The Jam Charts · phish.net's good stuff

This cool version has an unusually improvisational outro which builds tension and peaks before flipping back to typical "Moma" to conclude.

Page-guided white water rafting trip through a buttressed cathedral of an ice cream sundae. [A spirited first-set version that dives into a lovely Page-driven dreamscape before moving at Fish's urging to a driving, hard rocking jam. The jam closes with an amusing take on the usual "Ghost" ending, a…

Forgoes the usual bluesy Ocelet jam for a slower, dreamier jam (thanks to some superb work from Page) that builds to a low-key, satisfying peak and then rolls back into "Ocelot" proper to close.

Phish debut

Quickly leaves blissful "Simple" jamming behind and steadily gains intensity with a dark undercurrent en route to a rocking peak and then returns to the song's riff to close.

A few minutes into the jam, Page's synth leads Mike into the goop. The jam trots along back in a shuffle, flirting with the grimy depths until 12:30 when the hose engages. Building with patience and poise, a massive bliss jam with multiple celebratory peaks ensues. Trey sustains a note to signal th…

Trey showcases several of his new-for-2018 guitar tones in this jam that goes from growly funk vamping to a synth-laden space groove and a final rock peak all in < 11 minutes.

A slower-paced, more textural jam that drops us into the ether and midway through takes on a brighter tone but retains its otherworldly feel.

Mike takes point on this deliciously spacey and gnarly jam, replete with fun "Heartbreaker" and "Crosseyed" teases. Dies away into a contemplative jam with a repeating theme from Mike and some lovely electric piano work from Page. > into "Waves".

More 12/29/17 than 7/6/13, the band quickly drops any sense of composition, and the version assumes a dark disposition, colored more by (Mike) a sense of cloaked "space" and "introspection", than thematic unity or tension. It being 2018, the jam crosses, then enters, play at the gates of Page, his…

Although it keeps to the "46 Days" format, this show-opening version offers a surprising amount of atypical play, mostly from Trey who utilizes new tones to color the jam.

This siren song kicks off with Page on Rhodes and Trey on fast Leslie following Fishman to a quieter, warbly dynamic. Trey eventually goes whale call as the jam moves to bliss pastures in G, eventually moving to a patient build up to a mellow peak. Polyrhythm from Fishman and synth/wurlitzer work f…

2018's summer offers three strong versions (see 8/11 and 8/31), but the first, > from an extraordinary "ASIHTOS," before > into a classic "Carini," might prove to be the most interesting. While Trey still struggles early, the improvisation post-vocals marks a departure from solid 2017, and earlier,…

Quickly moves from the song proper into a Mike-driven snappy groove with Trey adding some Echoplex-y color and Fish playing around with the rhythm at times. Switches up on a dime into a energetic "Golden Age"-reminiscent beat, Page adding a calypso vibe and Trey adding sparse but lovely accompanime…

> from "NICU", this fun, cerebral version, evokes early, compact "Jim's". Colored with 2018's melodic textures and graceful pacing, Page's play is impassioned, while Trey bends notes and shapes notable blasts of sustain, before building the jam to a packed, trill-filled conclusion.

Another quality Summer 2018 version, diving into murky waters thanks to Mike's fine work and Trey going to work with his effects, with a more explosive and just as satisfying peak as Tahoe's.

Out of the gates, Page teases switching to D bliss and Mike tries to follow. Trey stays in a minor mode until 8:45, where he finally joins the bliss through whale call as Page switches to synth pads. Here, the jam coasts on calm waves of effects-laden happiness; at 14:00, Trey plays a pattern that…

Another strong showing, with the band again (see 7/18/16 and 9/3/17) departing from patterned, formulaic play. Trey elects to experiment, and strikes any number of interesting notes - in lieu of swapping solos with Page - before leading the band into, and through, a dark, dissonant foray; this culm…

Gets beyond standard "Simple" in a hurry, first taking on a more rocking vibe and then traversing a groove producing themes reminiscent of the Island Tour Roses before spacing out and > "Ghost".

One of the best versions in some time. > from "Suzy Greenberg," Trey, around the three-thirty mark, works a warm and melodic "Mountain Jam" tease, his play effortless and breezy - a perfect take given his tone. Page sounds grand on his concert G, and Fish's propulsive beat, offset with perfect fill…

Flirts with major-key play early on, reverts back to minor with Trey employing an organ-like tone, and then breaks into some immensely upbeat jamming until the final chorus.

One of those "Writing about music is like dancing about architecture" versions, but here goes: A strong composed section cools and, wonderfully, in lieu of working through pleasant, but familiar space, Trey seems to toy with "The Little Drummer Boy" (11:02), a line which leads through a passage(s)…

Breaks out with some brief funk and quickly evolves into a warmer groove with Page and Trey trading lead duties before guitar takes over as the jam gallops to a peak and dissolves into "Wingsuit".

Effects-laden grime coasts on the tail end of a type I jam. Mike leads a charge to D, which goes ignored at first, but this lays the bedrock for a patient and breathtakingly happy shift towards bliss territory roughly halfway through the jam as Page and then Trey finally follow. A hose jam builds f…

The "yang" to Set II's opening "Everything's Right", this supersized (and supersonic) version perfectly illustrates how seemingly opposite, or contrary forces, function in compliment. As if thematically connected, the band taps into the set-opener's protracted improvisation, and works this sound i…

Galaga and Zaxxon battle Space Invaders in the resplendent Echoes of an exploding Dark Star. [One may not need not a chamber to be haunted, but the best Ghosts - at least of late (and for sure: this is one of the best) - appear orchestral in nature. Fluid, nebulous, and wholly organic, deep brain…

Effect-heavy improv with layers of sounds eventually climbs, and builds, soaring to a blissful, thematic peak before grooving to an albeit brief return to the "Tweezer" theme.

After a stereotypically dark "Carini" jam, a happy groove quickly develops thanks to strong Trey-Mike interplay. An extended passage of very quiet and mellow jamming follows, eventually rising in energy roughly halfway through the jam as Trey goes whale call and Page switches focus to piano. The fi…

Another Alpharetta thriller. Clocking in at less than ten minutes, this version, like 8/3/14, arrives in waves, and features infectious energy and surprising improvisation. Trey repeatedly augments his tone and works his effects as the band explores several distinct shifts in rhythm and tempo. This…

Page delivers on his end and Trey suitably ups the ante, bringing the jam to a head with a strong tension-building solo.

Pivots out of the verses into a grimy jam that briefly picks up speed before devolving into envelope-filtered-Mike-led funk, then blossoms into a warm and relaxed jam full of delicate synths from Page and sympathetic Trey soloing. Things take an anthemic turn at Mike's urging, then appear to be com…

Cool jam, with a longer than (lately) intro (or at least it feels that way). While not riffing "Manteca" in its customary phrasing and/or meter, the band toys with this sound for some time, before Page and Trey yield to Mike, who, in effect, propels the version, which cools and > into "Possum".

Just a great version, with the band coasting through the composed section, creating, as their effect, that old-school unison. Entering the jam, Trey's play is focused and deliberate, his tone rich and warm, soaring atop a bedrock beat and striking a wide array of notes - these colored by Page's fil…

Begins with a familiar swinging rhythm and Trey playing echoing, organ-like leads before switching to a heavy auto-wah tone. The next segment brings a shift to major and coalesces at 14 minutes when the jam begins its trajectory to a buoyant peak before briefly heading back to the song's riff with…

A reminder of all the things that make "2001" great. No words (though some fun banter); incredible use of effects; and teases of "You Sexy Thing" and "Tweezer Reprise". The only version to ever close a show, this "2001" is among the best of this era.

"Orchestral" in nature, the band smoothly transitions through several distinct "movements", each refined and offering something different by way of nuance or texture. Be the passage airy or muscular, driven or restrained, the jam remains engaging and highly musical, ultimately yielding to patterned…

Strong vocals yield to pure, fun-in-the-sun jamming. Trey shapes his tone around 4:30, and alights upon a melody, matched, in equal measure, by Page. Trey lays back and Mike steps up - his play characteristically super - and in-step with Page, who soon bathes the stage with synthetic waves. Trey ag…

Trey's solo is short and to the point but played with inspiring confidence and results in a strong collective peak.

A multi-passage monstrosity grows its sea legs out of the Delaware River as the band walks this "Everything's Right" around the corner and back. Up top, dark minor-mode jamming is propelled thanks to Page' synth and stellar bass work from Mike; this eventually paves the path to a happy and fluid bl…

Played with the intro for only the 3rd time in 3.0 (SBIX, 8/12/15). A warm and delicate jam builds out of the verses proper, which morphs into a darker zone with Page and Mike taking point as Trey goes to his effects. Builds to a pretty sweet peak as Trey takes the reins, then comes to a gentle clo…

> from a memorable "Melt", "Stop-Start" / "Woo-Driven" action yields to smooth, fluid soloing (featuring Trey's incredibly warm tone), atop bedrock bass, drums, and Page's groovy play. Short but sweet, a fun way to send 'em home.

Neat outro jam that prods and probes in a few different directions. > to "Thread".

Surprise jam from a strong stand, "Party Time" offers what has been so cool with regard to 2018, and, generally, of late: A little "jamlet." Emerging from what might ordinarily bring the song to a close, extended, if not quite protracted jamming, is filled with "YST" teasing and inspired Trey sol…

While not flawless, certainly one of the era's finest. Mike's salsa-riffing (around 7:00) seems to inspire Trey, whose minor-key jamming creates a "Spanish Jam" vibe, while, interestingly, evoking 4/26/96's "David Bowie" - particularly the version's "Caravan" jamming (around 9:20) - both of which a…

Fun, inspired version. Trey runs through a few solos - each featuring a distinct tone - before the band builds a nifty little pocket of spooky sound (awesome Mike, matched by Trey) which builds to break down.

This groovy first-set pairing with "Tweezer" doesn't stray too far away from the usual upbeat "Gin" jam, but features some wonderful rhythmic games from Fish and builds to a pretty sweet peak.

A forceful version that quickly enters an extended segment of semi-dissonant play, sounding more like something from '93-'94 than the modern era, and then returns to "CDT" with the band wringing every last drop of tension out of the jam.

Propulsive, "percussive" play propels the jam early, before Trey shapes his tone to solo more directly. Trey then lays back and Page controls the narrative, with super Mike and Fish coloring a groove which lets the children boogie. Trey takes a second solo, his feel-good play dissolving into some o…

The type I portion of the jam is enhanced by watery Leslie vibrations, which paves the way in short order for a brief bliss passage. This in turn pushes for a slightly darker, minor-key effects-laden jam that seamlessly -> back to a "Tweezer Reprise" jam.

Placed in the first set of a two-set show for the first time in 3.0, this jam combines an engaging "Type II" segment with a well-executed traditional build and soaring peak.

Tight, structured play breaks to, in a way, display 2018's sound in a nifty ten- (or something) minute package. Effects-driven Trey; swirling Page; utterly tripped-out Mike; and fun Fish swap sounds before Trey steers the jam through a passage of "noise rock" into the now customary "fresh" take on…

A statement jam from Trey who takes the reins and solos extensively en route to a euphoric peak.

Historic (the first "Light" to close a second set), the version caps an incredible evening of music. > from a hot "Mercury", the band refuses to cool, working through complex, patterned passages, some symphonic, others psychedelic in nature. Worth multiple listens, locking in on each musician provi…

Mike lays it on thick in this potent first set affair that breaks out into a great groove which Trey later steers to a peak and a smooth return to the closing riff.

Patient, pulsating, and plucky, the jam, while "restrained," possesses an infectious sort of verve, anchored by Mike's groove, which the others fill with perfect, almost "sequential" flourishes. A fun, build-to-not-quite-break free version, capped with a soaring little peak before a tight return to…

Page's synthesizers usher in a characteristically '17-'18 mellow ambience, which Trey pushes to murk with more characteristic-for-2018 fast Leslie rotary. Mike and Page shift the jam to type bliss pastures; Page switches to piano, and a patient build of tension floats this jam towards a bliss peak.…

364 Days later, the band delivers yet another strong Dick's version, continuing what is now an unmistakable tradition (see: 8/29/14; 9/4/15; 9/2/16; and 9/3/17). Mike's play is great, and Fish settles in nicely, riding his cymbals, the musicians establishing a theme that will carry through great v…

An atypical (very improvisational) intro that heads into the jam segment about a minute early is just the start of a melodically-blessed version in which each band member is inspired and contributes mightily to a stellar version with heavy Manteca teases into Golden Age.

Nice -> from "Tweezer". This jam is funky throughout and brightens into a bouncy, feel-good groove as it comes down the home stretch.

Page digs into his bag of tricks at 4:15, layering synthesizers on top of the groove, and later Trey takes charge as the jam becomes more rocking and peaks.

Retains an understated intensity throughout and after 7:30 takes on a graceful, ethereal feel, coalescing at 9:30 with a truly beautiful sequence of soaring guitar and deep impact bass. Around 11:30, a Page-led groove is introduced which brings things to a close with a slick -> "Cities".

A sick and twisted, evil monster. At first, it sounds like the band is content to tinker with the basic song. But at about 8:00, Fish and Mike hook up and develop a high-power, pulsing and driving base. Chaos ensues, as spacey effects, unusual keyboards, and sick Mike create a throbbing, mind-blowi…

Regardless of your impression of this song generally, this version deserves a listen. Featuring heartfelt, emotive play and strong communication and interplay, the band, especially Trey, is clearly "in the zone" here, and fans are rewarded with an exceptionally strong version, a cathartic relief fo…

Following the instrumental bridge and final verse, a pleasant, upbeat groove takes hold. Gradually, the energy in this jam increases to a celebratory peak, before finally returning to "CDT" to conclude.

Somewhat dark grooving, with strong Mike emerges from the song proper. The sentiment brightens with a warmer tone, before returning to darker, more rocking place.

Solid, straightforward version with varied jamming and a nice, Trey-led peaking section. Mike and Fish are noticeably strong.

Aggressively experimental "anti-bliss" jamming begins with angular grooves and then takes a rare deep dive into the abyss with plentiful space effects and "Shipwreck" quotes. Resurfaces > "Twist".

A nice, Page and Trey-led mini jam occurs during the first instrumental bridge. In the main jam segment, soothing, straightforward, and relaxed playing rapidly gives way to an inspired crescendo, with great Page and Fish.

Here we find "46 Days" at its most punishing in a jam that gets downright grisly as the tension mounts past 5:30 and builds to the first seismic peak. Not to be outdone, in the post-lyrics section Fish thrashes his kit for a bone-crunching finale.

Punchy from the start, this version cooks for several minutes before a major-key improvisation occurs, in which Trey hoses everyone down mellifluously. The jam then segues smoothly into a spacey, divinely-melodic interlude, and a patient, steady build transpires, eventually reaching a spectacular p…

The entire band is locked in from the start on this version. While it may never stretch outside the confines of the song proper, the jam features tight playing all around.

A creeping late-night stroll accented by a descending progression and mysterious Trey soloing then smoothly transitions to bliss and ignites at minute 17 for a joyous, trill-filled peak before slamming back into "Simple" to end.

Mike and Page lead a funky, exploratory back-end jam. The energy builds when Trey jumps in, adding to the mix. Nice to hear this camel have a walk about.

The substantial post-lyrics jam visits places both light and dark and eventually settles into a jazzy minor zone with a vibe similar to "Timber Ho" and, in the last minute, "David Bowie", as it gathers steam and seems poised to explode but makes a good -> to "Rise/Come Together" instead.

The jam peels away from typical playing at around 5:45, shifting to some soft, warm grooving. Picking up energy, the familiar "bliss" jam feels imminent, but instead, the playing shifts to some darker, spacey, Mike-led punchy rock. The intensity builds to a peak, before grinding down.

Following a quality piano solo, Trey grabs the marsupial by the scruff of the neck, and proceeds to give it a serious workout. Like many versions from the early '90s, Trey explores a number of musical ideas and variation, all within the context of "Possum." Strong, straightforward jamming here.

The jam swiftly pushes outside typical playing, breaking into dark, funky rock. Around 6:30, the mood lightens, and inspired, upbeat playing ensues. Another shift happens at 9:00, and the mood darkens again, with evil-sounding Mike taking the lead, before one final, brief flip back to warmer sentim…

> from "Mike's Song", Trey starts off a very improvisational dark, full-band jam, dominated by low tone synths from Mike. Play stays crunchy, infused with distortion and delay, the band riding a spooky groove, offset be terrific Page. Trey teases "Tired of Waiting for You" before the band, led by F…

A part of a set-long "Mike's Groove." No time is wasted before the bands jumps into a pulsing, driving jam. All four members seem to function as a single unit. Around 8:00, Mike and Trey lock in on a riff together that takes the jam to a new level. By the 10:10 mark, the jam slips back to more fami…

An inventive set-closer which explores numerous spaces beyond the norm including gentle dreamlike play, fuzzy rock, and Santana-esque vamping before smartly returning to "Gin" for a smooth finish.

Airy grooves and sprite melodies create that quintessential sort of spirit, Mike's play on point and off-beat, driving an august sort of improvisation which, in time, Trey works to a truly impassioned conclusion.

A patient journey ensues as "Mercury" builds off of its straightforward jam. Just prior to the 13:00 mark, the music goes "Type II" by way of a smooth major key modulation. Page's synthesizers then envelop the music, as Trey melodically trills on top. This then transitions into a hazily introspecti…

The band, like one organism, seemingly processes varying properties of a periodic waveform, or signals that contain vital information, to be shared with some other, astral, life forms. Trey shines, but all four clearly articulate, or inform the several structures, or forms of this "Tweezer's" many…

> from "Tweezer." The jam embarks on a dynamic ride, traveling from cascading ear candy loops via Trey, to an effect-drenched minor key groove that patiently builds to a rousing peak. The music then cools into chilly ambience before appropriately moving into "Frost."

A brief but captivating groove takes hold from 9-11 minutes and another section of soothing, delicate play follows shortly after. The jam gradually gains energy and peaks with sustained blasts of guitar around 18:00 and then makes a left turn into a twisted, synth-aided march, ending -> "Steam".

The band walks on stage and opens with a line drive double to deep left center field. The classic fall '18 whale call bliss sound pops up halfway through jam. One-dimensional, but the dimension is intense. The triumphant and cathartic peak swells and overwhelms, eventually stumbling back to the bri…

The jam first shifts away from the typical into upbeat major key play, cohering around Trey's staccato riffs, and then moves into a very cool darker segment which is infused with "I'm a Man" and leads into the last verse.

A pleasant surprise from Fall 2018, as out of the final verse the band vamps on the usual "No Quarter" jam, before Page leads them into a brief but lovely major key jam with some nice Trey soloing. Grows briefly funky thanks to Page on clavinet, before Trey hits on the opening chords to "Cities", l…

Serving as the penultimate song in the second set, "Plasma" features multi-textured improvisation. Mike leads the jam early on, while Trey plays along using heavy effects. The band then locks into a solid groove for a few minutes before Trey Teases "In Memory of Elizabeth Reed," inciting a passage…

A solid, medium intensity exploratory groove emerges from the typical "Hallley's" outro, with nice interplay between Trey, Page and Mike.

Debut.

Compact bliss jam full of sustained whammy guitar leads over a bed of wavy electric piano.

A second jam emerges post refrain with some brief funk and then works its way into a bouncy upbeat groove with a tasty "Third Stone From the Sun" tease in Trey's soloing. This vibe continues towards the end of the jam until the band makes a nifty move back to "CDT" for a second pass at the traditi…

The jam breaks out into some raunchy, textured rock but does not last long before a shift to major around 10 minutes. From there, a mellow groove of bass, keyboards, and organ effects from Trey unfolds and gradually gains intensity as guitar becomes more prominent. After the peak, there is an outro…

The typical "Twist" jam features good variation and dynamics modulation. Things begin to peel away around 5:20, with a mode change. Following some brief, upbeat playing, the jam begins to rock, as well as further explore. Unexpectedly at around 9:35, Trey and others add moaning, vocal chanting to m…

The first segment consists of strong and varied "Mercury" style jamming, highlighted by a hypnotic groove in the 13th minute. After regrouping at 15:30 the song's theme returns but in a major key and propels the jam to a peak and a bit of echoey play at the tail end before > "Suzy".

Soaring, anthemic play from Trey combined with gooey bass from Mike highlight this second set opening version. After a mini-peak, the jam eventually fizzles to > "Down With Disease".

Funk smoothly transitions to a warm major-key groove at 4:30 which comes together nicely from 7:45 - 8:15 with Trey employing delayed auto-wah tones at the peak, and then drops just as easily back into "Tube" at 9:00 to conclude.

Quickly shrugs off the usual jam structure and embarks on a thrilling exploration of multiple disparate themes, the last of which is some spooky space that leads back to "SOAM" at 18:30.

Synth lord Page pushes the jam to light and airy bliss pastures. Mike teams up with Fish's ride cymbal to create a delicate pad upon which Trey launches layers of whale call on the backs of delay. Mike uses effects to create a reverberant wash that blanket the fray; this leads to a passage marked b…

Around 5:30, the playing shifts from the usual fire and brimstone stuff to a quieter, percussive groove. As Page and Trey link up, the jam develops energy and a brighter tone. The band neatly modifies the energy up and down several times, before cleverly -> to "Cities."

Begins with a bit of vocal jamming and then gets into an upbeat clav-groove and continues building in a section bookended by "Party Time" quotes before some more "Wolfman's" scatting and a final ascent for a guitar-driven, high-energy conclusion.

First section features an extended, fiery jam that is akin to "I Know You Rider" (Grateful Dead) before funkily dissolving into "Death Don't Hurt Very Long."

Version is sandwiched between heaping slices of "Tweezer."

Second section is melodic, patient, and mystical, and includes a smooth transition to "No Quarter."

> out of a fan-favorite "Tweezer" > "Death Don't Hurt Very Long" -> "Tweezer" sequence. A particularly passionate version befitting the set it's in, with sharp playing from everyone and a truly fiery Trey solo on top. Reminiscent of the cooking-with-gas 2011 "No Quarter"s. > into an equally killer…

A dynamite version that demonstrates Phish's mastery of the "Also Sprach Zarathustra" groove, as the band neatly weaves around Fish's four-on-the-floor beat and both Trey and Page wonderfully mesh together.

Although no "second jam," the post-tramps-segment jam is extended, with Trey passionately soloing (and even trilling) quite fiercely, and there's an excellent peak to the jam taboot.

Perhaps the real giveaway that this is a stellar, ferocious, extended 3.0 version is the segue into Crosseyed (which could certainly be smoother, but is still welcome).

Abandons funk for a spacey groove with plenty of synthesizer and twinkling staccato notes and then makes a surprise -> "Weekapaug."

-> in from "Tube." Hot little "Weekapaug" reprise jam before -> back to "Tube."

-> from "Weekapaug" into the breakdown to wrap up another strong 2018 "Tube."

Subtle, magisterial, and grand, the jam, bright as DMT (if, in actuality, colored with "WTU?" DNA), slowly builds, gently rising more than gaining intensity, the band riding Trey's wave of sound which crests to swell to become play notably restrained and pretty. This, then, into a perfect > for "Pl…

As a platform for improvisation, "Plasma" continues to impress. Here, > from a huge "Everything's Right," the band does not cool so much as they are cool. Trey lays way back, yet still manages to inform much of the version's signature sound. Fish's play is polyphonic. Page answers. And Mike offers…

Slides into a warm and relaxed Page-driven jam with Fish's woodblock adding color, then dives into a space not too far away from the preceding "Plasma" at Mike's urging, before building to a huge trill-laden finale and dying away into spaciness. Tremendous version.

Almost one year later, the band closes another holiday set with a crazed "Melt." Like 12/29/17, the version sheds form after assuming nothing more than a perfunctory structure. Unlike the 17, however, the musicians - and Page in particular - expand upon 2018's "SOAM" sound, creating that haunting,…

A punchy groove emerges from the song proper. Trey envelops the music with an effects-based sonic haze, with Page's rich organ bed carefully cradling Fish and Mike's locked-in play. At around 13:00 the music grows in intensity, building a psychedelic groove replete with muscular synth bass and brok…

Quickly takes on a more assertive and slightly darker tone with Trey and Page employing a variety of sounds to color the jam before reverting to major at 7:00 with some light and airy play. This section gradually intensifies and gets more rocking as it progresses, ending with a thick, locked-in gro…