects-based play gradually becomes more rock-oriented, culminating in a more traditional crescendo before the tune's conclusion. | |
| 2025-01-29 | Cancun, Quintana Roo, Mexico | 13:29 | Oftentimes, in latter-day Phish, a late Set 2 Twist feels like a crutch. The jamming portion of the set has ended and Trey's just looking for a song to fill the time. That is not the case here! The jam starts mellow and the tempo gradually and patiently picks up. By the end, it's a rollicking good time with a fake-out ending before > "BDTNL". | |
| 2025-01-30 | Cancun, Quintana Roo, Mexico | 13:53 | Another nod to the sea (if not the scene), the song appears in the centerpiece slot, anchoring the second set, following a strong "NMINML." Tight, terse, and largely compact (play before the segue eventually bleeds) strong, if somewhat familiar play, seems to function as foundation for the night's heady highlight - Piper - which pleasantly, after a strong '24, remains on Trey's radar. | |
| 2025-01-30 | Cancun, Quintana Roo, Mexico | 21:40 | > from a big-time "Twenty Years Later". Traversing all kinds of ground, this jam shows off the band's versatility. From the frenzied end of the song proper to a subdued, cymbal-filled brooding jam. There are recurring teases of "Norwegian Wood" and a frenzied maelstrom of a peak at the end, before > into "Taste". | |
| 2025-01-31 | Cancun, Quintana Roo, Mexico | 20:45 | A thoroughly funky opening gives way around 9:00 to an uplifting, inspirational build that carries through until a fakeout return to "Wolfman's" at 13:15, after which the band immediately launches into a high-powered segment of churning electro-rock culminating in a "Mike's Song" tease and another pass at the traditional closing. This time, the return sticks and this highly distinguished version concludes with a jazz lounge ending. | |
| 2025-01-31 | Cancun, Quintana Roo, Mexico | 15:22 | Something 'haunting' about "Oblivion's" opening when done right, and thatâs the case here. Always moody (one way or the other), the tune is a choice second set opener, and Trey opts for immediate excellence after crashing through the song proper, with the band finding a proper groove right around 5:30. Trey and Page pair from the jump, with the improv, some of the very best kind, finding Trey seemingly playing with two minds, somehow splashing different, concentric ideas - in a manner of thinking - off the other, in a manner (or sound) similar to one of his heroes. | |
| 2025-01-31 | Cancun, Quintana Roo, Mexico | 12:51 | In just the third outing of this sparsely-played GOTF tune, the band significantly extends the groove and ups the intensity down the homestretch for a strong Type I jam. | |
| 2025-01-31 | Cancun, Quintana Roo, Mexico | 22:43 | Impassioned play comes early from the outset of the jam, before a breakdown after the 10 minute mark signals a change. An insistent riff from Trey then builds momentum as the music grows introspective and groovier, courtesy of Mike and Page's synth dominance. A propulsive yet atmospheric space is cultivated here and patiently explored with varying textures from each band member, before yielding to the "Fuego" conclusion. | |
| 2025-02-01 | Cancun, Quintana Roo, Mexico | 8:50 | A celebration of the last night of the run on the beach, the band gives us one of their longest and most sustained reggae grooves they've ever performed. No frills, just the band locked in on a groove together. | |
| 2025-02-01 | Cancun, Quintana Roo, Mexico | 21:26 | The first post-EDM version of "WGTYM" is a distinctly slower version of the song. However, the jamming out of the song remains top-notch. Fish takes the reins initially leading a driving, percussive jam. This later gives way to a feel-good explosion of jubilant play that evokes Phish on a beach. The band eventually winds its way back to the "Mind, mind, mind," refrain. | |
| 2025-02-01 | Cancun, Quintana Roo, Mexico | 18:08 | Improvisation begins punchy and playful becoming more experimental and deconstructing as it moves through a transitional space before swelling to a dramatic conclusion drenched in Trey's molten guitar work. | |
| 2025-04-18 | Seattle, WA | 16:57 | > from "Theme". Where Trey might typically take his soaring solo, the song takes a much more subdued direction, indicating this isn't going to be the standard "BOTT" fare. Rollicking and upbeat one minute, spacey and searching the next. Things build from there into a fiery crescendo of a peak before returning to the song proper to close things out. | |
| 2025-04-18 | Seattle, WA | 23:07 | Major key play breaks away early, galvanized by Fishman's cowbell-inflected groove subversions. Eerie effects creep in to create a cerebral, spacey atmosphere before Page's piano brings the band back toward major key pastures for a candy-coated romp. The band then locks in here and rides towards a big crescendo. The main "Golden Age" riff then seeps back in, pushing the band towards a delightful passage of intricate effects-based psychedelia centered around a groove similar to "Split Open and Melt", before -> "What's Going Through Your Mind". | |
| 2025-04-20 | Portland, OR | 13:11 | Show opening version kicks things off with swagger and wastes little time getting aggressively rhythmic. Mike sets a gritty tone while Page and Trey add lift. A weighty conversation develops that blooms into a delicate and satisfying peak and return. | |
| 2025-04-20 | Portland, OR | 14:34 | -> from a small "Cities," Trey guides the band through a passage of subdued, moody sound, the sort of improv at home deep in some second set. While for some time the tempo remains thoughtfully slow and steady, Trey does augment his tone which, despite Mike adding some wild ideas, ultimately marks a decided shift. After the ten-minute mark there's a push to somewhat patterned and familiar play. This, though, is marked by a strong peak that overshadows a bit of a hiccup as the band drops back into the song's primary riff and return to close the song, proper. | |
| 2025-04-20 | Portland, OR | 21:20 | Heats up quickly with a suspenseful minor jam out of the gates before sprinkling in some major at 9:40 and then fully shifts at 11:00 for a brief bliss-out. The next few minutes are transitional (though Mike is getting busy), but soon enough the jam roars back to life as the energy builds and builds to a blistering peak and then smoothly return to the final refrain. | |
| 2025-04-20 | Portland, OR | 18:10 | A familiar spot for the song as it opens the second set and familiarly goes deep. Fish's play around the 11:00 mark is outrageous and must be recognized. Around 15:00, the jam turns into space funk on steroids. Things wind their way to an end by > into "Twist". | |
| 2025-04-20 | Portland, OR | 16:19 | The band take their time testing the improvisational waters, winding carefully and contemplatively at first, then quickly accelerate in a fluid race of ideas that weaves artfully into a sonic fabric accentuated in particular by the melodic telepathy between guitar and piano that drives a sustained peak before fading and > to "ER". | |
| 2025-04-22 | San Francisco, CA | 19:32 | After the band once again hangs on "A" following the song's traditional jam, "Halley's" breaks out for an extended excursion. The band immediately locks into a breezy, upbeat vibe centered around Trey's lyrical soloing. The band opts for the virtue of patience here, as Mike and Fishman's dynamic interplay gradually pushes the music towards a rock-out crescendo. A shift at the 15:00 minute mark takes the jam toward a brief section of dynamic, textural grooving before the vocals for "Halley's" return and bring the jam to its conclusion. | |
| 2025-04-22 | San Francisco, CA | 11:04 | Of older material consistently performed well, particularly within the framework of more "conventional" play, "Roggae" seems overlooked. No more. Expertly the band moves through the song with the languid air of your favorite "Ocelot," marked by particularly impressive runs from Mike (he stuns, throughout) and Trey. Follow the 5:30 stamp, that point from where this sort of play is excised and, in its stead, more by way of unusual improvisation arises. This is music that builds to become informed by a huge, trippy blast of sustain, which, in time, morphs into the song's signature riff-cum-conclusion. | |
| 2025-04-22 | San Francisco, CA | 21:08 | The return of Blonde No.1 elevates this Trey led version that, while it takes its time traversing melodic spaces early on, stays intently focused and forward moving throughout, growing organically into a satisfying masterclass in hose. | |
| 2025-04-22 | San Francisco, CA | 15:15 | All four members achieve rhythmic brain lock early on. Page is crunchy and on point as Trey and Mike trade leads while Fishman steers a musical conversation that unfolds naturally into an uplifting and hymn-like peak before dropping precipitously into a trench of pedal driven murk and giving way to > "Ruby Waves". | |
| 2025-04-22 | San Francisco, CA | 22:54 | > from "NMINML". Score one for another massive "RW". Never stagnant and never wandering, there are few notes wasted as the band moves from theme to theme. There is no reliance on tropes as they keep the jamming fresh. The only thing unlikable is the jarring return to the song which seemingly comes out of nowhere. | |
| 2025-04-23 | San Francisco, CA | 14:04 | Centerpiece of a classic first set, Trey directly breaks directly to jam, a la "Cities." There is a sense of unencumbered determinism as, through the 5:00 mark, with Fish nuts on his cymbals, Trey sets off to strum. He then picks a melodic line made very much of the stuff of the song, which contributes to the evening's old-school air. Play pools a few minutes later to stew and it is from this brew, pleasantly offset by splashes of "Manteca" and dashes "Tweezer," where we get a sense this jam is going to be different. Only a few minutes remain, and it is here where you may find some of your favorite Trey of the tour before the band, as if the song hasn't been forgotten since 2003 (hyperbole), neatly drives the version to a close. | |
| 2025-04-23 | San Francisco, CA | 13:09 | A "long" intro, when measured against recent versions: Hear the first indication this time's gonna be different. Trey scratches. We're off. A near-perfect composed section. Great tempo. Measured, highly musical and if not dark, nothing by way of light play ensues. Yet. Listen for "McGrupp." A change. More by way of major play, now, and more "McGrupp." Seamless. Trey and Page swap a lovely melody. Great almost stop-start playing. Almost. No "woos." Great - great - sustain with Page pounding his keys and listen to the release, a bit of trilling with the band as one roiling and rolling to "Bowie's" signature close. One of the best versions since the band returned. | |
| 2025-04-23 | San Francisco, CA | 30:34 | In contrast to some of the other monsters of recent years, this version stays tethered to "Tweezer" (or something close to it) for an extended period before it gradually peels away, but even while the jam remains within arm's reach of home, the play is fresh and engaging. From there the band embarks on an adventurous journey marked by constant evolution which flows remarkably well, making every new section feel like an organic extension of the same piece, all without relying on any of the well-worn paths one might expect a jam of this length to indulge in. And while this dynamic does not lend itself to a singular peak, the jam is ripe with recurring motifs and themes despite its freewheeling nature, perhaps culminating around 24:30 with Trey's long sustained note over a "MLB"-esque descent. > "Lonely Trip" to end this exhilarating ride. | |
| 2025-04-25 | Hollywood, CA | 13:58 | Mid-tempo first set version gets a quick layer of standard heat before taking a turn for territory marked by bass driven rhythmic interplay, undergirded by washes of organ, and highlighted by bouncing melodic leads that briefly traverse familiar woods before soaring to multiple peaks. | |
| 2025-04-25 | Hollywood, CA | 13:27 | Dense and muscular, this version seems to know what it wants to be right away and wastes no time in getting there. A study in how familiarity breeds freedom and improvisational leeway leaves space for the serendipitous. The group mind here delivers a tightly wrapped package of near perfection that peaks and gradually fades to > "Light". | |
| 2025-04-25 | Hollywood, CA | 20:07 | The jam quickly locks into a probing polyrhythmic bloom not unlike other choice versions of "Light", colored by modern textural approaches with Page's synth work standing out in particular. Play eventually coalesces and builds to a celebratory peak, before minimalist effects-based textures wash over and take the jam into a more cerebral and slightly dissonant direction, before fading > "Mercury". | |
| 2025-04-26 | Hollywood, CA | 18:20 | Gorgeously upbeat and melodic version that bounces along fluidly and seemingly effortless for several minutes in very gratifying territory before finding a more aggressively punchy space that delivers a surprisingly flammable and rocking climax. | |
| 2025-04-26 | Hollywood, CA | 13:16 | Strong version becomes a bit unconventional following the 7:30 mark. Fish kicks a cool beat, and Trey takes off. This leads to driving, forceful improvisation, which again shifts when Trey, using his feet, selects his effects, and, offset by Mike, lays into a series of licks which play like variations on "Bag's" theme. Page bathes the stage in sound as the jam rages on before play bleeds to > into "LSG." | |
| 2025-04-26 | Hollywood, CA | 11:57 | Excellent, extremely fluid version with "old-school" overtones. Play is primarily straightforward, but there is beauty in this, given that one: The band quickly, and quite notably departs to jam (almost as if to atone for the absence of ideas of the "Oblivion" Trey aborts to -> into "Lope,") but, and perhaps more importantly, two: Given the nature of the song, generally (marked by Trey and Page's play, principally). | |
| 2025-04-27 | Hollywood, CA | 5:57 | After a wobbly start to the song, the jam transitions to bliss at 3:50, a move unique for "Llama", and then wraps traditionally. | |
| 2025-04-27 | Hollywood, CA | 11:45 | Begins in the usual tenor but becomes increasingly atmospheric and textured as it subtly brightens into a more established major sound until around 7:00 when a spunkier, more "Timber"-like energy returns to guide the jam back home. Longest version since 11/28/97. | |
| 2025-04-27 | Hollywood, CA | 27:57 | A centerpiece "YEM" that takes full advantage of the two-jam format which has become familiar since 12/31/21. After a short vocal jam, the band digs back in with quality "Type II" riffing which intensifies before landing in a poignant, inspirational zone and eventually peters out -> "Twist". | |
| 2025-04-27 | Hollywood, CA | 14:00 | No mere landing pad. After winding its way "in" from the remnants of a huge "YEM," the band completely divorces itself from former sounds to create yet another remarkable sonic space. Breaking quickly from the song, the jam is very much of itself and perhaps, at least initially, rich with a bit more by way of those welcome Santana over- and undertones. But then. Listen in. The jamming, if not quixotic, has something of an exotic, offbeat, hushed and admirable atonal quality. And then. Keep processing. Thanks in large part to Page, everything is something else completely. Quirky. But not quite. For Trey keeps working a number of warm melodies before play becomes pleasantly droning and noisy with Trey then screwing this heavy morass into "Twist's" signature riff. | |
| 2025-04-27 | Hollywood, CA | 11:34 | Tight, exploratory version that wastes no time. An early stop-start section (replete with Trey's careening sirens blocking out "woos") takes hold, before an excellent key change leads to an (at times) polytonal synth-rich romp with top-notch interplay. "KDF"'s DNA starts to slowly re-emerge before the jam melts from the song's traditional ending > "Lifeboy". | |
| 2025-04-27 | Hollywood, CA | 21:36 | Don't leave yet! This is no perfunctory Encore on the last night of the tour as the band drops one of their longest jams ever in the extra period. Trey leads the band through multiple distinct sections of jamming. After returning to the chorus, even the feedback ending gets extended. | |
| 2025-06-20 | Manchester, NH | 14:16 | Mike and Fish maintain an aggressive bounce that provides a foundation for a quasi-psychic back and forth between Trey and Page who exchange shimmering melodies that build toward a peak that takes a brief and gritty detour into more exploratory ground before returning to the more customary close. | |
| 2025-06-20 | Manchester, NH | 19:09 | After two Set 2 openers for the price of one ("Bouncing" followed by "Sample"), the band gets down to business with the longest "LSG" to date. They take a minute to find their footing, but Mike takes the reins around 9:30 and things take off. Excellent, melodic play from Trey at 14:50 gives way to a full band onslaught. The jam winds its way to its ending and > into "Twist". | |
| 2025-06-20 | Manchester, NH | 18:17 | While remaining in "Twist" territory, the band slows the pace out of the gate. Straddling the line between "type one" and a wavering tonal drift for several minutes, a curious examination of the moment dominates. Little time is wasted before effects layer in, amplifying the mystique that helps to inform Summer 2025's sound. Momentarily, a juicy rhythmic section overlays the mist before this sound breaks for more sustain, "Get More Down" samples, percussive jolts of chaos, and a satisfactory climb into Trey-led rock whose quiet drop > into "Piper". | |
| 2025-06-21 | Manchester, NH | 14:01 | The first in a set of strong Summer '25 versions begins with a bouncing, plucky opening which gives way to more fluid play as it builds to a glimmering, multipart peak. | |
| 2025-06-21 | Manchester, NH | 9:35 | Quickly turns up the heat on the standard outro and soon becomes a ripping torrent. Short, sweet, devastating. | |
| 2025-06-21 | Manchester, NH | 16:41 | Takes the form of a gradual, stunning sunrise. The jam starts in a minor mode, contemplative and soft in a pre-dawn dark. Patience and group listening creates space for every voice. Fishman pushes the gentle ascent, Mike soars around 7:00, then Page and Trey take turns delicately opening the hose. The mood brightens until a bright-but-not-blinding daybreak erupts around 14:00, bringing the warmth of dawn. Evocative, emotional bliss reigns until a return to theme ends the journey without a wasted moment. | |
| 2025-06-21 | Manchester, NH | 23:46 | Hazy, phase-y psychedelia breaks early on for ebullient, sunny grooves as Trey's crystalline Koa 1.5 tone shines brightly. A bit of minor darkness briefly creeps in, as the textural palette then expands exponentially into more space-y, synth dense pastures. The jam finds its "je ne sais quoi" here as a minimalist, hypnotic world opens up, anchored rhythmically by Page's insistent clavinet work. The music then forms up behind Trey's insistent, scratchy rhythm playing and Fishman's relentlessness, remaining wholly psychedelic before finally winding down and > "A Wave of Hope". | |
| 2025-06-22 | Manchester, NH | 7:07 | The return of Fish's intro affords a welcome old-school vibe, pleasantly offset by the band's latter-day spacious, breezy sound. Check out 2/3/93; 2/9/93; 2/12/93; 8/20/93; and 6/7/95 as a means to explore the song's fantastic history and evidence of a workingman's band "writing" on stage. | |
| 2025-06-22 | Manchester, NH | 21:07 | The first leg of a three-part "Tweezer" begins with a playful, bouncy groove buoyed by chunky bass and chugs along in an easy-going manner until briefly slowing as it transitions back to minor for more typical "Tweezer" riffing. After 12:45 the jamming steadily gains traction with a new direction as an excellent rocking theme is developed and driven home with great aplomb until it dissolves > "Mercury". | |
| 2025-06-22 | Manchester, NH | 15:03 | > from a big-time "Tweezer". The jam stays mostly within the bounds of the song until Trey finds a riff he likes. The rest of the band follows along and a bliss jam appears. Trey remains aggressive the entire way, all the way until he signals that it's going to be a "Tweezer-fest" and abruptly > back into "Tweezer". | |
| 2025-06-22 | Manchester, NH | 7:50 | > from a strong "Mercury" as the second leg of a three-part "Tweezer" bonanza. This section is largely "Type I" but with plenty of synthy flourishes and adds in a splash of ambience in the finals minutes before > "Pillow Jets". | |
| 2025-06-22 | Manchester, NH | 6:50 | > from "Tweezer" in a wild and wacky Tweezer-fest. The band sludges through some dark jamming before returning to the "Conjurers of thunder" refrain and ever so slowly, Trey finds his way back to > into more "Tweezer". | |
| 2025-06-22 | Manchester, NH | 13:07 | Slowly emerges > from "Pillow Jets" for the third and final time in a "Tweezer"-dominated set, and is quickly reduced to an eerie hush. Creepy effects are gradually added to the mix as the off-kilter energy builds until eventually Fish kicks back in and the riff returns to usher in a climactic finale, after which it dwindles in the old-fashioned way to put a capper on a collective 42 minutes of "Tweezer" action. | |
| 2025-06-24 | Pittsburgh, PA | 5:34 | The band, as if making up for not playing the song in 134 shows, delivers a choice version. Joyous soloing from Trey and Page intertwine beautifully, turning the Petersen into a windswept cathedral of sound which culminates in a peak of heartfelt glory. That said, it's Fishman's driving, propulsive play and blistering fills that truly elevate this special performance. | |
| 2025-06-24 | Pittsburgh, PA | 13:10 | Shades of '98 with somewhat dark "Gumbo" riffing that gives way to a serene major sound and briefly ascends to the astral plane before touching back down around 11:00, leading to a final chorus and Page's ragtime outro. | |
| 2025-06-24 | Pittsburgh, PA | 11:23 | A little extra attention to detail early on tantalizes and hints at the spicy enchilada to come. Plenty of extra hot sauce, a satisfying dose of tension, and heaps of Trey-tosterone cap off this delicious and rewarding set closer. | |
| 2025-06-24 | Pittsburgh, PA | 19:54 | Another two-jam version, this one sticks close to "YEM" until the final minute which then -> to a gigantic "WGTYM". | |
| 2025-06-24 | Pittsburgh, PA | 42:21 | -> from a fun "YEM". Given how strong its jamming was from the first few versions played, it may have seemed inevitable a HUGE version would appear. This 40 minute masterpiece is just that. Moving from section to section with deftness and poise. Clearly, the band feels comfortable jamming this song, and this may be the cream of the "WGTYM" crop. Must-hear. | |
| 2025-06-27 | Austin, TX | 13:25 | This efficient single jam version begins with familiar, groovy "Mike's" probing, before a downshift steers the music into optimistic major key territory. As the music shifts back towards minor key, a repeated lick from Trey builds a subdued peak, with the closing chords for "Mike's" coming in to shut it down and > "Cities". | |
| 2025-06-27 | Austin, TX | 11:20 | > from "Mike's Song", play is fluid, almost languid, great bass and drums accented by Trey's liquid tone and Page, who twice 'sprays' synth across the stage. Following a really cool line, listen for the locked-in audience (5:45) response before Trey, and the jam, takes off. What follows is Phish at its finest, post-21 refinement, perfect unrushed balance, improv that rolls, roils, and, refreshingly, doesn't build to peak but, rather, smartly draws to a close. | |
| 2025-06-27 | Austin, TX | 9:35 | Shortly after 3:00 the jam enters a segment of edgy, heavily-effected play backed by synth bass which culminates with "I'm a Man" teasing before snapping back to typical closing fare. | |
| 2025-06-27 | Austin, TX | 23:24 | Another major "Fuego" drops in the 2-hole of Set 2. Fish's relentless drumming combined with Trey's attack ensures this jam remains upbeat and aggressive. Stay until the end to hear the distorted take on the song's riff. > to a huge "Golden Age". | |
| 2025-06-27 | Austin, TX | 26:02 | Narrowly surpasses 10/28/16 for the longest version to date, and it's a doozy. Opening with minimalist funk which becomes increasingly reliant on synths and distortions of all shapes and manner, the jam seems to be crawling to a stop around 15:00, but is then resuscitated with a half-time, super-duty march of doom, and carries that same power as it transitions triumphantly to an ecstatic hose-peak finale. | |
| 2025-06-28 | Austin, TX | 10:02 | Kicking off what has seemingly become a trend in 2025 of extended "2001" style intros, what we get here is the first truly significant departure from rote play since 8/16/97. A noticeably slower tempo in the "Landlady" section still slightly mars these modern outings but the relatively clean performance and extra love shown to the intro demand our attention. | |
| 2025-06-28 | Austin, TX | 7:56 | Trey switches key for the jam, and the band responds accordingly. Around 4:10 Trey leans into, and repeats a phrase that works to serve as the foundation for a rockin', confident jam, which finds all four musicians contributing in equal measure. The return to "555" is somewhat abrupt, and leads to a clunky conclusion, but, overall, this is an exciting version. | |
| 2025-06-28 | Austin, TX | 9:44 | A song very much of its time (check the excellent 12/29/22 debut). Perfectly at home between canonical "Reba" and nu-canon "Plasma," this is next generation material. No song > improvisation, the jamming is organic as play from any "Moma," inventive and musical ideas rising from the fabric of the structured material. Trey's strumming after the seven-minute mark sets off Fish and the play becomes forceful, ultimately leading to the fiercest play to date. | |
| 2025-06-28 | Austin, TX | 30:11 | As yet another outsized, aquatic crimson portal opens up, the jam begins in a swirling rhythmic push. This platform remains steady until play breaks into spacier territory around the 11 minute mark. Mellowing space then forms up into darker territory, and oscillates back and forth between brighter and darker textures/moods. Then, the band begins another push towards an anthemic zone, executing a steady climb towards a bright-sized peak, before after-burning into introspective textural territory and > "Monsters". | |
| 2025-07-03 | Boulder, CO | 12:23 | When Fish is this on, "Tube" need not 'jam' to be deemed notable. Special version, however, with Trey, picking through a number of notes, teasing The Dead Milkmen, and driving the improvisation in a number of fun, quirky, directions. This before leading the band into a really cool extended full-band passage, featuring Page on his piano, before leaning into one of summer's finest full-blown astral solos. They hit the change. And then run for the "Roses." Awesome. | |
| 2025-07-03 | Boulder, CO | 8:45 | As if taking a deep breath from a huge "Tube", the band breaks from a banging rendition of the song, proper, and crashes into a powerful jam, featuring impassioned play from all four. Trey adds just enough by way of melodic variation, trilling, and sonic sustain before > for a mighty "Maze". | |
| 2025-07-03 | Boulder, CO | 16:57 | A massive extended dance party, Sally here makes a gorgeous racket that does not bother with vocal jams nor swerve from its intended purpose keeping the bodies bumping in Boulder and launching a stadium size celebration capped by peaks that sustain the energy deep into the second set. | |
| 2025-07-04 | Boulder, CO | 14:28 | A typically jaunty, groovy improvisation makes a break for more pastoral, psychedelic territories around the 6:30 mark. With Fishman's pocket remaining constant and ever rock-solid, Trey, Page and Mike's particularly funky affected tones help to create an intoxicatingly textural dance party, before the "Oblivion" closing section emerges to close it out. | |
| 2025-07-05 | Boulder, CO | 10:46 | Gets to "that place" in a hurry as it sails through the stratosphere on a wave of synths and full-sustain guitar to touch the divine. | |
| 2025-07-05 | Boulder, CO | 15:29 | Murky and soupy island funk of the highest caliber gives way to a familiar progression and leads to upbeat, focused, and ear-wormy play that blazes satisfyingly. | |
| 2025-07-05 | Boulder, CO | 14:56 | A shift after the 6:00 mark leads to floaty, searching space; this paves the way for a bass-heavy, clav-driven section, with Fish both accenting and pushing the jam as it builds. Eventually, Trey angles his way towards -> "MFMF". | |
| 2025-07-05 | Boulder, CO | 11:09 | -> in from "MFMF", with quotes carrying over. Less than two minutes into this section and the effects are engaged and a dissonant, atonal excursion takes hold, undercut (or overscored) with more knife chanting. Trey becomes more musical while simultaneously driving the psychedelic conversation. The music winds down and, as if one, the band finds a theme which they work to a satisfying peak before > for "C | |
| 2025-07-05 | Boulder, CO | 12:47 | > from "Fuego". Replete with teases and even a "Wu-Tang forever!" shoutout from Trey. The jam starts typically upbeat before the tempo is slowed way down, at times sounding like the band has gone fully back into "Fuego". The jam picks back up steam again before > into "Everything's Right". | |
| 2025-07-05 | Boulder, CO | 15:29 | Takes a different path from most recent versions, passing through twinkling bliss into pulsing, synth-heavy turbulence. | |
| 2025-07-05 | Boulder, CO | 14:01 | Phenomenally executed, the play is packed with treats, including "Buffalo Bill" quotes over the intro, quaint Trey and Page duo action, a carefully considered yet action-packed build, and a full-band lead. This culminates with almost three minutes of high-octane "Hood" peaking. Simply breathtaking. | |
| 2025-07-09 | Columbus, OH | 10:51 | Another new version suggests the song's recent resurgence may be no fluke at all. While not breaking new ground, Trey leans, and quite well, into familiar 'shapes' and sounds, before finding, and exploring, a nifty musical phrase which he drives throughout this fun, playful excursion. As the others catch on and play off Trey, direct full-band jamming builds to bring the song to its old-school close, replete with Page's twinkling keys bleeding into beautiful 'silence.' | |
| 2025-07-09 | Columbus, OH | 8:32 | Ease meets confidence as the four friends create a meld of the delicate and the thunderous ornamented with cascades and flourishes from both Trey and Mike that mark this version for closer listening. | |
| 2025-07-09 | Columbus, OH | 9:45 | Cool play coasts atop a mellow groove which finds Trey strumming his way into strong, protracted and, at times, melodic soloing. Offset by measured, calibrated play, Page, near the 6:30 mark, pushes for 'brighter' sounds, his synth not so much leading the way as offering direction. Trey plays with this idea before dropping into a lower register, runs through the tune's signature line, and guides the song to a close. | |
| 2025-07-09 | Columbus, OH | 19:02 | The jam finds itself immediately brimming with ideas simply by using the inertia of its driving rhythmic push. A downshift around the 10 minute mark finds the band in new territories, centered around a hypnotic, repeating bass line. With an unrelenting rhythmic center, an inspired, densely layered slab of music emerges and makes itself at home, before the clarion call of "Percussion Rinse!" signals an end. Excellent. | |
| 2025-07-09 | Columbus, OH | 25:30 | This is familiar, feel-good Phish. Mike works to nudge the jam in a different direction, but Trey surges forward, pushing the band not to a false, but a near peak. Pleasantly, the jam assumes a new identity past the 12:00 mark, and from here Trey moves through a number of ideas (which becomes fairly interesting full-band play). Enough by way of 'muted' introspection allows for an impassioned "Bowie"-esque "peak," before Trey abruptly returns to close the song | |
| 2025-07-09 | Columbus, OH | 22:30 | Remarkable for its unrelenting drive, this high-energy bliss bomb is akin to a full-speed highway drive on a hot summer day. Trey makes it known immediately that he'll lead the charge, which he does through a series of peaks, and brief downshifts, all underpinned by the rhythm section's undeterred push. This eventually leads to a sparkling fanfare peak, before the tides recede and > "Lonely Trip". | |
| 2025-07-11 | North Charleston, SC | 11:34 | Big, exuberant version brings lots to love by way of both exploratory and celebratory play that is light on samples and heavy on jamming. | |
| 2025-07-11 | North Charleston, SC | 34:11 | > from (a slow version of) "Llama". Another huge, latter-day "Disease". The band stays in attack at the beginning of the jam with Mike and Trey each taking turns leading before Page comes banging in on the piano for his. Around 19:00, the jam briefly takes a respite before Trey's melodic play continues the journey. Things build and build and build and build until a glorious peak, followed by a return to the song proper and then > into "Twist". | |
| 2025-07-11 | North Charleston, SC | 17:03 | Sets a new standard for "Sightless Escape" with a lengthy exploration of the song's groove before eventually turning bright and sunny buoyed by synths and then -> "CDT". | |
| 2025-07-12 | North Charleston, SC | 14:09 | After the standard outro the band drops into a laid-back '97-style funk groove fueled by the classic ingredients of wah-guitar, clav, and siren loop before flirting with major for a more contemporary sound and building moderately in the final minutes. | |
| 2025-07-12 | North Charleston, SC | 8:53 | Nearly six years later, at the same scene of the last jammed-out "Destiny", the tune once again goes for an extended ride. An "I'm A Man" tease galvanizes a brief, extra passage of full band hard rockin' grooves before returning to the song's regular conclusion. | |
| 2025-07-12 | North Charleston, SC | 8:19 | Immediately goes minor at the jam's outset then spends some time in the customary "Weekapaug" style before returning to minor with synthy funk led by Page. | |
| 2025-07-12 | North Charleston, SC | 19:15 | Sparkling play from Page helps lead the band out of "Mercury" proper into a cool, laid back jam. The jam progressively gets more upbeat and energetic, before dropping into a funk breakdown and eventually > into "Soul Planet". | |
| 2025-07-12 | North Charleston, SC | 12:15 | There's no time wasted in this all killer, no filler jam, which gets especially gnarly after 8:00 when it develops a mean streak and goes screaming through space to a supernova conclusion. | |
| 2025-07-12 | North Charleston, SC | 14:32 | The intro here finally gets a little extra attention but as usual the real action comes later and right away it's clear that both band and crowd are primed to pop as the jam cascades and sparkles effervescently and bubbles over with abundance and abandon. It feels very good indeed. | |
| 2025-07-12 | North Charleston, SC | 6:57 | This psychedelic set closing version gets a gratuitous extra helping of yellow matter custard and that special weirdness that makes Phish covering The Beatles in 2025 such a mind warping and revelatory experience in the last year of the first quarter of the 21st century. | |
| 2025-07-13 | North Charleston, SC | 15:04 | The Wolfman surfs in on a van fueled by Trey's slick blues licks laid over a road bed of rhythmic funk that grooves and bumps along a linear trajectory without detours headed straight for peak town and delivering a tight and satisfying package. | |
| 2025-07-13 | North Charleston, SC | 10:46 | "Thread" finally delivers on its initial improvisational promise with a knotty ,urgent exploration. Using its odd meter as a launch point, the jam holds tight to the bar line, with Trey, Mike and Page's effects-laced play creating a dense landscape that grows tenser and slightly dissonant as it moves along. The howling refrain of "You're Alone!" emerges from the morass of sound to close it out. | |
| 2025-07-13 | North Charleston, SC | 29:48 | Leaves the station after a bit of funk, coalescing around a spacey synth section over which Trey solos melodically. The jam then seems poised to return home at 15:00, but relaunches with more rugged riffing before eventually closing strongly with a celebratory peak and the reemergence of the "Tweezer" riff which unravels -> "Ghost". | |
| 2025-07-13 | North Charleston, SC | 15:55 | A spirited, high-energy take that is particularly dominated by Trey and Page's nimble play early on. The syncopated jazz-funk-isms that are familiar to "Golden Age" are particularly tight here and inspired as this feel eventually rides to an anthemic major-key rock out. This then builds to a lovely peak before the "Golden Age" beat barges in to wrap it up. | |
| 2025-07-15 | Philadelphia, PA | 11:08 | Follows in the footsteps of 6/28/25 with an intro that further pushes the bounds of "PYITE" consisting of skronky guitar and lots of synth bass which is later intensified by Trey soloing and then drops directly back into the song. Tremendous opener. | |
| 2025-07-15 | Philadelphia, PA | 39:38 | A massive, hypnotic piece of multi-faceted improvisation that imbues the spirit of "Sand'"s minimalism, while also using its hypnotic grooves as a platform for a bevy of subtle complexities. Key modulations, textural effects-based shifts, and crescendos/decrescendos all remain tethered to Mike and especially Fishman's unrelenting, deep pocket, culminating in the longest version of "Sand" to date. | |
| 2025-07-15 | Philadelphia, PA | 18:03 | From the onset, this inspired exploration finds itself in a murky subterranean landscape, with thick, churning (but melodic) play from Mike and Trey. This remains the identity of the jam until about 2/3 in, when a break towards an infectiously catchy and upbeat theme via Page and Trey occurs. This rides delightfully toward a peak before receding towards a playful, vocal "MYFE" ending. | |
| 2025-07-16 | Philadelphia, PA | 10:10 | Play breaks from the standard "Gumbo" jam almost immediately, with Page's plucky clavinet setting the funky bedrock. Envelope filters, synths, and synth bass all slather the groove as the music glides into delightful space-funk territories. Trey then drives this towards a swagger-filled peak, before giving way to Page's traditional piano outro. | |
| 2025-07-16 | Philadelphia, PA | 11:15 | This breathtaking version takes a turn into minor at 6:00 and spends the next few minutes brilliantly walking the tightrope between minor and major sentiments, at times seeming to exist in both simultaneously, until major crystallizes at 9:00 for the return home. | |
| 2025-07-16 | Philadelphia, PA | 17:37 | The jam takes off quickly with fluid and melodic ease before taking a turn. Spending ample time exploring a deep trench of groove allows the band space to play around with new sounds while keeping a foundation of the familiar. Pulsing and aggressive play pushes the conclusion pleasingly over the top before giving way to fragmentation and dissolving slowly -> to "Mercy". | |
| 2025-07-16 | Philadelphia, PA | 13:10 | From the jump, bouncy summer synth-funk smacks against the walls of the Mann's pavilion as Page's synths sizzle in the hot summer air, before the groove coalesces around the "Macarena", of all things. Suddenly the crowd is transported back to the mid/late 90s as Trey uses the "Macarena" melody as the linchpin of an upbeat groove-fest, before the time portal then finally dissipates and > "Ether Edge". | |
| 2025-07-18 | Chicago, IL | 14:20 | An old-school "Gin" featuring a plethora of teases. The band's joy - Trey's especially - shines through once they get to the "Tequila" portion of the jam. | |
| 2025-07-18 | Chicago, IL | 28:07 | Though Trey hints early on that the answer to the question may be that there is "nobody home", there's actually plenty to discover in this wide ranging version that finds the band locking on to a handful of memorable progressions, moving seamlessly between sections, and soaring over peaks before accelerating through groove laden depths to deliver a sustained and fiercely rocking finale that eventually finds itself becoming suddenly "Crosseyed". | |
| 2025-07-18 | Chicago, IL | 14:39 | > from "WGTYM" a little extra bit of Belew early on from Trey sets this one off on a trajectory for greatness that never strays but delivers a relentless swagger and propulsive drive that, rather than leave one waiting, forces the listener to sit up, pay attention, and keep a tight grip. Listen for Mike's bass to get the vacuum treatment as the jam gets sinister and eventually fades. | |
| 2025-07-19 | Chicago, IL | 9:17 | Who needs lyrics? Not Trey, apparently. This remarkable "Seven Below" is the first instrumental version performed. The band makes up for forgetting to sing by producing a fun, fiery jam. For the completists, they return to the song in the second set to actually sing the song. | |
| 2025-07-19 | Chicago, IL | 14:21 | The spaced-out funk typical of "Tube" jams gets a bit more atmospheric and more densely textured here before shifting towards a brighter, major-key zone about halfway through. From here, a galloping, majestic jam takes off and builds to an inspired crescendo before shifting back to "Tube"'s composed section. | |
| 2025-07-19 | Chicago, IL | 17:28 | What begins as warm and inviting takes a turn for the weird and hypnotic, drawing the listener into a synth and pedal darkened depth accented by swirling loops and gritty riffs, and punctuated with punchy rhythmic interplay that gradually carves a path of ascent to a sweeping and triumphant peak. | |
| 2025-07-20 | Chicago, IL | 12:10 | > from "Horn". A strong version of "Reba" for the era, featuring outrageous play by Mike and Fish. Trey whips up a frenetic ending before the band stops on a dime. | |
| 2025-07-20 | Chicago, IL | 18:58 | Gorgeously nimble and focused play moves through several sections including an atypical atonal break down in which Mike hints passingly at klezmer as Trey eventually navigates by way of some seemingly Hendrix inspired licks to an exciting and massive, rocking conclusion before > "Sparkle". | |
| 2025-07-20 | Chicago, IL | 14:14 | Treyâs off kilter pedal play casts the now common intro into a uniquely new and sinister light that gives way to a lush, layered, and well balanced conversation steeped in swirling synths and accented by melodic exploration that grows more contemplative even as it picks up steam and heads toward a slick segue collision with an even more exemplary "Twist". | |
| 2025-07-20 | Chicago, IL | 13:03 | -> from "Scents". Another big version comes late but is far from perfunctory, signaling here a willingness not just to sustain but to push the improvisational conversation both horizontally and vertically, widening the vocabulary and drawing from a deep well of inspiration that eventually launches the jam into the stratosphere. Glorious. | |
| 2025-07-22 | Forest Hills, NY | 28:48 | A mellow, groovy odyssey. Coming out of a crunchy performance of the song proper, play chills into a calming, trance-like space. Fishman's powerful drumming initiates a slow build, with the rest of the band gradually upping their energy until reaching a righteous peak. Play becomes decidedly more jagged and bouncy, with Mike and Trey laying down some serious funk, before the band locks into a breezy, anthemic crescendo. A nice outro informs a -> into "Tweezer," punctuated by some exceptionally nimble bass. | |
| 2025-07-23 | Forest Hills, NY | 14:12 | Sticky clav-led funk rock is shaped by Trey's melodic bluesy riffing to start. Major key tonalities then take over, and the band rides out this bliss-rock feel until the "Cities" chords come back in to conclude the affair. | |
| 2025-07-23 | Forest Hills, NY | 17:17 | Another big-time first set "Ether Edge". Beginning brooding and searching, the jam winds its way to feel-good bliss. | |
| 2025-07-23 | Forest Hills, NY | 9:30 | Serving as the Set 2 opener for the first time since NYE '19, this "PYITE" gets an extra flourish from Trey and Page in its opening. Strong play continues throughout, before > into "Ghost". | |
| 2025-07-25 | Saratoga Springs, NY | 20:00 | Especially gorgeous play from Page on both acoustic and electric pianos distinguishes this upbeat and Allman inflected version that both bounces and soars to a satisfying peak and return to theme. | |
| 2025-07-25 | Saratoga Springs, NY | 12:20 | Caps a strong Summer tour for "Hey Stranger" during which it was further cemented as a first set staple with a jam that stretches the form and features jazzy Mike/Trey interplay before a sharp conclusion. | |
| 2025-07-25 | Saratoga Springs, NY | 17:15 | In its comfort spot opening a Set 2, this is a fantastic, multi-faceted "SYSF". Early in the jam, Trey sets the table with cool, relaxed play while Mike goes heavy on effects. The tempo picks up, then fades, before eventually > into a massive, must-hear "CDT". | |
| 2025-07-25 | Saratoga Springs, NY | 29:09 | A dizzying whirlwind that maintains strong forward momentum from the moment it starts until the closing -> "BaSoS," with nary a dull moment in between. Dynamic, innovative, and audacious are all apt adjectives to describe this relentless improvisation. | |
| 2025-07-25 | Saratoga Springs, NY | 12:22 | -> from "BASoS". Some of the band's most energetic playing since their return in 2009. All killer, no filler. Runtime be damned, this jam packs a major punch. > into "Everything's Right". | |
| 2025-07-26 | Saratoga Springs, NY | 13:20 | An entrancing, repetitive jam that gets into a deep groove and features "N.I.B" (Black Sabbath) teasing from Mike and Trey. | |
| 2025-07-26 | Saratoga Springs, NY | 24:56 | Killer version that swirls out of the standard jam with melodic invention aplomb. The band's driving rhythm never sways, instead allowing for an almost trance-inducing atmosphere to gradually but surely take hold and eventually build to a well-earned climax around the 16:00 mark. Instead of fading out, the band instead finds a wonderful coda in an ambient space-age atmosphere dominated by guitar loops, Mike's drill, and massive synthesizer washes. | |
| 2025-07-26 | Saratoga Springs, NY | 13:30 | > from "Light". A breakdown jam begins before the song proper has really ended, which gives way to some effects-laden jamming. The jam stays up-tempo and energetic throughout, before slowing down and then -> into "Waste". | |
| 2025-07-27 | Saratoga Springs, NY | 13:04 | Ushered in an unprecedented "Tweezer Reprise" fest with a version that was easily the most jammed to date, that is, until being later surpassed in the same show. The similarities at times to "Tweezer" are unsurprising, but the jam makes its own mark with the uplifting section beginning around 7:30 before it takes another swing at the typical ascending chords and then peters out > "Reba". | |
| 2025-07-27 | Saratoga Springs, NY | 12:40 | A perhaps less than perfect version notable primarily for the way Trey manages to work the "Tweezer Reprise" progression into the already gorgeous "Reba" jam and for the subsequent segue into same despite a botched attempt at ending the jam from Fishman. | |
| 2025-07-27 | Saratoga Springs, NY | 3:03 | Exhilarating segue -> in from "Reba's" peak, then drops into a short rocking jam and > "Funky Bitch". | |
| 2025-07-27 | Saratoga Springs, NY | 17:06 | The longest "Roses" since Cypress is another gem in the "Reprise Fest." Fish's driving play ensures this stays uptempo the whole time, before -> into "Tweezer Reprise". | |
| 2025-07-27 | Saratoga Springs, NY | 1:14 | This time, it's -> out of a big "Roses" jam that "Tweezer Reprise" gets another run in the middle of a wild set. | |
| 2025-07-27 | Saratoga Springs, NY | 9:26 | Compact version with no shortage of ideas or verve. Listen for the atypical tonal and mode shifts. | |
| 2025-07-27 | Saratoga Springs, NY | 13:06 | A nice side of musical deconstruction with all those different versions of "Tweezer Reprise". Fish and Mike stand out in the chaos. The jam emerges from the muck and like a freight train barrels back into -> another "Reprise". | |
| 2025-07-27 | Saratoga Springs, NY | 2:54 | Rises from the ashes of a destructive "Melt" jam to close a phenomenal set while also interpolating the usual "Melt" ending. | |
| 2025-07-27 | Saratoga Springs, NY | 16:57 | Brisk play takes hold from the beginning, with Trey and Mike's interplay being particularly elevated and conversational. Play then breaks into dreamier territory, retaining an upbeat bent while shifting between major and minor key tonalities. The band then latches on to an infectious, driving theme that culminates in hose-y Trey peaks and a massive Mike bass bomb before > "Twist". | |
| 2025-07-27 | Saratoga Springs, NY | 14:32 | Finds itself in an almost elastic space both rhythmically and harmonically. The band's adept interplay pushes the music through several different tonalities and moods with ease. An intense, darker rock segment emerges before then flipping towards an upbeat vibe to deliver another intense, peak-filled crescendo for this jam's conclusion. | |
| 2025-07-27 | Saratoga Springs, NY | 23:04 | The 5th(!) "Tweezer Reprise" from this instant-classic show is a must-hear, multi-sectioned freight train of improvisation. This journey includes optimistic peak-filled play, muscular dance-funk, space-y Pink Floyd-isms and a menacingly dark crawl, from which the "Tweezer Reprise" theme rises like some sort of unholy Kraken-Phoenix hybrid, before building to a hose-y climax and -> "Boogie On Reggae Woman". | |
| 2025-07-27 | Saratoga Springs, NY | 2:50 | The 6th and final "Tweezer Reprise" of a historic show begins -> from "YEM's" second jam and includes some bonus Trey soloing before emphatically closing out the set. | |
| 2025-07-27 | Saratoga Springs, NY | 14:44 | Puts a capper on a tremendous show and a tour which saw a strong return to form for pure "Hood" jams. This version begins delicately until a repeated riff from Trey at 9:45 starts the build to a beautifully layered peak, after which Trey thanks the crew for the end of the tour. |
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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