The Jam Charts · phish.net's good stuff

-> out of "DWD". The playing grows delicate at first, then Trey switches to a heavier tone and effects start flying. The jam grows nastier and more atonal, with Fish really going to work, as things get sludgy and strange in a way reminiscent of certain Summer 2003 jams. Resolves into a surprising b…

While Trey always seems at ease playing "BOTT," the first of several Summer 21 fire versions may be the finest, featuring deft and nimble musicianship that carries over into other Phish classics like "Foam" and "Fluffhead." Page's impossibly fun work on the Wurlitzer makes recommending this jam a n…

The first of several strong outings for "Carini" in Summer '21 is chock-full of melodious interplay in all stages and features key elements that would reappear as signature sounds of the tour - namely Trey's octave down throaty tone and quickfire delay riffs. At 19:30 Trey pushes for a more familia…

Doesn't stray very far from the usual boundaries of "Golden Age", but does make feints towards "Mind Left Body" and features some very fancy rhythmic games from Fishman and lovely piano work from Page before very briefly blooming into major key and settling into "Mountains in the Mist".

Fish starts toying with his "YEAH" sample during Trey's crooning at the end of the song proper to let him know he's ready to jam (the sample also makes an appearance or two later on). This is the band fully leaning into one of their most reliable "jam vehicles" and sounding like one organism. There…

While not as fast as a 93 (or even come 9/3), the version is extremely well-executed, and typifies one facet of what’s so fun about Phish: Four friends playing as one. Trey’s play is self-assured, his warm tone welcome and offset by fantastic Fish, whose fills and flourishes standout - even for Fi…

With an "and away we go" hand gesture from Trey, the band moves into parts unknown, maneuvering first into an upbeat and sprightly major key groove, then briefly turning more contemplative, before bursting into another fabulous uptempo major-key jam. Trey then goes to his "sludgy" effects and finds…

An important aspect of 2021's incredible sound is Page on acoustic piano. > from "Steam," that wonderful play is on display here, offering a sort of melodic grandeur as Trey, in pure "Caspian" fashion, soars. Play soons become heavy and rocking, with Trey's shift in tone, if not pitch, exactly, evo…

No muss, no fuss, just a particularly cleanly played "Antelope" from early Summer 2021, with Trey's chops still in superb quarantine-honed shape. And the peak ain't too far away from the old days, either.

Among the most magnificent versions in Phish history, this one's improvisation traverses a host of gloriously bedazzling galaxies that are, at times, as mind-expandingly thrilling as they are soulful and divine.

> from a world-class "Tweezer," the band isn't content to relent, or cool, using "Twist" to slowly build one facet of one of the summer's finest sets. Fish dominates, but with restraint, offering both a solid foundation and fills that amaze and delight. Trey's delicate, pseudo-mystical play weaves…

The third jam in a superb three-jam sequence with "Tweezer" and "Twist", this "Piper" quickly strips down to a fierce quicksilver take on the usual "Piper" jam, with Trey adding some color with his effects pedals and Page going to the synths for some extra flavor. Picks up speed as Trey switches ke…

While Hampton will forever remain "The" comeback version, the band, more than a decade later, may have, after some close calls, "arrived." While "Fluff" is terrific live, and there have been powerful moments, one might have to revisit 10/29/10 to find, on tape, a version that rivals this beauty fr…

The opening to one of the year's strongest second frames, this "Mr. Completely" indulges in its usual jam before Fish switches up his flow and Trey moves into a new key. Page's electric piano cuts through the mire, and a warm groove emerges as a result. Fish starts throwing in the "Mr. Completely"…

With more lives than a cat, this "Ghost" showcases what's so fun and great about Summer 21. While jams are often considered "soupy," here the band simmers, producing play that cooks to a slow boil. Dark and intense, the band uses space as a canvas, splashing their patterned, space-age, electro rock…

Amidst a "Gin"-soaked tour, this version, -> from a wonderful "Ghost," embodies so much of what is so cool about Phish. Wild, carefree, and careening, the jam lifts elements from earlier in the set, mixes them with new ingredients, and produces an intoxicating jam which settles to become more tradi…

In a year where effects have shaped many jams, this 2001 is no different. SLOWWWWW start but the jam shows off the unique sounds of summer 2021. Page in particular is showcased and sneaks a cool Bathtub Gin tease.

The jam begins with some quiet musing that quickly veers beyond the norm. Largely dark in tone, the music gradually builds a percussive base and power. The intensity builds until around 15:00, when the jam returns to "SOAM" proper to close.

Yeah, "Zero" has a JC. And not just to feature 11/26/97. Strange version, and while not on par with, say, what we get during the Baker's Dozen, the play is atypical, with Trey seemingly shearing off blocks of sound, and laying into his effects. Summer 2021. Anything goes. And that's the case here,…

The jam follows a fairly typical funky and crunchy path until around 8:00, when lift off is achieved. A strong peak ensues before downshifting to close.

The actual "Sand" proper is taken at a slower and milkshake-thick pace, and the band luxuriates in the usual "Sand" jam until about the 7:30 mark, when Trey hits on a particularly gorgeous major-key riff and the band follows him to a very pretty space. Page's work on the keys and Mike's rock-steady…

Fish adds an extended flourish on the snare at 7:02, which is only a brief look at his fantastic work during this version. He's matched by some aggressive play from Trey in a jam that stays within the bounds of the song.

The first of the two monster jams upon which the reputation of 8/6/21 II sits. Immediately moves into a more low-key zone out of the usual jam, with Page stepping to the forefront on both electric piano and synths and Mike adding some real hip-shaking funkiness to the proceedings. Trey finds a new…

Why we travel from points far and wide to Noblesville, Indiana. Pick a timestamp. 6.37 finds Trey alighting upon a lovely, carefree vibe. Jump to 10.35, and the band is moving through a passage of gnarly, tripped-up disco funk. 12.45 finds Trey (and listen to Page!) working his pedals like it's 199…

Makes a significant departure from "Stash" proper into largely nonformulaic bliss, save for a minute-long rock section from 11:00 - 12:00. Trey's ascending swells at 12:30 are a highlight, after which a few delayed riffs and a push for -> "NICU" from Fish ultimately leads back home at 14:30.

Trey and Mike lead the band into a muscular groove out of the usual "Everything's Right" jam, which gets darker and nastier as Page goes to his synths and Fish switches up the beat. Trey finds a new key and the jam gets weird and alien-sounding in that Summer 2021 way we all know and love, with Pag…

Mainly distinguished by Trey fiddling with his effects before Mike moves things into the blissful upbeat hose zone, but once they get there the band really guns the engines and builds up the jam quite nicely. Trey hits on a cool repeating note pattern, and the jam peaks well, before returning to "C…

A neat first-set surprise, Trey mixing in some soupy effects right away, then making a surprise move to more upbeat waters, with Page complementing him nicely on electric piano. Fish really does some work in this warm and anthemic jam segment, including a particularly ferocious drum fill at the 8:3…

The start of a wild segue/jam sequence, as right out of the song proper Trey -> directly into "Makisupa Policeman".

-> out of "Twist" as part of a wild segue/jam sequence. Trey swaps in "Sally" (as in "Sneakin' Sally") into the lyrics.

Trey sharply swerves out of "Makisupa Policeman" back into "Twist", which the band briefly plays before -> back into "Makisupa Policeman".

-> back out of "Twist". Trey throws in some verbal and musical quotes from songs played earlier in the set. Page fires up a sample from "Martian Monster", and the band vamps on a combination "Makisupa"/"Martian Monster" groove, then the jam gets darker and more powerful, with a blast of feedback au…

-> out of the "Makisupa Policeman" jam. An amusingly anticlimactic end to a really strong and weird piece of music from a really strong and weird show.

The other Summer 2021 "Soul Planet", this bad boy doesn't take long to move into a quicksilver minor-key boil with Trey's gnarly effects taking center stage. Fish picks up the pace and a solid groove emerges, then Trey switches to major-key and the band follows with a powerful bit of hose. Fish the…

A really fantastic first set jam from a great show, Trey going to his gloopy effects for fun, before the jam really heats up and Fish snaps into a really wicked driving groove. Page goes to the piano and finds a new key, and a really good rocking jam emerges as a result. Dies away into nothingness…

Much like the also-superb 7/9/16 "DWD", mainly stays within the envelope of the usual "BOAF" jam at first, but finds some interesting avenues within thanks to Trey's handy effects pedals. Moves into major key with Page switching to electric piano and Trey playing some repeating notes, then Fish kic…

A wonderfully multi-faceted jam that touches on fiery effects-laden minor key grooviness, a twinkly Page-heavy relaxed jam, and a superb rockout that builds to a gigantic peak before coming to an echo-laden close. Right up there with any of the year's lengthier behemoths. > into "CDT".

Makes a pretty sweet move to major key bliss before Trey switches on his fancy pedals and does some pretty nifty soloing and the band heads back to "Blaze On" proper. A more concentrated dose of the diffuse improvisation of the 8/6/21 "Blaze On".

Soulful, soaring soloing by Trey with fierce accompaniment, this second-set-opening version arguably stays "Type I" but still delivers. Oh, if every 20 min version could pay off like this.

At around 7:45, the jam peels away from the typical "Gin" jam and shifts into a rolling, swinging groove. The music builds to an effects-infused peak before winding down into transition space.

While staying somewhat close to typical "Drowned" jamming, the music explores those bounds widely until 10:30, when there is a distinctive shift to new terrain. The jam becomes pulsing and percussive before finally settling to quiet transition space.

Adventurous first-set jam loosens up after 8 minutes with Trey's throaty tone engaged and then soon heads for warm and delicate waters.

Deploying the echoplex and envelope filter during the WUDMTF segment, Trey seemed to signal that this would be an atypically strong version, and it proved to be: he melodically soared during the jam segment, with excellent accompaniment from Fish, Mike and Page.

Mike's inventive playing combined with some heavy effects from Trey kick this jam off. It doesn't take long for all four members to jell and lock in. Trey hearkens back to days of old with some longer, sustained notes which lead to a laid-back, beachy jam perfect for the setting of the show. By the…

Yet another modern era jam whose length tells you nothing about its quality. Trey's goopy effects, Page on electric piano, Mike doing work, Fish switching out of his usual "Piper" beat into something heavier and more powerful - it all comes together in wickedly downbeat fashion. A hidden gem from t…

Bettered in length only by 6/25/00 thanks to an atypically long and varied regrouping after the near-silence around 2:25. An ethereal journey worthy of the Gorge.

One of 1997's signature moments, Trey employs "Camel Walk" to push Pranksters off the stage and usher in a new era. Decades later, "Camel Walk" remains a centerpiece song, the funk just as deep, with Trey's plucky play sprite atop Fish's steady, infectious beat. In time, Page bathes the stage in so…

-> from a GOAT "Camel Walk," the band breaks for "CDT," a song that Trey, when recently discussing his band's early 90s ascendancy, called their best. Still crazy good after all these years, here the band offers a quiet, restrained take, improvisation lightyears removed from Alpharetta's historic j…

Opening a show for the second time in just over three weeks, this is one of the most sublime openers in recent Phish history. Trey takes the lead as he was wont to do in Summer '21. Fish's relentless drumming ensures the jam never loses a step. By the end of the jam, the band is fully locked in and…

More melodically variable and far less guitar-dominated than most, the band gets dark and down in this tempered, almost subdued take.

The jam begins typically with solid, funky playing led by Trey and with Page's crunchy keyboard action. Around 7:00, there is a noticeable break to major mode. The forces seem to gather, suggestive of an oncoming peak. Instead, the band seems to luxuriate in this blissful mode, stretching and explo…

With the intro, no less! Moves into a warm jamming space with Fish doing some real interesting work and Mike stepping to the forefront, builds in intensity through good Trey effects work, and peaks quite well, before gently winding down to nothing and > "Bug".

The jam picks up momentum, then briefly takes on a swirling, exploratory vibe. At 9:35, the music becomes celebratory, building towards a collective peak, before finally returning to "Gin" to close.

Quickly maneuvers into major-key bliss, distinguished by some frenetic playing from Fishman, then moves into a brisker and snappier zone thanks to Trey switching to chords. The band briefly dips into contemplative minor key playing, before moving to something more upbeat, with Page's electric piano…

Mike, Trey, and Page layer in an array of textures and tones as they cycle through their respective palettes in this tremendous jam that sees each member trade lead and complementary roles with frequency. Retains at least a loose sense of "Stash" for the duration but explores widely within that ten…

Smoothly runs the gamut from dark grooves to a lovely uplifting space to double-time rocking out to a muscular jamming zone where Mike's drill (!) takes center stage to anthemic bliss to something akin to an alien distress signal that could've only come from Summer 2021 to sludgy industrial noise t…

How to follow Shoreline's epic "Soul Planet"? By -> into a new Trey favorite, KV's classic "The Final Hurrah." Dancing around a wonderful groove by means of his envelope filter, Trey's improvisation is at turns melodic and jazzy, inciting an impossibly cool jam and fitting end to one of the band's…

The band moves into a more driving version of the usual "Cities" jam, thanks to Fishman, before Trey makes the move into a brief bit of major key bliss, and then takes the jam into smoother and more relaxed waters. A very nice first set jam, with a wonderful -> into "Passing Through".

Yet another exploratory "type II" adventure, this version's jam goes all over the globe, with segments that at times seem to have vigorous "Manteca" and "Jingo-Va" themes, and even "Lizards" and "Dave's Energy Guide" teasing and a cacphonous "Split Open and Melt" jam, that are separated by a mellow…

A real superb tour for "Carini" arguably peaks at Dick's with this Set 1 closer, which moves from major-key fare to a powerful and ferocious rockout egged on by the rhythm section to a twinkling Moment of Bliss to aliens-descending strangeness to a triumphant finale to (once again) "Carini" proper…

Moves into a sparse and low-key jam space with Trey going to his bag of tricks and Page neatly accompanying him on electric piano, while Fish absolutely hammers the skins in a way you don't hear in other jams this tour. The band luxuriates in this delightful jam before Trey hits on some chords akin…

At first minimalist and downbeat until Trey starts his solo backed by synth waves from Page, after which the jam really opens up for a majorly exuberant finale.

A tale of two jams - the surprisingly downbeat late-night groove in the first half distinguished by Trey's effects and Page's captivating piano and synths playing, and a more typically Phish-y uplifting heavy-duty rockout in the second half. Really great jamlet at the end, too, with Trey playing so…

This isn't your typical "Sand" jam, as the start of it wouldn't be out of place at the beginning of a "Tube" jam. Things mellow out later, then get to a murky outer-space place. The most impressive thing about this jam is Jon Fishman's refusal to quit; he is fantastic throughout. > a must-hear "Sig…

"Sigma Oasis" makes its jam vehicle debut as the second half of a surprise first set 1-2 punch with "Sand", settling into a lower-key late-night groove reminiscent of the prior show's "Everything's Right" before morphing into something even more wicked thanks to Trey and Mike's effects and then slo…

Pivots to low-boil major key effects-laden jamming out of the usual "SYSF" jam, moves to a more robust zone with Trey taking over with some nice soloing, then finishes with an insistent driving groove, with Fishman outstanding all throughout.

Launches a tremendously fun segment and lays down the musical bones that carry through to -> "Catapult", back to "Simple", and later "Meatstick".

Emerges -> from a "Simple" jam and digs into a deep, industrial groove, making this one of the more musically robust appearances to date. Then -> back to "Simple" for more of the same.

-> from "Catapult" as the off-kilter robo-funk continues until > "Meatstick".

> from a "Simple/Catapult/Simple" sandwich and recalls the machinelike groove heard in that jam with stops and starts, dial-tone Trey, and quotes of "Lonely Trip" and "Catapult".

Shifts into major in the 10-minute range and comfortably coasts along until a spark sends the jam to new heights, reaching a nice peak around 15:00 and then returns home.

> from "Billy Breathes". Fish's playing stands out early in the jam as he is utterly relentless. Trey plays a soaring melody around 9:05 to shift the jam in a new direction; Fish's relentless play remains unfazed. Around 12:00, the jam downshifts and eventually > into "Ghost".

Although Trey tries to segue into Brother out of Tube's jam (which is insane, no drummer could pull that off smoothly, not even Fish), and it takes awhile for them to begin Brother (more or less) properly, Trey SHREDS THE JAM of this version using the Shakedown-esque envelope filter, wahwah effect.

Around the 5:00 mark the jam enters a more dynamic space, allowing for flourishes by all four in a strong collective effort. Mellows out in the final minutes for a very pleasant ending and -> "Slave".

A mostly smooth -> in from "46 Days". The first Set 1 version of "STTTL" in over five years is a gem. This jam peaks and peaks again, and just when you think it's peaked for the final time, it peaks once more.

A kaleidoscopic outro of interweaving delay riffs then shifts at 7:00 to a pumped-up syncopated groove, drawing similarities to "Simple's" 1996 heyday.

While the jam becomes more serene and contemplative, Fish keeps things moving at a decent clip with a snappy beat, eventually leading to a more rocking conclusion bolstered by swelling synths.

Kicking off the back half of a monstrous set 2 and busting out after a 196 show gap, what seems like a quick breather instead grows sea legs and takes a walk. Roughly 3:30 in, Mike and Page drive the jam to open flowery pastures, as Fish propels with cowbells and Trey searches for jam grooves. The…

The first "Moma" to serve as set-closer fills the role admirably with an atypically hard-driving, intense outro over shouts of "Monkey Man" from Fish.

This massive version shows up in the Encore, and anyone who decided to leave early truly missed out. Trey's nimble playing and Page flourishing on the piano kick this jam off. By 11:15, it turns into an effects-fest, with Fish laying down a cool texture for the exploration. The band eventually work…

All four musicians contribute to one of the finest versions in the nation. Featuring far more than "extra mustard," although there's that, too, Trey's typically great 21 play leads to a passage of extended improvisation, a deeply textured jam that plays off a false peak to inform an incendiary conc…

A big fat "DEG" tease around 6:00 sends this jam into a deep thrumming zone, where it remains until a brief major-key ascent in the waning moments.

The first of two massive jams from a four (!) song second set, which drops into a relaxed late-night groove before turning towards a hearty upbeat jam with some sprightly work from both Trey and Page, enters a darker growling space thanks to Trey's effects and some very strong playing from Mike, an…

After an introspective opening sets the mood, this version builds and flows like a torrid stream with great Page/Trey teaming, then resolves passionately and > into "CDT".

Soars into blissful upbeat territory right out of the gate, then winds its way down into darker territory at Page's urging, Fish pushing the pace with considerable aplomb. Fish switches up the beat and a more danceable jam emerges, then Trey flips on the "anthemic" switch and builds to a nice peak,…

Kicks off a fiery Eugene run in the 1 slot. Fish and Mike clobber the type 1 portion of the jam, allowing Page to springboard with gorgeous parallel octaves and Trey to add swathes of emotion courtesy of effects. At 9:30 the jam enters its first of numerous vignettes; shifting from airy and blissy…

Moves out of the typical tightly-wound "Stash" jam into an upbeat and almost tropical groove, then moves into a stomping classic rock mode with some standout play from Fish and Trey really throwing out some tasty licks, before heading back home.

Up front, the jam winds to cerebral and introspective space as Mike's bass drives an ambient wash, until Mike decisively locks in to F and the rest of the band starts constructing a thick groove. Intense patience ensues as the band refrains from peaking but instead opts to let the jam bloom. Around…

One big groove that doesn't do a whole lot until about the 9 minute mark when Trey starts to get after it. BUT THEN for the first time in the middle of the second refrain, a 3RD JAM emerges for the first time ever! A slow "Crosseyed and Painless" feel at first before shifting to a minimalist comput…

Significantly more accomplished than its short 12:45 time stamp would suggest. The jam shifts at 6:00 to D in various modes, then to F bliss at 7:45. This yields a smooth and linear growth to a predictable but satisfying peak around 11 minutes in. The final minute wrangles down to quiet and introsp…

"Melt"'s late-career renaissance continues with this fantastic version from Eugene. The typical gnarled "Melt" jam gives way to an ethereal major-key jam about halfway through, with Page in particular doing some good work on both the electric piano and synths. Trey finds a new key and we get anothe…

The second airing of "End of Session" is the meat of this "Split Open and Melt" sandwich.

-> out of "End of Session" to complete the "Melt" sandwich. Maybe not the strongest ending to "Melt" ever played

Moves from a warm and hearty jamming zone into something darker and Mike-driven, then Trey hits on a really nice repeating riff as the playing gets sparser and more delicate. The band moves smoothly into "rock out, man" mode, then an absolutely wild disco groove emerges, eminently danceable and tin…

> from "Lonely Trip". All four members of the band are locked in from the start; some really nifty and cool playing. At 12:00, the jam takes a serene, light turn which features some beautifully patient playing. Page and Trey enjoy some fun interplay.

The jam cultivates an initially understated yet ebullient space. Candy-coated, fleet-fingered play from Trey is supported by Page's nuanced comping and Fishman's passionately defined melodic drumming. This jam's defining "moment" then comes in the form of a cathartic, extended sustained note from T…

Makes a surprising move out of the usual funk of "Martian Monster" into a crunchier groove, with Mike in particular doing some cool stuff. Grows more upbeat thanks to Page, then Trey leads them into "Soul Planet" via a nice segue.

"Hmm... this jam is okay, I can imagine many of my friends lapping this up but I'm mostly disintere-SWEET HEAVENLY LORD THIS FINAL PEAK IS AMAZING."

A long-winded journey through vignettes of constantly shifting happy and dark textures. Various peaks dominated by lush synth textures and whale call, all driven by the motor of Fish's cymbal work. Back half of the jam is dominated by a rhythmic pattern that would feel right at home in an extended…

"Fluff" is tough to play, and few versions approach Phish perfection. Here, however, the band delivers. The technically challenging sections are super clean; more interesting than this, however, is the tempo, with Trey and Page noticeably at ease. Plausibly because there is no deliberation, the ba…

A very neat and surprising -> out of "Fluffhead", and a tremendous jam befitting the North Island Credit Union Amphitheatre. After an extended take on the usual "NICU" jam, Mike suggests minor key and things get good and dark, before they slide into something more tropical, allowing Trey to weave i…

Precisely at 5:15 the jam flips to major forming an upbeat "Weekapaug"-esque groove, and Trey slips in the first of three "NICU" teases. After some transition riffing at 7:00, the next segment launches with Moog waves from Page and beautifully coalesces into a fully-baked bliss jam from 8:00 - 10:0…

As was his wont in 2021, Jon Fishman takes this jam over. He puts on yet another master class in drumming. Trey's soloing over Page's synth gives the jam an ethereal feel. Fish faithfully follows Trey wherever he leads during this one, and stands out the entire time. > into "Free".

> out of "NMINML". Trey weaves in one of the many "NICU" teases from this show into the first jam, then he suggests minor-key and Page follows him on synths, leading to a lower-boil groove replete with repeating loops and Mike goodness. The band climbs out of the muck and returns to a more upbeat r…

Excellent -> out of "Sand". A driving, almost composed jam segment emerges from "Piper" proper, Trey hitting on a particularly catchy 70s-esque riff and Fish kicking into third gear. The beat switches up and Page moves to his synths as a new sound emerges, Trey going to his effects to really add su…

While Trey isn't perfect in the opening composed section, the BMGS, WUDMTF, and tramps sections are good, but the jam is awe-inspiring, with distinct sections. It begins in traditional YEM jam segment fashion, smooth and funky, but with more swing than usual. And when Trey begins soloing using the…

Page moves to the Wurlitzer roughly 7 minutes in and this signals the band to mellow out. Effects dominate guitar and bass while Fishman contributes wood block hits leading to deeply introspective space. An airy shift to bliss key is accentuated by Mike's use of the Eventide H9000 rack harmonizer.…

It's not every day that Tweezer features a full-blown jam on another song, so this version gets charted simply for its uniqueness, segueing into "L.A. Woman" only about eight measures after the start of the jam segment (don't miss the tease of "Walk This Way" at the end of the composed opening sect…

Lyrics begin -> from "Tweezer" and the performance initially retains some of that jam's character with the song proper more fully emerging later. After a "Tweezer" tease, the jamming opens up again and ultimately segues to -> "S.A.N.T.O.S.".

-> in from "L.A. Woman". Showing up as the meat of a "Tweezerfest," the longest version of the song to date turns from a raucous "S.A.N.T.O.S." jam into what, if you close your eyes and imagine hard enough, The Doors might have sounded like if they'd given being a jamband a try in the late 1960s. T…

This version (which completes formation of this set's Tweezer "sandwich") begins the way any other version would though launches quickly into a jam that grooves along for a few minutes, jazziliciously yet with some melodic loops, before dissolving into a mellifluous haze, a serene code from which B…

First appearance as an opener produces its most expansive jam to date, mixing in darker-tinged riffing and soothing meditation along with the usual triumphant outro. Unfinished -> "Makisupa".

Only the second jam "Jar" on the books at the time (see BD), this version strays from typical around 4 minutes with some sprightly musing and ends unfinished > to the Phish debut of "The Sliver Light".

> from the debut of "The Silver Light". The renaissance of "Halley's" continues. Some swinging play turns into a full-on "Oye Como Va" jam by 9:00. The band vamps on the Santana classic for a couple minutes until it fizzles > "Mountains in the Mist."

> out of "Blaze On". A version worthy of the wonderful 7/9/19 "Sea of Stars", with the band building up a torrid and bilious fog on stage reminiscent of a good "Split Open and Melt" and Fishman keeping everything glued together. Very deep and powerful music.

Lays on the the tension and then devolves into a densely tangled knot akin to the sound of industrial machinery sputtering out of control, then makes an abrupt return for the final chorus and > "Sally".

Kicking off what would become the instant classic "numbers" show, Phish unleashes the version of "2001" we've been waiting for. A 17 minute true representation of the power of "2001". The intro alone is 7 minutes (longer than some 3.0 versions). This take is Phish as tight as the entrance to th…

Coming after a massive, show-opening "2001", "1999" makes its third appearance in a Phish setlist. The band wastes no time getting down and they find a groove together almost immediately. By 13:00, the party jam has turned into frenetic energy. Soaring play from Trey towards the end of the jam as t…

After years of waiting and speculation, "555" finally gets jammed. The big shift comes at 6:15 with a quiet and patient turn for bliss mode jamming. As the jam starts ascending to its peak, Trey adds bluesy notes to the fray which prevents further ascent; > "46 Days."

After some typical rocking the jam falls into a black hole of sinister cosmic energy and claws its way out the other side for an uplifting conclusion.

> from "Strawberry Letter 23". The first set-closing "20YL" doesn't disappoint. By 6:20, Trey has played the jam away from a typical jam from the song; this is lighter. Behind his deft playing and Fish's fantastic drumming, this jam truly takes off. By 10:30, the band is locked in, the prowess of t…

Skirts around the edges but stays mostly within the framework through 12 minutes, after which the jam briefly settles delicately before a rising wave of hard-rock takes over, a sound further explored in the following > "If 6 Was 9".

A great cover choice for the "numbers" show, and a great jam from the "numbers" show, full of Trey guitar pyrotechnics, gnarly and powerful jamming, and an absolutely soaring finale. Hendrix would've been proud.

Tough to count the number of times this really cool Phish song has been celebrated, but this version counts. For once, '21 vocal delivery evinces bygone eras, and the music assumes that millennial, poorman's, stately melancholy. This might have been enough for us, but Trey strums the band (listen f…

More "Numbers Show" madness, as this is the only version to date which makes a significant departure from the usual celebratory outro, including a generous "Seven Below" tease and an alien synthesizer finale > "Character Zero".

Punishing play, typical of the song, cools. Out, then, from the song's familiar closing refrain, Trey shapes his tone, his sound heavy as a stone, and offset by spaceage Page. On-point (somewhat incendiary) Fish, Mike anchors what becomes an oozing, liquid event. Lazer-like, the band enters a jam…

On the heels of a towering "Axilla II" jam, this "Mike's" starts with a distinct funky groove which soon evokes "Martian Monster" before returning to more typical play through 6:45. From there, the jam switches to major for a playful and increasingly suspended-in-air feel until the closing chords.

A squirrely little Paug, the version closes out a terrific, traditional, "Mike's Groove." Too hot to quite enter stop / start play, the band comes close, before Trey breaks to solo. Nimble and spirited, many notes inform play both cerebral and danceable - the best kind of Phish - improvisation, wi…

High-energy set-closer delivers a rousing jam that gets beyond the usual techno-synth into a pumping euphoric blowout.

A fun little amuse-bouche to a superb second set, as the band really leans into the hard-rock outro to "Ass Handed" proper, Fishman snapping into a tasty groove while Mike takes point on the jam. Short but sweet. > into "Tweezer".

After beginning ordinarily enough, the jam eventually takes-on a Trey-led melodic theme reminiscent of "hose" improvisation, yet the "type I" form is maintained in a compellingly fierce manner. This theme-jam takes over four minutes to begin peaking, soaring, in a dizzyingly beautiful fashion, and…

Like all things '21, "Reba" - here perfectly placed - has been touched by Trey's grace. Solid play breaks for a jam we haven't seen too often of late, a simple bit of riffing, or vamping, with Trey here or there adding notes atop a bedrock beat. Terrific. Perfectly paced, Trey's marvelous tone offs…

Trey wastes no time getting a "Tweezer" tease in, kicking off a "blissy" jam. No longer chained to the song's bass line, Mike has some very inventive play. The "bliss" gives way to Trey going heavy on his effects, and eventually -> "Tweezer."

After Sand peaks and "goes type II," Trey leads the full-band back into Tweezer at 11:53 of the Sand (LivePhish timing; fwiw the fact that this isn't tracked on LivePhish explains why Phish.net does not rely on LP tracking for setlist purposes---it can be demonstrably, objectively, Wrong). This ren…

Having found a home as the S2 closer in its last three apearances, this "Walk Away" really loads the spring, finally relenting for a well-earned peak and walk off the stage.

The opening song of the "animals" show, a surprisingly insistent low-key groove reminiscent of "BOAF" emerges out of the song proper, driven by Page's piano work. Trey then briefly moves the band into major key territory, before the jam grows hazier and more effects-laden, and then neatly moves bac…

First: Listen to the aud. Second: Inspired, given the evening's theme, the band is game. More so than most of late, the band dallies a bit, seeing "Lope" as playful as is ought to be, with all sorts of (and you don't even need to watch) smiling band intraplay. Page is of course crashing in on his…

The normally upbeat song/jam goes contemplative. The rest of the band creates a texture for Trey to solo over. All four members coalesce around 10:00 for a neat groove, which eventually fizzles out and > into "Guyute".

Strong version that really comes to a head with Trey wringing some gnarly notes from his guitar in the peak.

"YPC" gets its legs fully stretched out for the first time. As this song can, it sounds not unlike a "Tube" jam. This version is replete with great playing from Page on his synth. Around 9:15, Trey leads the band into new territory. His play is deliberate, Mike and Fish push the jam underneath him.…

> from "YPC," the play here, while not extraordinarily out of bounds, is expertly placed, showcasing yet another of 2021's strengths - song placement. As if effortless, the band moves through a spirited, languid "Jim," blissfully light of effects and rife with tonal shifts and pure musicianship. Ea…

"Ghost" gets its almost-always-spot on Halloween night and it does not disappoint. At 10:30, the band locks in after searching around. Fish's play drives the jam and Trey's soloing leads the way. The upbeat jam slows considerably at 14:00, with the ensuing play sounding reminiscent of a "BASOS" jam…

Trey's favorite delay signals this version will break the mold, and a fully-formed, feel-good jam quickly emerges. A bit of the 2021 "Sci-Fi Soldier" sound creeps in before the final lyrics and becomes more pronounced in the outro until > "Free".

Quite the version in that it keeps the intricacy and speed of the traditional "Bowie" jam but in a major tonality and then swerves back to wrap in normal fashion.

Religions could be founded around the eternal question, "shall thy lumpy head be happy or angry this evening?" This gracious offering promptly responds with fleet-footed and upbeat major key jamming that shows adept and confident peak building. A massive wash of heavenly synth tones blasts from the…

Deep in the third set of the Halloween show, the band still has enough creative juice for one more killer jam, as Fish kicks up the tempo and Page does some fine electric piano work, before a slower and more contemplative jam emerges. Fish picks the pace back up and the band enters anthemic mode, T…

An unprecedented version. Although the opening composed section is loose, and the jam segment is quite smooth and perfunctory, and the "bass and drums" segment is relatively straightforward, the "vocal jam" section begins unaccompanied as it ordinarily would, but soon becomes, in effect, a "second…