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 2009 charts
89 entries · 42 nightsFirst "BOTT" of 3.0 sets a good precedent, although it would be surpassed by a number of subsequent versions (see below). Really, the band is playing "BOTT" better in 3.0 than previously, with the notable exception of 2/28/03.
Spacey, effects-laden jam with Page on synthesizer instead of piano.
Departs from standard "R&R" at about 8:30, in a delicate, melodic foray that sets up nicely for segue to "Limb By Limb."
Debut. Straightforward.
An unusually melodic, intricate and mesmerizing jam develops. While also improvisational, it's the grace and beauty of this version that distinguishes it as perhaps the highlight of the run of shows beginning the 3.0 era.
Some downright filthy and nasty "Type I" playing by Mike and Trey (2:50 - 5:45) settles, then breaks at 6:00 into some serene major mode playing before growing dissonant, spacey and -> to "2001."
Sweet Page B-3 solo at the beginning of the jam, followed by Trey.
Debut.
After a delicate start, the jam slows even more, introducing synthesizer at 9:00 and then develops into a billowing ambient cloud before gradually shifting back to "Hood" at 12:15 and continues to build with some unusually tense notes from Trey. Very unique.
Mike figures prominently in the jam as Trey brings the volume way down early. Rousing finish to the jam.
Like 7/5/98, a vocal flub leads to an extended outro jam that quickly moves beyond the norm. Page's ambient effects and Trey's use of the whammy pedal combine to create a jam reminiscent of the late '90's sound.
One of the first great jams of 3.0. This version contains an old-school groove which goes "type 2" via a funk jam and an uplifting conclusion by way of a repetitive, descending riff from Trey.
The "Camden Tweezer." Old school, repetitive, amazing groove. Like a '92-'94 version.
"Type I" version with great strumming by Trey and a short outro jam that > to "Ghost."
Powerful Page solo with a ragtime feel. Trey brings the volume way down at first before a big peak. Sounds like '93 - '94.
This is a very well-played version with a full length "Waves" jam. 3 minute outro jam leads to transition to "ASIHTOS."
Excellent full-band play featuring quiet, expansive and contemplative work from Trey, whose warm tone is complimented in great part by Page. Mike and Fish modify the beat, and the musicians dial the jam down to an all but erasure of sound. Mike and Trey team to rebuild momentum, before Trey summons…
The first "Type II" version. Led by Trey, the jam slowly drifts from the typical blues-rock into a whammy-filled, major-key groove not unlike the famous 7/10/99 "CDT" in spots. Ends with a -> to "Free."
Although the jam doesn't stray too far from the basic "Halley's" structure until the final few spacey minutes, it is nonetheless a good quality version that segues nicely to "Runaway Jim."
A great 3.0 version with an extended clav solo from Page while Trey compliments him with funky rhythm playing and bent notes. Trey then takes the lead into the upper register. Later in the jam, Trey returns to rhythm playing and Page gets down on the MOOG.
Standard rendition until the jam takes a turn towards a beatless ambience drenched by Page's synth, which grows loosely percussive and upbeat. > to "Drowned."
A settled section follows the standard jam, which leads to some "CYHMK"-like jamming, then some free form improvisation before returning to "Twist" to conclude.
A very good jam eventually segues into a spacey interlude before "2001" kicks in.
Very nice second set opener. This one rips from start to finish. Around the 9:30 min mark, Trey and Page really catch a hold of something and blaze through the back of the jam. At 12:30, it starts to explore spacier realms that eventually lead into "Down with Disease."
Page gets the jam section off to a great start, then Trey zeroes in on a nice blues riff. Taking turns playing off this riff, Trey and Page team up nicely, before the jam eventually dissolves into familiar '09 transition space.
Extended major mode groove (9:53 - 14:53) establishes this good Red Rocks version as the first noteworthy 3.0 "Stash."
> in from "Ghost." Different early part of the jam where Trey and Page hit on a riff that they pursue along with staccato playing. The release section has a "Louis Louis" (the Kingsmen) vibe to it.
This one is more laid back than the one played at Alpine almost a month before. They hit a nice little '09 funk jam. Around the 10:30 minute mark they turn the corner and build to a nice climax. Also, this was the first time the "Drowned -> Crosseyed" combo was performed since 9/14/2000.
Diverse, tight, melodic jams.
The jam has an interesting section from 4:05 - 5:10 where Trey deviates from the standard melody line.
Aggressive clav playing from Page while Trey plays an assortment of rhythmic riffs and Mike holds the tight groove together.
Serious tension, dissonance, and rhythmic change-ups combine to distinguish this very good version from most 3.0 ones.
Breaks into some great stop/start jamming. Fish keeps it crisp and clean.
"LA Woman" teases and an excellent moving jam with rhythmic shifts and Page on multiple keyboard instruments.
Dynamic and improvisational version that includes a "Twist"-esque jam and "Oye Como Va" tease from Page. The sentiment is very positive and upbeat (again). Must-hear for any 3.0 nay sayers.
Fantastic -> into an excellent "Undermind" with Bill Kreutzman.
The addition of Bill Kreutzmann leads to one of the funkiest versions of the 3.0 era. The second jam will punch you in the face.
Normal "Possum" jam abandoned for call and response between Trey and Page. Unique and well worth a listen.
First 3.0 version is a monster. The most exploratory version to date. At first funky and snappy, it soon stretches beyond anything like "Sally." From there (about 11:00), it quiets into serene, beautiful space, and then regains momentum, reminiscent of the big Albany "Seven Below" that would follow…
After a rough composed section, a largely standard jam suddenly morphs into a highly melodic calypso section, replete with vocal harmonies, before neatly -> to "Taste."
Very good, improvisational "Gin" with multiple sections. The jam breaks away from "Gin" proper at 9:30, proceeding through at least 3 movements before settling with no return to "Gin." > to "Harry Hood."
A highly acclaimed performance from the early 3.0 period. While the jam ultimately reaches a magnificent conclusion, the 8 minutes leading up are somewhat plodding and monotone. Not on par with the superb "Sally" from the day before.
There's a long, bluesy solo by Trey at around 3:30 and Trey and Mike switch instruments thereafter. Good, antics-filled version.
First "BDTNL" to go "Type II" in a big way. The jam begins with a dark undertone, but then gets more upbeat and rocking. A settled section with building energy follows and > to "Carini."
A silky slow groover. Second jam really shines. What it lacks in energy it makes up for with jazziness and improv.
Backed by an unbridled pulse from Mike and Fish, there's quite a bit of improvisation in this jam. Perhaps lacking the melodic grandeur of the "Sally" from the previous week, this is a quality exploration nonetheless.
Similar to 11/13/98 in that this version mostly stays "in bounds," but likewise pushes the envelope. A quality version.
Atypically soulful soloing from Trey, with a strong "Reba"-like jam, shortly before the ending segue into "Wilson."
Once past 3 minutes of somewhat unpleasant string bending from Trey, the jam becomes quite improvisational and multi-faceted with some great Mike and Page contributions, including a "Spill The Wine" Page tease.
Jam breaks away from "46 Days" into a spacey, quiet mode, then Trey and Fish pick things up into a really great, pulsing and upbeat vibe. Another improvisationally rich version.
Exploratory "Type II" jam which starts to peel away from "BDTNL" around 6:00. Rocking at first, it grows somewhat dark and dissonant, brightens again, and ends in a repetitive and spacey groove which -> to "Twenty Years Later."
Really no funk section at all. Instead, an upbeat rocker with super Page and great Mike triumphs, recedes, and morphs into eerie, effects-laden space for 3 minutes before > to a great (short) "Piper."
One of the best (short) versions ever, certainly for "3.0." Several distinct movements in the jam and all band members contribute well. "She Saved My Soul"-like vocal jam towards the end.
This version is FIERCE, what with horns and soulful backup vocals!
Standard "BDTNL" concludes and the band breaks into an upbeat and rocking outro jam that > to "Fluffhead."
Sharon Jones and Saundra Williams on backup vocals, and Dave Guy, David Smith, and Tony Jarvis on trumpet, trombone, and saxophone, respectively. Outstanding, stretched out (but otherwise straightforward) version.
Acoustic version from Festival 8.
Gorgeous acoustic version from Festival 8.
Exceptionally strong playing from Trey in this roaring "Type I" version.
A dissonant/loop jam loaded with spacey effects emerges from "Light" proper. Part of a great sandwich with "Mike's" and "Slave."
Nice funky rhythmic section develops where "46 Days" would typically wind down. Some great Page.
A damn fine version for any era. Has the four essential ingredients for a strong version: 1) dynamic, virtuosic Page solo; 2) thoughtfully-crafted Trey solo; 3) soaring and spiraling crescendo finale; and 4) stellar rhythmic and harmonic foundation from Fish and Mike.
By far the strongest of early 3.0 "Gotta Jibboos" that starts with extremely quiet and patient interplay from all four band members, building up to an extremely happy peak that delivers everything "Jibboo" fans want in a feel-good and celebratory jam. The build is rapid and somewhat abbreviated, bu…
Very quick tempo on this short, funky version. -> out of "Light" and -> into "Possum."
While closely following Trey's winding solo, Fish mirrors this patterned play, the musicians providing the others "room" to altogether drop anything by way of melody, setting Trey up for a patient and tense syncopated exploration which smartly culminates in "Melt's" coda.
Very good, funky version with some nice Page/Trey interplay. Extended spacey ending.
A good and wide-ranging jam develops that includes optimistic, rhythmic, and introspective sections. The jam eventually gets spacey, although it's pretty decent space and > well to "Twenty Years Later."
"Weekapaug" begins at a very fast tempo, launches into the jam, and then Trey re-plays the opening chords at a slower tempo. The second "Weekapaug" jam is very laid-back and funky at times.
Very well played through 7:40 when the jam gets out there with some nice work by Page and Mike. Eventually returns to "Birds" proper. A very exploratory version for 3.0.
Similar to Camden's "Tweezer."
Shorter, yes, but it's well-played and packs a lot of the punch that older versions did. This is what "Timber" is supposed to sound like.
> in from ""MFMF."" In the Phish debut version, the bulk of the jamming is contained within structure of the song, except for a brief cacophonous outro.
Sweet Mike action in the intro, then the jam has an excellent and measured build up in intensity, it peaks, and > to "Suzy."
Probably the King of "Seven Below"s! Initially, the jam sounds reminiscent of a mid-90's "Bathtub Gin" jam. Around the 7:50 mark, they briefly bring it back to the "Seven Below" theme. After that, they delve into darker realms, moving seamlessly for the next 20 minutes between dark and triumphan…
Festive post-tryptophan aerobicize flanges into crystal elves riding bullfrogs down to the hypersonic neon metallic dragon boat races. [A multi-section improvisational juggernault. This jam travels far, and little of it sounds like familiar "Ghost" territory. Eventually the jam builds to a rocking…
Very brief jam, but an excellent one.
A multi-section improvisational heavyweight, which includes rhythmic, chordal play, upbeat major mode exploration, and a return to minor mode rocking with dynamic variation and great contributions by Page, Mike and Trey.
Intense and somewhat funky jamming morphs to major mode bliss before devolving to extended space and > to "Piper."
Strong jam segment and well-played all around.
Fun version. Alt-lyrics abound (relatively speaking), and Mike responds in kind, his standout play driving sparse, interesting improv, featuring mini-solos from Trey, then Page, with Fish terrifically on- and then offbeat. Notable for its highly musical low-end, a tripped-out > breaks for "Harry Ho…
"Manteca"-like jam into space.
Featuring far more by way of "fingers" than feet, Trey's nimble, direct attack drives this surprising, late-set jam, notable for its happy, carefree, vibe, welcome concentration of extra notes, and a few shreddy "peaks plus an ambient outro > "2001".
The surprise "Type II" jamming vehicle from a stellar second set of the '09 NYE run. This train leaves the station at about 6:15 for 11 minutes of quality, wide-ranging exploration. > to "Velvet Sea."
Short but sweet 3.0 version with multiple "Boogie On Reggae Woman" teases and riffs throughout.
Subsonic (wow Gordo!) quantum-tunneling rock drill with an "Auld Lang Syne" jam that finds its way to the dentists office. [Great Mike early-on gradually builds to a nice peak. Then the jam shifts to a solid, snappy section replete with an "Auld Lang Syne" tease and more, and -> to "NO2."]
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.