Jam Chart for the Year 2025 (39 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. |
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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