The Jam Charts · phish.net's good stuff

A plus outro with more varied guitar and organ riffing from Trey and Page that pulses into > "Winterqueen".

Nice chord strumming and other melodic variation by Trey in a fiery and crescendo-oriented jam.

Similar to 8/6/10 and many of the '00 versions, in which the jam is really more about a groove than it is Trey rehashing the basic "Mike's" jam melody for the 400 and umpteenth time. Both Mike and Fish play with ferocious intensity in this solid version.

At 5:40, the jam breaks into dark, funky groove with Page working the B-3. Great teaming by all four as each adds color to a solid version.

Very atypical jam section with Trey on Marimba Lumina and Mike on guitar, and fierce work from Page and Fish.

An inspired jam which features strong soloing by Trey, great teaming with Page, and very solid Fish, whose fills and creative accents gradually power up as the jam intensity rises.

The band makes a breathtaking, powerful statement with this improvisational and multi-section juggernaut. The now common 3.0 "Hose" style is enhanced by a swinging vibe and serious power rocking, bookended by great percussive funk. (2014 JOTY winner).

-> in from "Light". A minute-long vocal jam pushes into a more upbeat, rocking section led by Trey and Fish, before settling in murkier waters that lead to > Sand.

Debut. It's clear the band couldn't wait to play "Blaze On", hinting at its improvisational prowess from the get-go during the first set of tour.

Debut. The song sounds fully formed from the start. Nice > into "Weekapaug Groove."

This version has a relaxed, feel-good vibe that's one part "Gin," one part "LxL," and four parts Phish. Eventually peaking in a strong manner, the closing adds appropriate punctuation.

Page, with good backing from Trey, whips the crowd into an absolute frenzy. Then Trey is solid, but Page wins, hands down.

Debut. Pretty and delicate play, with Fish offering a sturdy bridge by way of Marimba Lumina, beneath deliberate (and yet to be repeated) vocal harmonizing. A "Tweezer" cum "Help on the Way" outro showcases the composition's seemingly infinite potential.

The jam makes a nice modulation to major mode where the band builds to a peak thanks to Trey's melodic playing. After shifting back to minor mode and revisiting the song proper, the jam mode shifts again and > to "Waves." Short but sweet.

Patient, confident, wonderful type-I version with a sustained crest that recedes swiftly into space.

This very cool, effects-laden version features Trey finding a theme of sorts in his solo (a series of riffs). Page responds in kind. And Trey trills. He modifies his tone. He bends notes. And he builds in some serious sustain. Mike does not deploy his drill, and this adds something extra to the out…

Trey's tone and chording give this solid version a slightly edgy, more rock-oriented feel than the typical "ballad" type version. Apprearing mid 2nd set before an excellent "Simple,", it's not so much a "breather" song as a rocking downshift before revving up for what followed.

The typically joyful "Simple" jam makes a turn to the Dark Side, as Trey leads the band into a stark exploration with a somewhat Pink Floyd-like tone. Listen for Mike's approval bell.

Despite being only the second "Blaze On", this rendition has strong tension-and-release jamming with Eastern scales from Trey, before circling back to the main theme and jumping off the deep end into a pool of fractals and spacey effects used to signal Pluto.

The beginning of the jam while structurally standard has a decidedly different timbre, as Trey and Mike deploy a gnarly and raw tone. At 9:00, the jam breaks free into the now familiar major mode Phish bliss style typical of the last few years.

A solid version which follows a trajectory similar to other recent strong versions. Towards the end, many hear jamming similar to "I Know You Rider."

A nice version which begins with a fun "Follow The Yellow Brick Road" tease, then gradually builds up to a solid peak.

Trey makes a dive into minor-key Fall '97-esque territory, then the jam takes on a menacing vibe not unlike "Psycho Killer" before a > into "Carini."

Trey, Page, and Mike weave in, out, and around each other harmoniously throughout this entire breathtaking jam, while Fish holds down the fort and leads them to a glorious peak. > "BDTNL" for CK5's birthday.

Gimmicky version where Trey and Mike spooned eachother while playing each other's instruments. (see http://www.youtube.com/watch?v=5mK05T5cYdE). A phun time was had by some.

"46 Days" -> "The Dogs" -> "46 Days." The first section of "46 Days" is standard, but the back end section includes a nice low-key outro jam.

-> in from "46 Days." This version is sandwiched inside "46 Days." -> back to "46 Days."

-> in from "The Dogs" to complete this sandwich. This section has a nice chill outro jam that > to "Piper."

Following the closing refrain, a jam develops which features some good melodic, low key playing. The energy gradually builds and really amps up in the final 2 minutes.

At the time, this was the longest and most exploratory version to date. Strong finish via some "Tweezer Reprise"-esque jamming.

After an improv-heavy, groundbreaking "KDF," the band goes old school with an instrument rotation based jam. Around 2:30, Mike and Trey switch rigs. Then at about 4:30, Trey visits the keyboard station, before moving on to Fish country where he is joined by Mike and Fish (~5:30). At about 6:00, Fis…

Another great version which quickly departs the typical jam, shifts to major mode with serene and delicate play, and gradually builds power.

Great late show "Reba" arrives via a sharp -> from "BOTT." A tight composed section leads to a strong jam, with super guitar matched in equal measure by on-point, full-band play. Unsurprisingly, then - yet surprisingly! - Trey manages to squeeze "Reba's" post-jam whistling into the ensuing "Gin," w…

Some fun teases bolster this one a bit, but the main story is the jam itself, in which Trey flexes his muscles and leads the charge to the top in a strong set-closing performance.

Given that the "Heavy Things" after this version features a "Happy Birthday" tease, playing "Ocelot" wasn't the most overt "nod to Jer" on Jerry Garcia's birthday the summer Trey moonlighted at Fare Thee Well, but it is the most musically impressive. The word most associated with this version of th…

The longest version since Tahoe is gorgeous, in part, but does meh-ander now and then, despite a section where Trey repeats a "Born On The Bayou"-esque riff, and despite the final few minutes where the jam picks up momentum before petering-out with a loop'ed noise from Trey's guitar.

Not the longest straightforward version, nor does it have the biggest peak. But Trey's playing is so spot on, just excellent.

The jam works away from "DwD" with a raw, dark tone, then shifts to some smooth, cheery and rhythmic play, which some hear as "Piper"-like. The energy and buoyant sense ramps up, and then the jam gradually recedes to quiet, brooding interplay.

One of the more interesting "Type I" renderings of this song that you will find. Trey sprinkles enough of his new summer toy, the Mutron peddle, to spice this one up. Page, Fish, and Mike stay pretty close to home, providing a great foundation for Trey to be more than adventurous on his solo. From…

Mike and Fish set a great chunky and snappy groove in the first part of the jam which Page and Trey ride to great effect, and quite patiently. Then they flip the switch and the jam concludes with the expected power peak.

For the first time in over 15 years, the band breaks into a bona fide 2nd jam. While the 1st is typical 3.0 stuff, and the transition unusual, all is forgiven as the 2nd jam begins in classic "Mike's" rocking and rhythmic playing before settling. After 10:30 the jam develops a dark and introspectiv…

Following a nice tempo slow down early on, the jam departs the standard and coalesces on an "Electric Funeral"-like theme (Black Sabbath). "C&P" vocal quotes are added as the jam picks up tempo and returns to familiar "Weekapaug" ground.

The band seems content to keep the majority of this jam in a low key state of quieter musing. A few energy upticks along the way to an eventually rocking peak, but this is largely a settled, chill out jam without the now typical bliss section(s).

Again, a jam emerges following the closing refrain. Beginning in a relaxed, minor mode groove, the mode shifts to major, and Trey works into a great theme/melody. After bringing the play to a peak and transition settling, the energy rebuilds and -> to "Tweezer."

Spectacular improvisation that traverses titillating terrain before mellifluously mellowing into "Lizards."

A really wonderful version which, while it follows a fairly predictable trajectory with a cohesive brightening, is accented by heart-felt tone and cool sonics. The concluding section neatly shifts between warmer and more introspective sentiments.

Short but sweet: a nice funky and rhythmic back end jam develops and seems poised for lift off, but instead -> to "Twist."

Textural, repetitive improv eventually morphs into major key bliss, as Trey repeats a catchy melodic theme and the band reach a glorious peak before the jam dissolves into Dirt.

The 1st jam begins well with Echoplex-infused effects, before Trey drops into more familiar territory. Again, there is a 2nd jam, also with an unusual transition after the traditional closing chords. This time, a high octane section leads off, followed by a funky breakdown jam which grows intense w…

The band neatly -> into the second "Martian Monster" of this show from the ultra rare "Skin It Back." This version seamlessly combines "Skin It Back" themes into the Martian atmosphere, including two separate teases. Proving beyond doubt the presence of water on Mars, the spaceship hovers in a dens…

Some variation away from the boiler plate standard, including a brief major mode modulation, nice Trey/Page/Mike interplay, and a solid tension-filled trill section put this one in the jam chart zone.

Page solo with Trey comping on guitar > "Martian Monster" vocal quote > Fish with a spacey Marimba Lumina solo > klezmer > prayer-like Mike chanting > conclusion.

For the 2nd straight year, the Mann gets a big "Fuego." This jam begins in a subdued manner, then builds energy and feel-good sensibility before revisiting the "Fuego" theme with an uplifting spirit.

The customary instrumental bridge has some filthy, raw tone, then there's a great compact spacey but upbeat jam at the end which covers a surprising amount of terrain and -> to "Taste."

Trey's Echoplex leads the second straight solid "Cities" to some extended between-verses jamming, before the whole band picks up where he left off and explores a pulsing, minor mode space before the 'plex is left behind for a more straight-ahead jam that eventually fades out.

Traditional "Stash" jam which dwells in the domain of darkness throughout, covers some different terrain in this realm, and ups the tension nicely before releasing its underworld grip.

After a Jekyll (jam) and Hyde (composed section) take just four shows earlier, Trey redeems himself with the Mann "It's Ice". The whole band jumps into the jam feet first, coalescing around a "Manteca"-like theme for a few minutes during which Page goes absolutely nuts on his clavinet.

Continuing a run of excellent renditions of "Twist", this exceptional version starts in more typical "Twist" jam territory before some more delicate playing is laid on a bed of bombs and loops. Like the Shoreline rendition, the band circles back to the main theme briefly before veering back off int…

Only the second "S&SS" with intro (SBIX) in 3.0, this version shows few signs of rust and has excellent vocals throughout. The jam starts off largely in-the-box, but Trey and Mike slowly tug at the seams until Fishman pushes the rest of the band towards a throbbing two-note pattern and a brief peak…

Debut of the slow, funky Llama. See 6/29/16, 10/20/18, and 11/30/19 for other versions.

Version features an atypical jam segment which modulates to major mode, giving the jam more of a feel good sense, and less the typically rocking style.

Begins with some bouncy funk work and then builds into a rocking groove. Brief ambient interlude before a > to "Reba".

Following some deft playing by Trey, the straightforward jam peaks, then drops into some nice "No Quarter" teasing followed by a brief, funky breakdown jam before heading home.

Phish has certainly got "Roggae" dialed in at this point in time. This version is heartfelt, soulful, and beautifully played. Trey uses no effects, resulting in a natural sounding jam, and he picks his notes with impressive exactitude, resulting in a super tight, cleanly played version.

A tasty prequel to the beloved Magnaball Antelope, this version quickly deconstructs the usual "Antelope" jam before Page and Trey have a fun solo-off, then moves into a tension-laden spaciness, before returning to "Antelope" proper. "Gacktoidler Esquandolas" from Trey in the Rye Rye Rocco section.…

An angry, dissonant and pulsing jam emerges at first, settles a bit, then grows melodic and soothing with nice Fender-Rhodes action from Page. Familiar bliss type jamming then briefly takes hold until a -> to "Bug."

Meaty little groove develops after the fourth verse, grows in power with Fish adding some eerie wails, then dies away and > very nicely into "What's The Use?"

"What's the Use?" is sandwiched inside a solid version of "Steam."

> out of "What's The Use?" Proper finish to the tune and a slow -> into "Piper."

-> in from "Steam." Solid and varied "Type I" playing through 8:40, when the jam quiets and takes on a groovy but dark and probing sense. The energy builds to a spirited, rocking peak, then neatly -> to "Tweezer."

"Stash" is an old fashioned tension/dissonance -> release type song. Trey's frequent use of the off beat to begin his melodic runs keeps it interesting, nicely building tension up to the final release.

Sure there's a nice major mode shift, but to only mention that is to sell this solid Bowie short. There are several brief pauses, a Zappa-like technique which throws off the rhythm momentarily and keeps it interesting. Also a nice intro and good tension building. Minor flubs here and there are forg…

The Magnaball-opening "Simple" wastes no time in getting the festivities underway. After some standard jamming in the typical chord progression, the band opts not to resolve to F and instead stays in B-flat, churning out a fuzzy, pulsating groove led by the rhythm section.

Exceptional version including diverse jam segments. Hard-edged rocking, murky funk, and melodic "hose" all feature in this top-shelf "Gin".

Yet another "CDT" boasting a post-refrain jam, and yet again does Phish deliver the goods. The jam starts off sparsely and rebuilds to a low-key, part melodic, part hard-edged passage with a "WTU?" tease before > Ghost.

Doubles down on the Mann version with two separate rock-oriented jams, occasionally hinting at the climax of "CYHMK." Returns to the "NMINML" ending twice, then dissolves into an ambient fog and -> neatly into "Slave."

With an exception or two (11/30/94, 8/11/04), "Antelope" always begins and ends the same way. What's in between separates the great from the typical. This version nicely strays from the ranch from 4:50 - 6:15, and includes a nasty, gnarly and tension-loaded push to the peak.

The jam moves beyond the rocking norm to some dark probing, before gradually shifting to serene and introspective exploration. After swelling to a modest peak, the jam -> to "BDTNL."

Fierce, punchy version that soars from the get-go, with Trey employing killer effects. The jam then plateaus, and then launches into melodic, major key mode for a while before dissolving into Caspian.

The jam that emerges from this "Caspian" at around 6:00 is superb and must-hear Phish. Whether you think of this as a "Tweezer" or "Caspian" jam is a pedestrian concern; just enjoy this band kicking asses in its 33rd year!!

At the 7:45 mark, Trey's chording shifts this top-notch "Blaze On" from straight ahead bopping to deep melodic exploration for five minutes, when suddenly the band flips a switch and begins a psychedelic horror show filled with off-kilter intervals and eerie effects that last until the jam somehow…

Another strong and typically funky "Cities" -> "Mind Left Body Jam" sandwich.

-> in from "Cities." Last heard in 1998, 17 years earlier, this throwback recalls great moments throughout the band's history.

> in from "Mind Left Body Jam." Concluding section sets up a nice transition to a solid "Light."

Particularly delicate playing from Trey in the first jam which is broken off by Fish in thunderous fashion. Second jam features calypso rhythms reminiscent of the Augusta version.

Set somewhat conspicuously at the large drive-in movie theater near the back of the festival grounds, underneath the large “MAGNABALL” sign. The aptly named “Drive-In Jam” is arguably the most emblematic example of 2015’s stellar musical achievements. The music creeps in subtly and surely, as hushe…

Trey's comping during Page's solo really adds good tension, then his shortish but intense solo puts this version in the "win" category.

Some good and varied playing, in addition to a warming modulation to major mode provide the differentiation that make this version well worth checking out.

Although the first half of this version is played in a now predictable manner, the second half breaks orbit and heads into the Exosphere, nearly achieving true outer space exploration. Trey's heavy use of effects play a decisive role, as the band seems more intent on jamming this "Martian Monster"…

-> in from "Scents & Subtle Sounds." Dies away to a near hush at the 2 minute mark, then wonderfully explodes back to life. The Kent '94 "Hood" version of "WTU?," and proof that you really can teach an old dog new tricks.

Though short, this "Twist" isn't lacking in creativity. As @n00b100 points out, the jam almost immediately pulls itself apart, leads to a Trey-Mike duet of sorts, and moves into a Chilling Thrilling Drive-In space that swings into a "My Soul"-esque take on the main riff, before a heavy metal theme…

Quickly picks up steam and builds into a flowing Type I jam with a sizable peak.

Following the final refrain, a shortish but solid, percussive and initially driving jam begins to diminish, seemingly poised to explore further, but > to "Antelope" instead.

For the second straight time, "Blaze On" ventures into the unknown. Seven minutes in, Trey's alternative chording sends the jam off into a warped version of the central two chord theme, and the Mu-Tron and Clavinet begin their space duel. After an off-kilter build in intensity and a switch to the B…

An intriguing version which drops into some contemplative space and eventually gains upbeat energy without ever totally taking off.

Another great version, but this one is quite different from MPP '15. Here, Trey deploys guitar effects, creating a very different tone to this rocking jam. The peak is solid as well, and many may prefer this style to the more traditional MPP one. Nice to have so many great versions to choose from.

For the fifth straight year at Dick's, Phish delivers a chart-worthy performance of "Chalk Dust Torture". After some "BOAF"-like tomfoolery in the composed section, another post-refrain jam develops. This one is notable more for the excellent tone and effects employed than sheer melodic fluidity, a…

Tight, full-band play spells "Mercury's" zenith to date. Like laser-beams, Mike issues forth the first sounds from Fish's solo, which informs Trey's play, who reciprocates the sentiment, inciting an airy, yet funky groove. This sparkling, disco-ball vibe bleeds into a bit of space, before the band…

Moving beyond the typical "DwD" gyrations, the jam briefly turns atonal and dissonant, before Trey hits upon a soothing but uplifting theme/progression, which builds to an exultant peak. Although this jam format isn't novel, this proven formula in this instance pays off handsomely.

Again, a touching Mike/Trey duet of sorts at first. Page and Fish jump in to add color and accent. Approaching the peak, Trey plays several sustained notes that work quite well. And the final peak is fittingly powerful.

After a relatively straightforward first jam, albeit with a dash of dissonance, this "CDT" takes off post-refrain like all the other heavy hitting versions from 2015. A crunchy MuTron / Clav' groove kicks off the second jam. Things appear to be coming back to earth when Fish and Trey kick it into h…

After a kooky vocal jam the band eschews the typical "Gin" jam style, instead opting for a graceful groove which flourishes in stunning fashion.

Unbelievable -> out of "Weekapaug." Drops into silence like Magnaball, then builds to a glorious peak. Sounds like a late '90s "Hood" style peak. -> back into "Weekapaug" without hesitation. Superb version.

Around 6:30, Trey leads this one into the "Type II" zone, where it remains for the duration as it drifts through some low-key psychedelia before a > to "Piper".

The final "Twist" of the year clinches its title for "Jamming Song of 2015". Like the Shoreline and Mann versions, after a relatively straightforward first jam, the band comes back home to the opening riff before taking off again. After some probing and warping and abstracting of the riff, things g…

Awesome NYE prank version. The jam begins in a mellow zone with sprinkles of bliss. After a sparse, ambient section, Fish kicks things back into a solid groove, before "Drive-In Jam"-like effects and sounds overtake. Must-hear Phish. Note: a few minutes were probably pre-recorded as part of the NYE…

There's a reason Phish chose "Blaze On" as the song to open 2016, and this version delivers the celebratory goods. Like the past few versions, near the seven minute mark, Trey's chording sends the jam out into a world of spacey effects. These effects are reeled in quite quickly this time around, an…

Clever major/minor mode contrasting by Page and Trey at a couple of different points, plus some good old fashioned tension provide the finishing touches for a solid year for "Bowie."