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 2019 charts
84 entries · 35 nightsAround 8:30, the music begins to peel away from the typical play, settling into pulsing, low-key groove. Page and Trey add color, giving the playing a warmer, upbeat sentiment, which gradually builds to a blissful peak. The playing settles back down to a funky, crunchy groove after 16:45, before fu…
Gets the party going with some "Death Don't Hurt Very Long" teases, then as the jam continues the bottom drops out and Trey and Page whip up a dark ambient space. Fish comes back in and they go into the "chorus", only with the dark ambient space mixed in. A very unique experience. This ain't your a…
A quality jam with an uncommonly subdued tone seems to momentarily wind down at 5:15 before launching into another round of synth-groove and builds to a rocking finale capped by strong Trey leads.
Massive Set 2 opener. Pivots into a gritty and nasty jam at Mike's urging, which gets very heavy (and a tad flubby) as Trey takes control. A gnarled groove emerges, with Page laying on the electric piano extra thick, and then Trey pivots into major-key territory. The jam grows warm and pleasant as…
Great Version. > from a huge "SYSF," play breaks free around 10:00, Trey's tone warm, rife with melody, floating atop waves of Page's now signature keys. With a series of licks Trey pushes play forward, the jam builds in energy, before a huge blast of sustain peels apart (with Page now on his piano…
At around 8:00, the jam shifts away from the typical into a pleasant major mode section. From there, a synth/keyobard-led section morphs into cool, groovy music with nice Page/Trey interplay. The energy builds becoming more rocking, until finally returning to "Stash" proper.
After an appropriately funky opening, things relax a bit with Mike making his presence known melodically and Page supplying the now-ubiquitous samples of "The Final Hurrah" while Trey lays back. Later Trey reasserts himself with some striking soloing as the energy picks up towards the jam's conclu…
The longest "Loving Cup" to date is a clever - if not forced - nod to a Stanley Cup win for the St. Louis Blues minutes before this jam. A quiet bounce led by Page's piano and fast rotary tone from Trey explores quiet space at first. A rhythmic plinko jam follows, with Page on Wurlitzer and Fish's…
What begins as a relaxed and conversational groove shifts noticeably after 5 minutes growing eventually into a rhythm section powered freight train as Trey's melodic lines thicken becoming path clearing guitar blasts that lead to peak and return.
A hidden gem in a stand-alone festival set. Buried 9 minutes in is an abrupt but welcome left turn to blissier grooves, and multiple pleasant and sizable peaks unfold on the back of Mike's rolling bass. At 11:20, a thematic tone poem introduced by Trey builds up to a sustain-drenched peak.
Debut. Compact, and coyly > from Halley's Comet, playful licks, a meandering, breezy, and open-ended feel following the main chorus, offers a glimpse of what soons becomes a signature, second set staple.
In a year in which setlists struggled to integrate a host of new material from both Trey's solo effort as well as the band's Halloween hijinks, the Kasvot Vaxt hit does solid duty here as a second set tent pole, -> from "Plasma" and takes its first truly exploratory departure from form in a laid ba…
Fan favorite from 2019. Immediately moves into a warm and soothing zone with Page's electric piano leading the way, then briefly picks up steam and lets Trey cook before sliding into a grimy synth-laden groove that Fish drives with some thunderous drumming. A nice semi-tropical jam emerges and give…
Amusing "BOAF"-inflected song portion (with an equally amusing botch). Briefly pops its head into the clouds for some major-key bliss at Trey's urging, Page flips his electric piano to the "calypso" setting to add some nice color to the jam. Trey hits on some neat repeating riffs as the jam builds…
A number of recent versions (see: 7/25/18 and 10/20/18) demonstrate the band's renewed interest in one of their finest compositions. Given your preference (the spirited first "half" of early-90's "Runaway Foams," or the crazed, free-form improvisation found within something like Shoreline 1997's II…
Wastes no time moving to a warm major key jam (with charming "If I Only Had A Brain" teases) that picks up speed and gets almost tropical at Page's urging, before shifting to some tasty rocking out and letting Mike really shine. A lot of meat packed into a smaller frame.
> from "20 Years Later." After a normal start to the song, at 5:50 the band shifts to a quiet, minimalist jam for about a minute. At this point, Trey starts singing the words to "Have Mercy" over the jam and the rest of the band follows suit. "Have Mercy" is sung over the jam for a moment, and then…
A smooth modulation to major around 4:30 paves the way for the band to ride a wave of feel-good vibes to a clean peak with Trey's ringing leads out front.
Features an unusual shift to upbeat major play at 5:45 and ventures further afield with some "Wider"-esque reggae grooving before returning home.
Playful and plucky first-set play hearkens back to the "day," with Trey seamlessly blending "Blister In The Sun" into a fiery version which probably doesn't, but may, hint at "China Cat Sunflower" before the song's closing vocal refrain. > "The Horse."
While the jam section begins typically, Trey's confidence seems to grow as he proceeds, with fancy finger work and cohesive play leading to a rousing conclusion.
> from "It's Ice." Mike has strong play from the start and Trey's play is airy and bouncy, as usual. Page mirrors Trey in a complementary fashion and Fish's delicate, driving drums keep the jam going. Strong play from the entire band in this version.
Pivots to a light and airy major key jam, upon which Trey steps into the spotlight and delivers some powerful and emotive soloing. Comes to a powerful close and > into an equally good "Everything's Right".
First improvisational version wastes no time delving into a dark swampy zone with Page's synths leading the way, Mike going to the envelope filter to add some extra filthiness. Fish picks up the pace and Trey moves to a nice low-key groove with some "Weekapaug"-y tones, with some "Crosseyed" quotes…
Fish picks up the pace early with an insistent beat and the jam seems poised to peak around 8 minutes but instead enters a brief transitional period and then gets funky for a spell before wrapping typically.
The jam begins quietly, then drops into minor mode with more rocking play. The music quickly shifts back to inspired, soaring play which sounds similar but slightly different than "LxL" and concludes with a quality peak.
This version is Mike-led from the very beginning. He and Page take the reins early, creating a cool, textured sound. By the 9:00 mark, a full band jam has emerged, which morphs into a funky, dance-party jam. Fantastic play from Trey punctuates the jam as it > into "Play By Play."
The typical outro dissipates into spacious twilight and then very gradually heats up while retaining its late-night feel as Trey's riffs get more rocking en route to a peak. A funky staccato section caps the jam before > "Piper".
Fairly intense but inbounds playing continues until 6:45 brings a shift to a warmer, more relaxed zone which gives Page and Mike space to step up before Trey brings things back to a rocking finish.
Sprite and airy play dominates until, following the 13:00 mark, the band revisits the song's primary melody (nice and growly) and descends into a welcome, if not quite warm, passage of controlled, near-chaotic play. Trey augments his tone and leans into his effects, with Mike sounding off (any numb…
-> out of a superb "Fuego". Gets deliciously, almost heavy-metal sludgy dark right out of the gate, Mike and Fish really powering this gruesomeness. Fish snaps into a wickedly danceable beat which the band rides for all it's worth (nearly swerving into "Sand" at one point), before they swing into a…
Typically impressive play splits open and melts into one of the summer's more interesting extended improvisational passages. Around the 14:00 mark Mike works his effects and Trey follows suit, a bit of lead bass fronting a super bit of creativity which toys with the song's melodic variation, at ti…
Relatively short but very sweet. Around 4:30 in, the jam takes a turn to a driving groove in A, which the band weaves into darker territory. Dominated by swirls in the key of Mike and thick Clavinet work, the jam weaves back to a happier bliss key around 6 minutes in. Trey goes for swirly Leslie to…
A thick churn of clav, filtered bass, and growling guitar suddenly morphs at 5:20 into a triumphant release with a powerful peak.
Smoothly pivots to a fuzzed-out and warm space, then grows darker and heavier with some real nice work from Mike in particular. Page flashes his stuff on the keys as the jam grows busier and more intense, and with a few strums of his guitar Trey moves the band into a quicksilver blissful upbeat hos…
The band shows a willingness to let things develop slowly and organically at a level normally reserved for soundchecks in this relaxed, free-form exploration. Numerous styles and moods are employed with each movement given time to breathe before subtly transitioning to the next. From the initial gr…
> from "Cool Amber and Mercury." One week later, and another monster "Disease" is played. This is a multi-layered jam with multiple themes; if you don't like where the jam goes at one point, just wait three minutes and it will go off in another direction. Trey navigates and leads the band with the…
> from "Down With Disease" and featuring the proper song intro. The jam is patient as the band lets things happen organically. Nimble play from Trey leads the way as the tempo and intensity gradually pick up, before eventually > "Twist".
Extended take gradually leaves "Mercury" proper behind with some amorphous riffing and then enters an ethereal passage with meditative bass and searching guitar leads over a bountiful bed of church-like organ tones.
An absolutely stunning piece of psychedelic music, almost akin to free jazz at times, that touches on nearly every mood imaginable in Phish's improvisation and a few not imaginable in Phish's improvisation. Exceptionally deep and must-hear.
The jam breaks into a really cool, "Caravan"-like (Duke Ellington) or "Spanish" minor mode jam section at about 8:00, which continues for several minutes and grows increasingly intense and includes a fleeting "Manteca" tease by Trey as well. This tension-filled playing winds its way back to "Stash"…
"Wingsuit" is one of those songs where, when Trey's tone, texture, and phrasing align, there is no place you would rather be than somewhere upon this planet, listening to Phish. This is one such version. The band's accents are perfect, but Trey dominates, suspending animation and creating a sort…
> from "A Song I Heard the Ocean Sing." While not quite reaching the heights of the Charlotte version from earlier in the summer, this version certainly has merit. Atypical jamming for the song starts around 5:30 as Page begins playing some truly spooky sounds. Mike jumps in and together they creat…
The jam begins predictably enough, with quieter straightforward playing. But the locomotive on this train really builds up a head of stream, and by 6:00, it is rolling down the tracks and continuing to pick up speed, before finally easing the passengers safely into the station.
An unflagging improvisational behemoth that moves from moody rocking out to a low-simmering groove to a propulsive Trey-led anthemic rush to swampy blissfulness to reggae (!) to motorized power riffing with a thrilling peak to ambient space to a surprising and welcome effects-laden gallop into the…
A jam so laid-back, one could be forgiven for thinking this was played on a beach instead of a mile above sea level. The jam features sparkling play from Page. "ER" serves as the first half of a fantastic 1-2 punch before > a big-time "Mercury".
> from a strong set-opening "Everything's Right", this version features over fifteen minutes of quality jamming after the song proper. Trey's play is inspired throughout, he leads the band in and out of multiple sections as the jam traverses many soundscapes. A standout version with excellent jammi…
Thumping electro-synth groove dominates this inventive jam full of fresh sounds and focused play.
A typically spirited jam starts getting stranger as it approaches 6:00, becoming uncommonly tense and off-kilter, and then quiets down with a hypnotizing synth and percussion breakdown as it wanders unfinished -> into "46 Days".
Initially uncertain, the band practices prudence as myriad ideas (rhythmically, tonally, and texturally) are thrown into the fray without clear direction or heading. At 7:45, Page and Trey slide the jam cleanly into F, where a textured and detailed bliss jam oozes and bounces in dynamic. Trey fades…
Beginning with a slower tempo, this "Piper" gradually builds to normal speed. The jam peels away from customary, becoming mildly dissonant and atonal, before shifting to a warmer, more upbeat sentiment. The jam then becomes energized, pulsing, and rocking. Around 11:00 the music shifts again, with…
Instead of the typical, crescendo-oriented jam, here the band breaks into an atypical major mode jam, providing a warm and more relaxing sentiment.
Better late than never, "Plasma" now seems a Phish (centerpiece) staple. Here, the band drops immediately from the song's signature licks to enter a synth-driven exploration, with major (or minor) "Crosseyed and Painless" undertones. Ever percussive, and, as always, interesting, a full-band psyche…
> from a big "Gin" (and THX effects) , the band performs one of the finest versions to date. Early, everything drips with a bit of "gusto," before Trey, around 5:00, augments his tone and shapes sound, creating a crunchy, "Martian Monster" sort of stomp. Fish splashes in compliment as the band to…
Following a warm, directed opening, the jam slips into the now familiar minor mode play. What distinguishes this version is Trey's rapid-fire note picking, trilling, and spirited playing, which continues even as this "Hood" shifts back for a traditional closing.
Totally tubular, Trey, around 4:40, hits upon groove, absolutely chill and pitch-perfect smooth (check out the audience's reaction) before leaning into his effects, matched by Page, who, on point, creates sounds which slowly ebb and flow, arriving in huge, bend-but-never-breaking waves. Page jumps…
A "Call to the Post" tease from Trey before the song begins indicates he's ready and raring to go. Swirling synth play from Page and heavy effects from Trey highlight this cool jam; Mike and Fish lay down a slick groove to let their bandmates shine. There's a menacing end to the jam before it > int…
> from "Ruby Waves." This is a dark, swirling, Mike-led jam that wastes no time getting started once the song proper ends. Page and Fish create an ambient background while Trey and Mike interplay. The end of the jam gets quite heavy before dissolving into > "Backwards Down the Number Line."
At 5:50 the jam shifts to upbeat major play and immediately transforms into patented Phish bliss and then > into a continuation of "Tweezer". Unfinished.
The lone Fall 2019 version sees Trey take the jam into major-key territory right out of the song proper, occasionally touching on Phrygian mode at times. Fish and Mike help propel this feel-good version along, with Trey getting off some nice trills, then as a sparser jam space emerges, Trey heads i…
This "2001" is not your average dance party. Phish pull out all the toys... the Marimba, THX sound-effects, drills, and tons of delays teleport the 3500 seat Met Theater into the center of the universe. One of the most unique versions in history gets wayyyy out there. The result is something alo…
Punchy, "Tube"/"Jibboo"-esque funky groove, with Trey melodically soloing o'er top it for a spell, eventually but abruptly modulates key and diminishes into "Circus."
Patient and smooth, all four musicians contribute to a cerebral and stately version. Mellow, yet highly musical, play features superb improvisation atop Fish's shuffling beat, with ideas swapped and recycled through subdued play (listen for a lot of "lead" Mike) which considerably brightens as Tre…
> from "I Been Around." Trey plays a note at the 4:48 mark that indicates this version will be different than previous iterations. Mike takes the lead on the full band jam, coupled with soaring play from Trey. While the return to the song isn't the cleanest, it can be overlooked due to the song fin…
Fire jam, with Trey out front, confident and in control. A tease-seeker's paradise, Trey hints at "Suzy," "Axilla," and who knows how many other sounds. Play reminiscent of "Sparks" gives way to a full spaciousness typical of the band's best playing, with the four working as one, in lieu of yield…
Around 4:45, the playing peels away from typical "LxL," becoming more rocking at first, then mellowing into a jazzy groove with moments of brightness. The energy and intensity builds, with strong Mike and Fish, before Fish starts singing "This Old Man" and the playing transitions > "The Lizards".
Briefly swerves into major-key goodness, then wanders into hazy synth-laden space, before Trey taps into the holiday spirit with a "Little Drummer Boy"-infused jam. The jam takes on a gnarled and heavy-metal feel, then > into "Dirt".
Stretches slightly beyond its usual confines with a pleasant jam which finds a darker direction in the final minute before > "Melt".
Rearranged and redefined, "Melt" anchors another second set, with the band forgoing speed, tension and release in favor of using the song, following a nice composed section, as a blank canvas to create a creepy, ethereal, "soundscape". Fish's work on the Marimba Lumina is particularly eerie, befor…
> from "SOAM", the band briefly jams before dropping back into "Melt" to stick the landing.
> from "Crosseyed and Painless", the band returns to stick the landing. This, then, before a wonderful "A Life Beyond the Dream".
Active Trey/Mike interplay makes for a more dynamic jam than typical in this plus version.
The jam develops an upbeat, celebratory sentiment, with strong contributions from Fish and Page. The intensity continues to build and build, to a furious peak, before finally cycling down to quiet transition space.
The jam first turns for dark, goopy textures on the coattails of Page's synths and Trey's effects. Eventually, this yields way to a spirited "Guy Forget" quote driven by Fishman.
After coursing through typical "Carini" territory, the jam breaks beyond at 7:30 into a pulsing, probing phase with cool effects by Page. The intensity ratchets up, then transitions to lighter, warmer exploration, which mellows and resolves to "BOTT."
Splits from typical "Gin" at 5:45, first moving through a darker rock section, then a lively organ-led romp and finally a spacey washout.
The jam swiftly shifts to minor mode, but the band takes some time to really probe and explore this darker terrain. The intensity increase, settles, re-builds, and shifts back to familiar "Hood" territory. As the jam begins to peak, Trey deploys a long sustained note, for 115 seconds, much to the d…
A bouncy shuffle is led by Page's clavinet and Mike into a "Mind Left Body"-like chord progression. This returns to a mild shuffle, eventually turning into a bliss passage in Eb. A very pleasant melody erupts from Trey and Page, and a pleasant peak evolves. While not a prominent jam peak, it has so…
Symphonic in scope, this version features a host of strikingly disparate sections with tempo and key and harmonic and melodic changes galore. Inarguably among the most sublime masterpieces of improvisation in Phish's illustrious history.
Punches out of "Steam" and soars triumphantly, hearkening back to the peak of the set's opening version, before seguing into "Ruby Waves."
Featuring wonderful interplay between Trey and Mike in particular, eventually the jam's key modulates and Trey solos melodically, and then the jam grooves and concludes in an "On Broadway" -esque fashion before "Caspian" abruptly begins.
Funk-driven groove emerges on the back of Mike's slap bass. Page switches from plinko Clavinet to Hammond to drive the groove home.
Quickly drops into a low-boil minor-key zone, then heads into more upbeat waters. Swerves into a swaggering and funkier zone with Page doing work on the keys, then delves into a sprightly calypso-adjacent jam thanks to Mike's strong work. Trey takes the jam into more anthemic territory, and this bl…
A massive runaway freight train that builds up power from out of the verses (thanks to Mike's muscular basslines) and then picks up the pace at Fish's urging, with Trey hitting on a cool repeating chord pattern, before exploding into a flash of improvisational pyrotechnics. Some real heavy duty jam…
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.