The Jam Charts · phish.net's good stuff
The phish.net curators flag the versions that go somewhere - the ones worth pulling the tapes for. This is all of it, counted our way. Tap a song for its history, a date for the night.
Chartings by year
When the good stuff happened, by the curators' count. Tap a bar (or a year below) to read that year's charts.
The 2004 charts
73 entries · 17 nightsSloppy intro, but the first jam segment (1:55-4:25) is excellent. The main jam absolutely erupts and burns as hotly as "Moma" ever has.
The jam starts off in very fine fashion, with a cool and different groove, but then veers increasingly toward chaotic dissonance. This darker sentiment is underscored by Page who shifts his harmonic underpinnings to minor mode.
Shaking off a rough start to this version, Trey leads the band into the jam which begins intensely with great thrumming Mike and growling, distorted guitar effects. The intensity gradually diminishes, resulting in more quiet play which retains an ominous sense of melancholy.
Jam mellows after a bit and sustains a decent pulse with nice Page work. "Low Rider" teases.
Well played, extended outro jam with good segue (->) into "Possum."
Sloppy and takes time to peak, but when the band finally comes together and eventually peaks it's a gorgeous moment of clarity that cuts through everything and makes things happy for a minute, before getting goregously goopy and grimy like only '04 can.
Exploratory and multi-faceted jam emerges around 8:00 after some nice variations on the "Twist" theme. Intense, the jam includes power rocking, distortion and effects, and builds to a furious peak before returning to "Twist."
Trey's voice is pretty beat, but he quickly gets into a twisted, chaotic, octave-hopping, 2.0-style, shoegazey mode, as Mike stretches the groove out over snappy Fishman fills.
In the chaos that usually precedes "BLAT BOOM", Trey leads the band into a "Little Drummer Boy" vamp, at first festive, and soon going down a more evil path in a minor key, desert rock mood over droning church organs while a quiet, but harsh loop sounds throughout.
Trey "BLAT BOOMs" his way out of Little Drummer Boy to conclude a unique version of Wilson.
This "Hood" shifts to a rocking "Type II" groove at 8:45, briefly returns to "Hood," then departs into a dark, rhythmic minor mode section before finally coming home to close around 17:25.
Despite a few brief departures from the norm, this version stays mostly in "Type I" territory through 15 minutes when it downshifts and works its way into a stop-start jam around 16:30. From there, it dwindles and > to "Caspian".
Debut opens the Summer '04 Tour. The jam section is high energy, but also dark and gnarly, with great playing by Trey
Strong but typical jam cools off gradually beginning around 9:20 and a cool, choppy jam emerges, that many fans may love. Transitions pleasantly but not magnificently into -> "Free".
-> in from an epic "Moma Dance." Sick bass by Mike. Maybe the best straightforward version. Great interplay by Trey and Mike.
Moves beyond "46 Days" into a swirling, more sedate segment. Jam then picks up a nice rhythmic pulse and great groove. The jam grows increasingly energized and intense, with a textbook -> to "Possum."
Multifaceted jam follows the final verse and refrain. At first rhythmic and plucky, it gradually becomes more intense, then grows slightly spacey, and intensifies again before finally settling with a > to "Axilla."
Second jam is what good 2.0 is all about: the band is locked in and the interplay is fresh and creates an environment for dancing hippies to flourish.
After a quick "Mainstreet" tease, the jam briefly settles before picking up a serious head of steam, transforming KeySpan Park in Brooklyn into a blistering and raging quick-tempo rock fest.
Breaks away from "CDT" at about 6:00 and by 8:00 has morphed into a very subdued, quiet sentiment. The jam gradually rebuilds momentum and pulse and returns to "CDT."
Really a great version that gets somewhat beyond the typical format with continued improvisation before coming home.
Straightforward until 12:55 when the jam breaks into a nice "Type I" outro jam. This jam settles briefly, then builds into a great "Type II" jam with some melodic licks from Trey that preview the catchy riff he seizes on in the following day's "Ghost."
Outstanding "Type II" version. The jam probes the sea floor until finding oceanic bliss around the 9:30 mark. Trey lays back crafting rhythmic textures, while Page deploys the clavinet. What follows is a calming sense of murky haze before the jam gains momentum, ultimately returning to the song pro…
A multi-section improvisational super heavyweight. The jam begins with a low-key, "Piper"-like groove, settles, then builds into an angry and rocking section that eventually bursts into a "Tweeprise" Jam. From here, the jam settles into a couple of great and swinging, lower intensity grooves that -…
A well played version. Following the typical "Limb" peak, there is a sort of celebratory, almost euphoric power jam that is both unusual and adds extra mustard to this "Limb."
Although the jam between verses is standard "Waves" fare, the band moves into an excellent 7 minute plus jam following the final verse that is rhythmic and upbeat, with multiple movements and "Maze" teases.
A high quality, multi-faceted jam with building intensity. The later jam segment sounds somewhat like the jam portion of "Kill Devil Falls," which wouldn't emerge for another 4 years.
The original Seven Below>Ghost combo. This one starts out very dark and brooding, and it slowly rolls into an up-tempo romp!
-> in from "Ghost." Excellent multi-section jam starts at 5:45, breaking into a funky, pulsing section. The jam picks up a nice swinging vibe, intensifies and grows "HOSE"-like, then ends with a brief power rocking > fade.
The customary "Gin" jam breaks into a low-key groove which eventually returns to "Gin" to end.
You wouldn't expect a song like "Nothing" to yield such a brooding jam, although considering the date, it may not be a complete surprise. Either way, this improvisational version is a unique experience, and concludes with a long tug-of-war segue -> "46 Days".
No intro. At first sedate and soothing, the jam grows increasingly dissonant and tension filled, with an almost growly anger to it. Very improvisational version that includes an "NO2" tease.
A rager to open the show!
Nice easy-going rhythmic groove which eventually morphs into a celebratory jam before -> "Rock And Roll."
Extended rocking groove held together by Mike and Fish with Page and Trey adding texture and melody over top.
A stormy and intense version in which Trey and Fish take the mule for an extended ride.
"Type I" version includes a "DwD" jam from 9:10 - 10:25.
Excellent, improvisational "Type II" version has some awesome Mike early on followed by funk, then some deep, dark and far-ranging exploration before miraculously finding its way back to "Wolfman's" to close.
The longest version of "Seven Below" is arguably not the best version, but it has some very engaging improvsation. While the boys are ambitious, they never really catch onto a theme, so it seems a bit unfocused at times. If you want a better, albight shorter, '04 "Seven Below," check out the 6/20…
The jam settles down noticeably around 3:00, with good quiet play by all four, before Mike builds a nice meaty foundation for Page and Trey to play over. As the jam returns to familiar ground, Trey leads an inspired, extended and celebratory peak.
During the outro, Mike has a brief solo, and from there, Trey and Page take off, while Fish and Mike stick to "Boogie On" for a bit. The latter two don't hold on for too long before joining the hard rocking, very optimistic (for 2.0) jam with a -> to "Ghost."
Euphoric space-disco firehose dance party in Pere Lachaise Cemetery. [-> in from a strong "BORW." Improvisational and exploratory jamming morphs into a bouncy upbeat groove which grows increasingly celebratory. > to a strong "Free."]
> in from a big "Boogie On" -> "Ghost" combo. This one has a really excellent jam.
A snappy, somewhat dissonant but rocking groove develops and gets out there. Page and Fish are excellent.
Breaks free and clear of "CDT" into a serene, very melodic, Trey and Page led foray. Starts to build in energy and pulse, then abruptly veers back to "CDT" at about 18:00. Must-hear, especially for any 2.0 doubters.
A thrilling, intense, Must-Hear version, right on the heels of one of the best versions of "Chalk Dust Torture" ever. No comparison with previous eras, this is uniquely 2.0-style jamming. -> to "Runaway Jim."
Aggressive, in-your-face "Type I" version.
A nice shift to major mode early on, then Trey, Page and Fish depart to extreme dissonance land. Not the prettiest, but it ain't straightforward.
Almost immediately breaks away from "Bag" proper into an upbeat, fierce jam that has a hazy summertime vibe to it. After settling, the jam grows increasingly upbeat and energized. Really an excellent version.
A quiet, brooding jam emerges with strong improvisational elements. After about 13:00, the jam morphs into a rolling, celebratory and euphoric phase. Although Trey repeats a theme over and over and over again, it's mesmerizing and wondrous. This first-set-closing version may not be for you, but it'…
An improvisational version breaks free of the standard at 5:00, launching into varied rocking and funky jamming, with Trey yelling "Go!" repeatedly in the background at one point. After returning home, this version also includes an unusual slowed down ending.
Most excellent version with incredible Page action on the B-3 during "Suzy" and great Fish. The band then extends the jam following the final verse with a -> to "DwD."
-> in from "Suzy." The jams gets well removed from "DwD" into quiet and dark exploration with great Page and Mike.
Very different version with no real peak and no "Rocco" section. Instead the jam fades after 9:30 into a really nice little melodic groove that > "2001."
One of the best played standard versions of 2.0.
A really nice, mellow and low-key movement beyond standard "Piper" develops, energizes, and > to "Sneakin' Sally."
> in from "Piper." Similar to 7/17/99, where an easy-going groove picks up steam and energy by the conclusion.
No intro. Very improvisational version that ranges from edgy and propulsive to subdued and ends with increasing dissonance and space-like strong effects.
Jam breaks from the standard at 11:00 into a mellow groove that builds energy and > to "Runaway Jim."
Very improvisational, "Type II" version with a -> to a very improvisational, "Type II" "Gotta Jibboo."
The yang to 4/16/04's yin. Tight playing for '04. Dark and grimy up front, but once it pushes through to the heavens this "Gotta Jibboo" is breathtaking.
Jam segment rages practically non-stop, and Tom Marshall assists with the "Rocco" lyrics.
Nimbly textured and surgically precise like the big '97 "Bags?" No. Highly improvisational, well played AND a great listen? Absolutely. This version is MUST-HEAR, like 11/21/97, 12/30/97 and 9/14/99. The Coventry "Bag" is full of "2.0-style jamming," is played very well overall, and it's highly lis…
Trey talks about writing "David Bowie" for 4 1/2 minutes before the song - well worth hearing. The jam itself is pretty decent with a nice little shift to major mode and an intense ending.
A decent jam develops which has an underlying Mike and Fish fueled groove that continues almost throughout. Trey at times uses a lot of distortion, and his seeming lack of direction gives the jam a disjointed feel. Great -> to "The Wedge."
While the composed section is far from spotless, the jam is very good and multi-dimensional, including a nice move to major mode followed by some great exploration. Unfinished with a > to "Free."
Some sweet Mike bass, then gets very quiet with just Mike and Trey playing, then Fish and Page jump back in.
Very raw in parts (at least Trey), but a serious piece of improvisation nonetheless. At the 7 minute mark, the band gets very quiet and almost stops. Trey plays solo for a stretch, and briefly addresses the crowd. Around 12:30, the other band mates rejoin in a very upbeat and rocking jam that ac…
Extremely improvisational version which leaves "CDT" behind near the end and -> to "Possum."
Very unusual version. The first jam segment is strange, spacey, and Trey sounds off-key at times. Then there's a second jam following the closing riff (without vocal refrain) which has some interesting moments and is pretty soulful.
Skip the composed section (ugly) and go straight to the jam (released on Live Bait Vol. 5), which is excellent, extended and improvisational. The final 6 spacey minutes are a combination of sad, eerie and haunting, with a hint of optimism near the end. Unfinished with a -> to "Ghost." One of many g…
Through a crack in the fabric of space-time a horde of flaming orange locusts cascaded down the fetid slope of manure, became a cyclone of debris, limbs, and offal in the muddy bowl then coalesced into a sheet of light which rapidly withdrew upslope back into the void of infinity. [-> in from a str…
Blistering, fierce, machine-gun Trey, akin at times to Hendrix at his best!
Most charted songs
The vehicles. No surprises up top, which is exactly the point.
Freshly charted
The latest versions to earn a flag, newest night first.
Unidirectional and cohesive, the jam here is focused and the band is locked in from the start with little deviation to deliver a grin inducing and arm raising ride that accelerates to a very satisfying peak before crashing > into Llama.
Thematic jamming that bounces along at an even pace with little deviation and only slight modulation but stays focused without wasting time searching and delivers a steady stream of memorable moments that accumulate rather than peak.
One last 20-minute jam before the run ends. The jam starts out energetic, as most “RW” jams do, and keeps its pace for a while until it turns into time to try and see if the aliens can be summoned. Fish seems not ready to stop rocking, so he finds a way to get the rest of the band back on that path…
Rocking outro gives way to a fairly propulsive, beguiling groove textured with thick bass and then winds down over the course of several minutes in a decidedly off-kilter manner.
Trey’s relaxed comping immediately sets the tone of the jam from the onset, establishing a hazy low-key vibe. Mike then introduces a tonal pivot towards minor key territory which platforms a harmonically-rich and at times sci-fi textured atmosphere. As Page moves to the piano, more organic/clean pl…
> from a “Seven Below” you’ll want to check out. Clearly comfortable in the venue on the penultimate night of their run, the band drops “Plasma” in the two-hole of a four song suite lasting around an hour. The band toys with effects as the jam flows along effortlessly before > into a massive “C&P”.
Emerging from the song proper into a melodic take on the main Crosseyed riff thus setting the table with an emotional build. HEROIC riff from Trey around 840 channels Eno's St Elmo's Fire. We shift around 12:25 into an overdrive rock jam before fading back into an minimalistic groove. The return to…
This version earns its “noteworthy” status by way of a comical instrument switch-up between Trey and Fishman, as Trey takes on the drum chair to allow Fish to blow sweet music on his vacuum. Trey then introduces Fishman by a few of his famous aliases before ending the tune.
Shifts into minor at 6:30 and becomes darkly atmospheric with extensive Trey soloing as it builds dramatically to a final chorus of "breathe".
2026 picks up where ‘25 left off in regards to the extended intro section of this classic rocker. The band remains committed to ‘punching up’ the play here with synth effects as well as some additional clean leads from Trey to guide the affair into the song proper. The “Landlady” section still sadl…
Swampy murk-rock typical of “ASIHTOS” gives way to a patient, dreamy vibe at the 5:00 mark before quickly pivoting back towards psychedelic minor-key space rock. The band holds tight here as the music blooms inward, highlighting a loose but but directional vibe. The jam then threatens a full-on fun…
A laid-back opening then turns briefly darker for a minute around 11:00, after which the intensity picks up and the jam crests with a powerfully sustained peak, and finally washes away in a disconcerting ambient deconstruction which eventually > "Caspian".
Standard “Jim” play begins to hint at something more as Trey briefly abstracts his tone with effects towards the front of the jam. As the harmonic range opens up a bit, a downshift just before the 9:00 mark takes the jam into a murky zone. Fishman’s skittering rhythms underpin an almost futuristic…
39 years after its debut, "The Sloth" makes history with its first encore appearance and first version to feature a bonus segment of hard rock jamming tucked inside of the composition.
After warning some hot dogs to get out of his face, Trey is primed and ready to take Axilla deep again. The band is comfortable hanging in the murk of the song and doesn’t rush towards any of their “comfort jamming zones.” The jam feels gooey as it oozes along. Those who don’t need their jams to pe…
Cosmopolitan jam that stays fairly close to home rhythmically but departs melodically under Trey’s lead, brightening and decorating the neighborhood with a brisk and buoyant optimism and a gentle uplift before returning to the song to conclude.
Steps out of the box with low-key minor jamming which then becomes more mellow and dreamy as it transitions to major with synths and then > "Blaze On".
A dark, spooky, and contemplative affair that maintains forward momentum thanks to Fish’s pushing before shifting efficiently to an upbeat melodic climb with familiar motifs and a crushing climax that decays into an ambient sample laden froth.
Bliss-rock at the front gives way for more assertive, rocking play before a series of modulations begins a push and pull between major and minor key tonalities. Settling towards a funky rock zone, the band finds stability and turns the jam into am ebullient, funk-rock rave-up with a smidge of space…
The jam vehicle of the mid-2020s drives forward in a thick groove space right out of the gates. At 10:20 Trey moves into a rawk space before sliding into a Page/Trey duel that brings back memories of Fall 2021 Phish. Trey's chordal bursts at 16:15 push the jam into a new direction before building t…
A true slow build Piper, the jam builds like all Pipers do before locking in around a Trey and Fishman duel. A chordal peaking jam, this never strays too far from what Piper does best, but it's worth hearing all the same.
Momentarily bordering on plinko to kick things off, the jam becomes echo laden and accented with a dark groove as Trey briefly plays on the low end and Mike’s effects cast a shadow that serves as contrast to what follows. Trey’s lead becomes more linear and Page responds in lockstep. The whole affa…
Opening with snarling leads from Trey, this shifts at 9:40 into a more open terrain before Fishman takes command of the jam's direction. Wall of sound Mike and Page moves into a late-nite ambient space highlighted by Trey and Page trading delicate riffs around 13min. Moving deeper into the ether, t…
Emerging from a swirl of abstract sound, the world's lone Dark Puddle is vibrant and free of form; high quality abstract jamming. Building to a major-key peak around 1045 we descend into Mike-led Fuego quotes before another build just after 13min. We hear the road not taken at Sphere where the visu…
Moving into a familiar hypnotic groove space we shift at 9:15 to a deeper groove which thus opens the space for the jam to blossom. Mike and Fish dominate here before Trey shifts the band into Fuego.
Jam chart entries and descriptions are curated by phish.net, a project of the non-profit Mockingbird Foundation.