The Jam Charts · phish.net's good stuff

Improvisational from its first measure, this atypical version keeps to "type I" jamming but is infused with a - seemingly contradictory - tight yet loose spirit, a vibrantly vivacious vibe.

It's no wonder that a version that explores a variety of fantastic universes includes soaring improv heavily teasing "Lizards" for a spell.

Page shining through before song proper is even over with extra effects and punchy playing. the laid back jam slowly decreases in tempo and is replete with nifty licks from Trey and neat synth work by Trey. It eventually dissolves into a segue so smooth you won't see it coming -> "S.A.N.T.O.S."

After a pretty intense run-through of a typical "Disease" jam, the play downshifts around 9:30, showcasing subtle band interplay and dynamics shifts, ultimately finding a closing theme in the latter stages and > "BDTNL".

This full-band jam takes a couple different turns before a dream-like last five minutes featuring some delicate, ethereal play. Interplay between Trey and Page on the piano takes center stage before the jam comes to a growling end.

Capping a strong set, this historic version, the first "ASITHOS" to close a show, works well in this important role. Dark, swirling, and effects-laden jamming, wholly dominated by Trey, builds to a series of powerful peaks, Page's accents sublime, the play bright-white, Slave-Like and running, run…

Pivots smoothly into a nice warm Page-driven upbeat jam, with some really lovely trilling from Trey, then picks up the pace at Fish's urging and hits an anthemic zone before a surprising -> into a very good "Your Pet Cat".

-> out of "Twist". Continuing "YPC"'s unexpected run as a jam vehicle, this baby turns into a real Page synthesizer showcase, briefly delving into The Weirdness before Trey's solos bring us back to "YPC" proper.

Like a cross between a breeze and the space between stars, the jam, a smooth and total sound, breaks free all but immediately and becomes a true show-stopper. Trey, atop Fish's scattershot (off)beat, both creates and occupies space - it feels like it, but he never stops playing - the resulting impr…

Massive version features a jam that sounds an awful lot like "Under Pressure." As the jam moves along, all the toys get brought out and effects are used aplenty. Fish remains the backbone, as soundscapes are explored. > into a bluesy, must-hear "Simple."

At 7:30 a sweet, easy-going bluesy groove takes hold (think "Spooky") and brings the jam to a close -> "SaSS". Not a style often seen, but wonderfully employed here.

A sneaky -> into the intro out of a really good "Simple". Trey guns the engines and starts cranking out some filth as Fishman goes absolutely ham behind him, and the band hits a pretty good peak, then Trey switches to chords and they enter "Manteca"-adjacent territory. The improv grows darker-tinge…

> from "SaSS." Swinging jam with Fish keeping the tempo up throughout. Setting must be accounted for as this seems like the perfect jam for an evening on the beach. It eventually segues quite nicely -> "Waste."

Almost immediately pivots into a spacious and warm groove, thanks to Trey and Page melding nicely while Fish does some fancy rhythmic work and Mike holds down the fort. Pivots into something darker and harder at Trey's urging, then neatly resolves back into "46 Days".

No need for the band to clear their collective mind, for they have the modern Melt formula internalized. Mike's Floydian play controls much of this version's narrative, improvisation that, "illuminated" by Fish, pushes and probes to pass through a heart of musical darkness. Repeated listening is…

> from "ER's" excellent, groovy, outro, typically solid play ensues. Trey shifts completely, powering his way through an extended rock-n-roll solo, with the band banging and thrashing behind him. Welcome effects help to cool the incendiary play, the song, in set, a sort of fire-bridge, the band pic…

Proves once again to be a perfect match for the seaside environs with a jam that grows more spacious and then sucks the listener into a powerful maelstrom of synth waves, crashing percussion, and magnetic lead guitar.

A non-stop rollicking groove delivered with an assured confidence, as Mike and Fish set a good pace and Page and Trey fill in all the gaps with tasty detail, then takes a darker turn for the last few minutes before > "Lonely Trip".

Like so many modern versions, this one deviates from the traditional structure but does so with great focus and direction in a suspenseful minor jam. Grows in power until 12 minutes when the band adroitly swerves back to good old "Hood" to conclude.

Opening a show for the third time in eight months, Trey/the band clearly feel comfortable with this rocking show setting the tone for the first set. There's an interesting contrast from the hard-rocking intensity of the song proper and the bliss that follows. After not playing for two months, the b…

A strange design, this unfinished version features smooth, relaxed play from Trey (pre-vocals) and typically great Fish. While never quite abandoning the song, proper, Trey's impassioned play, notable for a wonderful array of effects, runs for some time before > for "Leaves."

Trey enters the fray with tight staccato picking which Mike counterpoints with a fat and funky tone. From there, the jam skirts around the edges of "Stash" proper with a playful swagger, all the while the music focused and suspenseful, until boiling over around 11:00 with Trey tearing it up and Fis…

A botched composed section leads to what the band does best these days: extended improvisation and longform jamming. Departing the song proper, Trey, atop Fish's incendiary offbeat playing, eases into a melodic line (offset by fiery riffing) and accented by awesome Page on his concert G. A cool, al…

Straightforward in structure, this version builds momentum by way of clever full band interplay. Trey makes his intentions known right away by shifting through multiple effects, toggling between lead playing and funk-oriented rhythm comping. The rest of the band follows suit, as the jam develops in…

The jam begins with an upbeat tempo anchored by cool playing from Trey. Later, the tempo slows as Mike takes the lead with deft work on the bass. Just when you think the chunky notes of the song from Trey are leading to the end of the jam, the rest of the band isn't quite ready to let things go, wh…

Heads into low-key psychedelia-tinged jamming out of the song proper thanks to Trey's thick and goopy effects, then Page suggests major key and a pleasant groove emerges with Mike steadily holding down the fort. The jam gets more delicate and dreamy, even as Fish keeps his usual rock-solid tempo, t…

Although "average-lengthed" among all versions e'er performed, this gem-of-a-version shines, with the first few minutes of the jam featuring steady, intermittent, "Your Pet Cat"-esque chording and comping by Trey, and a melodically charming/glittering section during which Trey sustains a note for m…

Trey loves MSG, a fact made clear here, when, in lieu of capping the set with a typical "Hood," he elects to floor the Garden, moving from zero to sixty in split seconds, bouncing around the room with typically rocking play (featuring a "Heartbreaker" tease) which, surprisingly, breaks for "Tweezer…

Your Pet "Tweezer" returns, buzzing, if not quite purring, for a few more minutes.

-> from "Tweezer" to cap a fun, inspired close to a set rearranged and redefined.

An extended take on the usual outro drifts into a hypnotic haze which Trey cuts through with melodic leads, buoyed by ample synthesizer and "Quadrophonic Toppling" quotes.

Effortless. Path of least resistance. Call it what you will, but few songs of late (and "SYSF" is a cool song, as is) offer more by way of "invitation" to pure, effortless jamming. Tune in around 9:15 for some sonic shimmer so lovely that "Happy Birthday" feels like a natural extension, a before an…

Drifts into some sweet major-key jamming before Fish goes calypso mode and the band hits on a really danceable groove. Trey then switches his playing to "anthemic" mode, and the band hits on a powerful "Roll With The Changes"-esque jam. Very powerful music. > into an equally fantastic "Fuego".

Charming in-song moment as Trey snickers over the "world's greatest dad" line (it was his daughter Bella's birthday). The song itself is shaky, but after some regularly strong "Fuego" jamming Trey starts laying on some very thick riffs as Mike maneuvers the jam into choppier waters, then the bottom…

An extremely efficient jam that concisely hits on a lot of sweet mini-movements beginning with a bubbly major groove at 4:20. Later returns to minor tonality with an edge and Trey finds a nice descending theme.

Writer @waxbanks one said "Tweezer" is Phish's "Dark Star." Agree or disagree, he had a way with words. Agree or disagree, it's tough to argue that "Melt," of late, has assumed a musical form, like Dead jamming, tricky to articulate. Perhaps a moment more significant thematically than musically - k…

Initially an upbeat jam that pleasantly bobs along until a switch is flipped around 13:30, launching into a segment of terrifying power and space-age effects -> "Egg in a Hole Jam"

"Simple's" incredible exploration gets a slight tweak and lands on the "Egg in a Hole Jam" and then -> back to "Simple".

-> Trey pulls out of the "Egg in a Hole Jam" with a deft return to the "Simple" riff for a triumphant conclusion to a mind-blowing segment.

Arguably "the" jam of this fun and quirky run, the version's quick, plucky tempo features, like an old-school "DWD," fire Trey and a lot of notes - a wonderfully wild array of ideas offset by melodic variation and extended trilling. Straightforward jamming breaks for perhaps the run's most interest…

Winds slowly and gently out of "Caspian" before revving up to its usual modern era tempo. Immediately moves into minor-key late night mode, then swerves into something more upbeat and bouncy, delves into an atypical "Dave's Energy Guide" tease that the band jams on for a little bit, then slows down…

A handful of peaks scattered about a casual stroll through multiple musical ideas, both major and minor. Towards the back end, the jam becomes upbeat and bubbly and segues -> into "Quadrophonic Toppling".

Emerges -> out "Soul Planet's" jam for only its second full-throated performance alongside a bevy of Fish's samples and -> back to "Soul Planet".

-> from "Quadrophonic Toppling" to bookend "Soul Planet's" jam.

-> out of "SaSS". Goes grimy and effects-laden right out of the verses, Mike stepping to the forefront, then moves into a low-key upbeat groove. Things grow hazy and warm, almost ambient, and Fish picks up the pace to change the tenor of the jam. Page lays on the synths thick and heavy and somethin…

In a string of strong openers, Sigma Oasis gets the extended treatment for the second time. Soaring play from Trey kicks the jam off, which gives way to a breakdown jam. Mike is inventive and creative throughout.

Some dirty chord work from Trey nudges the jam out of the usual bass-guitar duel into a into a full-on barrage of synths and effects creating a killer atmospheric groove. Filthy, filthy version.

Takes a little bit of time to get going, but then resolves into a funky and bouncy jam not far away from "YPC", grows in power slowly and steadily, and nicely peaks before heading home. As with the 8/11/21 "BOAF" or 11/23/97 "Gin", finds its pocket and stays in it to very nice effect.

Surprise show opener (take a look at 7/3/10 for kicks), the band shows their renewed interest in what, since 96, has primarily been a set, however rocking, holder. Fun, focused, and effects-laden, the improvisation is what we've come to expect from Phish: Effortless. Cool, introspective play seems…

> from an unexpected, massive "Character Zero." Fish hits the "Beaver" sample early and that kicks off a "Mike's Groove" that will last the rest of the set. The jam gets to an upbeat, feel-good bliss place before returning to what you'd expect from a Mike's jam. > to "Bouncing Around the Room."

Do not let the time stamp or placement fool you. Around 6:30 in, the jam shifts to light and airy interplay with major key dominance that then turns to effects-and-synth-driven goop and grime. Eventually comes back to finish and end on the "Kill Devil Falls" theme.

Jam is fairly straightforward for the first few minutes, but then there's a key modulation (type II activity afoot) and a funkaliciously melodic bridge of sorts occurs, before Page hops on the synth and Trey deploys some echoflex and then envelope filter effects. Soon melodic tension builds--slllow…

A jam much more in line with the start of Set 2 than Set 1, boasting some warm and lovely electric piano work from Page, a really nifty minor-key exploration at Trey's urging, and a magnificent double-time finale.

A refreshing jam (and set placement) in this first version since '04 to significantly deviate from the typical format. Extra effects use loosens things up early as it dips into a short-lived, but moody darker segment, and then the jam brightens considerably at 10:00 with Trey and Page pairing up ni…

Kicks off with some sprightly Trey soloing before diving into a puddle of grimy synth effects and concludes > to a strong "Light"

> from "2001." The band feels connected and that connection is on display throughout this great jam. They work effortlessly as one organism as the feel and the tempo of the jam changes. > into "Mountains in the Mist."

Another deceptive offering from Spring '22 provides about four minutes of type 2 exploration in the opening slot of the encore. While not accompanied by a massive peak, fluid and enjoyable jamming from all four members will have you bopping your head with a smile on your face.

A dense mind-scrambler of synths, impactful bass, and multi-toned guitar (including the "bullfrog"), then becomes even more frazzled before the final break. The most substantial "Tube" jam in the encore to date, and just about as good of a jam in any encore period.

Great versions produce different points to view. Be it 7/8/14's summertime "Line"d up shimmery shake; Pitt 17's huge, crazed sustain; or 10/20/21's incendiary take; this here jam features what the best "BDNTLS" have in common: Fire Trey. Largely straightforward guitar whose inspired improvisation,…

Multi-faceted shapeshifter cruises through an array of styles ranging from heavenly bliss to industrial funk, eventually ascending to a sizable peak and then briefly returns to "Simple" to close.

> from "Egg in a Hole". A familiar propulsive jam develops, with the music initially coalescing around a repeated minor key motif from Trey. Fishman and Mike's driving rhythms provide a bedrock for Trey and Page to dole out a bevy of varying textures. The jam threatens to fall apart but comes back…

A surprise is in store for those expecting the "Mike song" of the set to be standard fare (it was his birthday, after all). Mike and Trey are both in attack mode, which sets the stage for Mull getting its first extended treatment. If you like jams from out-of-the-box songs, this is for you.

"Ruby Waves" asserted itself early as a Phish staple, and the song's versatility, as evinced on 12/30/19, and again, here, seemingly cements its status as part of the new Phish order. Powerhouse play, replete with "Lizards" licks and impassioned improvisation, creates, a la "CDT," a new sort of joy…

The longest version of STFTFP up to this date stays mostly within the bounds of the song, save the "Odd Couple" tease. Trey's play is soaring in this very strong version of the song. > into "Runaway Jim."

For a song that has become, essentially, a sonic playground, what remains remarkable is that, post lyrics, what emerges is no mere template. Like so many recent iterations, full-band exploration and improvisation is unlike any previous version. More than words, this first-set closer deserves repea…

Among the slowest versions in Phish history, this version grooves along admirably but really cooks after two mins of vocal jamming, when Trey and Fish begin a second jam segment, which "goes type II" before seguing into "A Wave Of Hope."

Coming on the heels of a noteworthy "YEM" this promising jamming debut brims with positivity as it unfurls over nigh 18 minutes and reaches a gleaming peak.

Debut of the slow arrangement (a la "Llama"). It remains to be seen if we will be graced with another rendition or if this was a one-time entrapment.

Breaks away at 7:00 and never looks back, blending multiple bliss sections with darker-tinged synth/delay play (including a "Crosseyed" tease from Mike at 12:00) all within the first twenty minutes. Shortly before 22:00 a tidal wave of sound starts building as the jam crests in a series of massive…

Opening the first Set 2 of the tour, this jam is full of bliss and great playing from Trey. Early on, there's interplay with Trey and Page playing cat-and-mouse. Around the 10:00 minute mark, a neat melody is found. Trey starts telegraphing while the jam is still going, and it eventually -> "Plasma…

> from "CDT," another exceptional "Plasma," arguably the best recent (2014) addition to the band's massive canon. Trey and Fish play as one, but, if interested in bypassing the (indeed euphoric) peak to lock in on "peak" Phish musicianship, listen four times as a means to follow each musician and h…

-> from an excellent Plasma, Weekapaug makes another "Mike-less" surprise appearance here sans bass intro. Play beginning typically upbeat with strong Mike leads and Page moving quickly from clav to piano, then distinguishing itself as Trey turns on the "touch tone" effects and Page eventually resp…

Outro includes a brief but meaningful departure from the typical and seems to hint at "Fuego" before a deranged but pretty smooth -> to "Caspian".

Old meets new. > from a strong Sigma Oasis, the band erupts, "DWD" exploring myriad sonic territories. Better off dancing about architecture than writing about this one. Just drop out. Or tune in. > a perfectly placed "WTU?"

After a mangled composed section, "Halley's Comet" takes off for the stars. The band hangs on Amin and delivers a rocking jam that soon grows introspective. A melodic volley develops between the four band members, which leads the band into a major key pivot. The music grows hazier, delay pedals an…

Jam begins in typical "Piper" fashion with strong interplay between the four band members. A subtle modulation occurs a little after the 5 minute mark, and the music grows more psychedelic. Mike and Fish lay down a mighty foundation, as Trey and Page's melodic coloring become more vibrant and text…

Another Phish classic benefitting from the band's renewed interest in exceptional, seemingly effortless, improvisation. Not quite running away, the jam threatens to break free, riding that effortlessly cool "Jim" vibe, with impossibly sprite Trey working atop bedrock Fish. A super example of what "…

The jam shifts very subtly from the usual blues-rock to more upbeat play and then strays further from "KDF" as it progresses, eventually landing unfinished > "Theme".

Who would have thought it? Following a "Baker's Dozen" fake-out, the thousand-dollar question is finally answered, with Phish (Trey) finally pushing another classic through rudimentary form into open improvisational territory, eliciting exciting jamming that, while perhaps a bit "short," is certain…

> from "Soul Planet." Jam begins in familiar melodic territory...but then the band rips a portal in space and time, finding themselves back in the psychedelic murk that occupied the previous set's "Split Open and Melt" jam. Mike and Fishman consistently challenge the rhythm as Page's textural work…

While there are scores of clever ways to approach this surprise show opener, it's simple enough to say that those with a stub in hand were on hand for some of the summer's best music. Forget that those who simply love the song heard precision play; Trey, post some of his coolest rhythm guitar (it's…

> from a jammed out "Golgi Apparatus", the band plays what was at the time the longest version of "Sample" to date. Some slinky work by Page kicks this jam off and the rest of the band follows suit. The jam eventually winds its way back to the song proper, as was custom in Summer '22.

In a summer full of surprise jamming tunes, the return of the "Gumbo" jam is surely one of the most welcome for fans of the song's output from '97-'03. This longest version since that heyday (now surpassed) touches on familiar staccato funk and upbeat calypso before ending with a rough-and-tumble -…

Before there was "Plasma," Phish explored similar sonic terrain via "Timber," a soulful cover with dark undertones, rich and dynamic Fish, a tune affording space for Trey to deliver some of his most devilish licks. No surprise, then, that following one of 22's most inventive opening sequences, the…

The ongoing "YEM" revolution of '21-22 continues in the idyllic setting of Bethel Woods. After a competent if not perfect composed section, the band delivers a potent Type 1 romp in the post-tramps jam. This then gives way to a lively, if brief Drums and Bass section with Mike slathering edgy disto…

There's Utica. There's Mann. Since 09, however, one can easily argue this is the band's best performance of a song that, when examining its history -- like "The Wedge," or, to a lesser degree, "Esther"-- shifts shapes through a number of manifestations and, as such, deserves extra consideration. Or…

After a strong Trey led first jam, rather than the expected ending, we get 6 or so minutes of extended jamming kicked off by a "Moo" sample from Fishman and delay runs from Trey. Never straying too far, but enhanced with synthy flourishes from Page, the jam becomes moodier and darker before taking…

Leaving "Crosseyed" behind after 6:00, this version gallops into a beautifully layered jam on the back of some great work from Fish which runs through 14:00 when it tilts back towards home with sludgy electro effects until > "Miss You".

"Fourth quarter" magic. No two ways about it. A brief straightforward jam follows the song proper, followed by a brief "Crosseyed" tease/jam. The band then proceeds to dive perilously deep into wide-open space. Musical pivots abound everywhere without hesitation. The band members challenge each oth…

The celebratory yin to the set's preceding yang in the form of a wickedly dense "SYSF", this jam starts off pretty mellow and gets slightly more askew with a descending pattern at 7:00 and shortly thereafter starts the climb to the mountaintop and later erupts with an exaltation of "Still Waiting"…

Google: "Trey Anastasio and Chris Cottrell" and you'll find a very real post from Trey expressing just how much he loved Chris, and the love they shared for Hendrix. Best friends, they regularly played Jimi on the stereo, standing in front of the speakers together with Chris leaning into Trey's fac…

Another strong entry in the early history of what has quickly become Phish's post-shutdown standard bearer, this dual peak version traverses blissful, melodic heights then contemplates subterranean spaces before reascending triumphantly.

A huge version that opens the second set, the band is locked in from the start of the jam. Fish's steady play ensures the tempo stays upbeat. Later, the jam becomes an effects-fest. Trey, determined as ever, gets the band back into the song before it > into a must-hear "ASIHTOS".

Initially coaxed into a low-key minor jam which gradually intensifies before paring down to become minimalist and brooding, and then rebuilds into a soulful, celebratory finale.

The song's mellow outro seems built to spill in any number of directions, a musical sort of "canvas." Here, the band paints a cosmic sort of composition. Trey follows Mike for several measures, with Page and Fish providing on-point fills. Restrained play brightens a bit, the version's chill, restra…

For the second time this summer Phish steal a little extra time to extend a version of this rocker. As at Deer Creek, the band stays mostly within the confines of the song, but luxuriates in a laid back yet crisp approach that culminates in a "Meatstick" flavored peak that -> to NICU.

At first quickens into an uptempo minor groove, then bursts back to major peaksville, before a final segment kicks in at 11:30 with the jam downshifting to moodier fare in which Trey slips the "Gin" riff to head home in a slightly off-kilter way, leading to > "Maze".

Trey's quarantine rocker breaks out for the first time into open-ended improvisation. The jam begins with a hint of normal "INNYLTB" guitar riffing before modulating to an airy major key section. The music coasts along pleasantly in this space before getting spacier. Trey begins a repeating minor p…

"Leaves" gets its first chance to truly "breathe" in this extended journey. Marvelous melodic interplay and "Beneath a Sea of Stars"-esque ethereal playing abound as the band leaves the song structure in the dust. The jam's power grows in its psychedelia, with every musical pivot well-executed and…

> from "Mike's Song" (in a show that would, ultimately, become a "Groove") slinky play emerges as the lyrics fade, the band riding a wonderfully-paced, feel-good wave. Check out Page, around the ten-minute mark, as he shakes things up, via his concert grand, a really cool passage that Trey responds…

A long way from 17's debut (which many, at the time, felt like an extension of "Mercury," the -> was that smooth) this Trey-fav "rises" above ordinary anthemic set-closing love and light to become yet another surprising musical odyssey, more proof that post-Covid Phish is infused with fresh ideas a…

The verses are played in a new arrangement, as @Sniff notes, perhaps more in the style of Dead Kennedy's than Husker Du, and gives this version a classic proto hardcore breakdown sound.

> from "Buried Alive", the band treats us to yet another fantastic first set jam. The perfect soundtrack to the sun setting on a summer evening. After a mellow beginning, the tempo kicks into a higher gear as the band locks in together. Heavy effects from Trey slow things down again, which leads to…

Check out the studio version. Like "Fuego," this is one of Phish's finest recorded tracks. For a classy live "Fuego," revisit CMAC 14, which, on the heels of a Letterman appearance, features the song's studio outro. Here, wonderfully, the band moves in a different direction, opening up to dazzle an…

As "Shafty" so often does, this version introduces itself with a ->, in this case from the first ever Type II "Halfway to the Moon", and adds to that jam's funky bent.

Following "Halfway to the Moon's" jam breakout, "Strawberry Letter 23" takes the baton with its first real jaunt in an expectedly funky affair until closing quietly with a -> to a rare (first since '91) set-closing "Lizards".

Furious play, early, and, if the band enjoys changing shapes, this is a posture this tune will do well to assume. To wit, when play predictably cools, Trey (and Fish) rather ratchet up the intensity, the friends offering a version befitting "viking warriors" and "animal heads." Absent early 90s ten…

Outro brews up a delectable synth-funk stew that you wish would never end, that is until Trey swoops in with a quick -> to "Simple".

From out of the pre-show chaos, a show-opening jam appears. The jam begins in a pulsing rock-out space, with confident Trey out front leading the way. In lieu of multiple sectional shifts, this jam retains its rhythmic pulse throughout. Fishman once again guides the band masterfully through rhythm…

Like the old days (see 12/95's Mike's > Paugs), Trey seems intent to better, or build off from, a prior performance. Like 7/20/22, "Bag," after years of perfunctory play, is stretched out. Trey, way impressive, is way out front, with Page making vintage Phish something totally synthed-out and utter…

Building on the Deer Creek version from earlier in '22, Mull sails towards uncharted waters here at MPP. The jam starts in sludgy funk mode, with Trey and Mike's effects thick as molasses and Fishman setting the tone with a "Destiny Unbound"-esque beat. The band keys in on the groove immediately, w…

After an upbeat lead-in, the jam turns dark and menacing at 8:45, at first simmering, and then sizzling with intensity as it reaches its apex when it's fully unleashed after 12:00.

Straightforward jam until 9:15, when the key modulates and an "All Along The Watchtower"-esque progression takes shape (an ajamakinto "Watchtower," but no musical quote of its melody so no tease). They jam on this "Watchtower" progression for many measures, going "type II" to an extent in the proce…

Drops in neatly > from "Tweezer" and produces a cool hybrid jam that rhythmically stays in "BOAF" territory but melodically departs for stretches before charging back for a proper finish.

The typical rock-out jam gives way to a brief but profound diminuendo which ends > "YEM".

This early-to-mid-first-set version could not be a more "average-great" version until, only about ~80 seconds into the Vocal Jam, they start playing their instruments and launch into a second jam, during the first minute of which Fish quotes "Strawberry Fields Forever." This second ("type II") jam…

The usual jam section is perfunctory, but improv continues after the normal ending and soon ascends to a more ethereal plane with thick bass counterpointing magisterial guitar and piano leads. Around 13:00, dirty synth sounds are introduced briefly and then melded into another round of upbeat melod…

At first dark and simmering, then becomes even more fiery after 10:00 and seems to be cooling off by 12:00, but then revvs up once again for a high-flying, trill-filled peak. A final sedate outro > "2001" wraps up this thrilling jam.

As with most "ERs", the band wastes no time in finding a groove. Trey leads and the rest of the band follows. By the 10:00 minute mark, the band is in lockstep which leads to soaring play from Trey which is received with raucous cheers. Heavier play enters the fray later as Mike and Trey engage in…

Takes flight around 7:00 with anthemic bliss, later incorporating a tease of "Freeway Jam" at 9:00, then chills out a bit and remains unfinished > "Camel Walk".

Dating back to 2021, "Stash" has resolidified its position as a premier jam vehicle, and this version continues that trend with a jam that changes keys and grows in power but remains tense and minor through 10:00, after which major breaks through as the band skyrockets to a big peak.

Interested in modern "Bowie's"? Clarkson, MI, is a safe bet. Part of a weather-blown, Jovi-colored and quite strange show, there's much to appreciate here, as Trey (listen for Page on his piano) takes the band through a few wonderful passages of electric, lightning-infused improv.

After a brief passage of standard "Sand" fare, the music modulates at 5:15 for major key. The band immediately locks onto an anthemic chord progression, with Page's grand piano bed providing a solid platform for Trey's soaring guitar. The main "Sand" riff reappears at the 10 minute mark, as the tun…

A multi-sectioned monstrosity emerges from the Atlantic City Beach. The jam begins in familiar, but strong territory with excellent melodic interplay. The music grows deeper as Trey and Mike dip into their effects. Shortly after the 14 minute mark, Fishman blasts the band off into hyperspace via…

> from "Axilla (Part II)". Mike's bass is thumping as the jam begins. Trey solos over a cool texture provided by Mike and Fish. A slow tempo gradually picks up steam, possibly because of Fish dropping a "Yeah" sample seemingly out of nowhere. The jam comes to a head around 13:00 with Trey and Mike…

Big version that anchors a magical second set. The jam begins in highly melodic and patient territory. An easy-going but sonically complex jam follows, with the band shifting through effects while Fishman gallops along. As the music deepens and intensifies, Trey dips into the "bullfrog" effect, Pag…

Ruby emerges from the ether of a big "Down with Disease." This jam gallops along through various vignettes in butter-smooth fashion (including a brief passage of dissonant jamming) before the band lands on a super connected major key rock groove. Trey begins a repeated lick that builds patiently to…

"DWD"'s closing section emerges from the ashes of an incendiary "Ruby Waves", finishing a brilliant segment of music. > an equally inspired "Ghost."

Mike isn't always featured in JC entries, but when he is...Well, for what it's worth - and more - check out this late-show "Ghost." Per .netter @DetectiveFrankShark: Coming out of the last chorus, deliberate three-note chromatic play prevents the band from settling into predictable jamming. Fishman…

It's all the same notes but a modal shift gives this inspiring jam a different tenor before it reverts back to "Hood" for a smooth finish, and combined with a super synth-funky intro, makes this a version well worth seeking out.

"Free's" second encore and first-ever show-closing appearance comes loaded with heaps of extra synthy spank and filthy wah guitar.

Inverts the tonality to major just before 5:00 and soars into a "Norwegian Wood" tease before slipping back to nasty old "555" to conclude.

Slow fizz ... For a song in such "Heavy Rotation," the band continues to impress. Atop predictably solid, bedrock Fish, Trey works a number of hard rock riffs to inform major play offset by Page, sprite on his piano, the sound becoming, like waves lapping the shore, a gentle sort of echo, as the…

The trend of pushing familiar songs out of their musical comfort zone in 2022 continues with another nicely extended version of this traditional set closer that goes beyond the normal rock peak, first by heaping on some extra fire, and then with an experimental outro that slowly peters out.

After a delightfully melodic first jam, the band turns to explore the darker realms of "No Man's Land" in a jam awash in loops and echoes that taps into a swirling and growling sonic space until finally resolving in a momentary bliss that decays only to give way to the opening notes of "Tweezer".

An "Under Pressure" tease shakes things loose, allowing for a wispy, cyclical jam to take hold, which ratchets up moderately before an eerie alien outro possibly setting up a > "2001" but instead > "BDTNL". Quite a nugget of improvisation.

Jam begins in its normal uber-funk space with Page pounding the clavinet and Trey outlining with simple but pointed lead guitar playing. The band then hooks up on a riff that leads them into a more contemplative, dark space. The music then shifts into a breezy major key groove very appropriate for…

One has argued it's not the wind, but, rather, the trees that create the breeze. Here, Trey as tree, drives an airy, guitar-driven jam that moves effortlessly across sea and sand. Fish, solidly in the pocket, anchors the band as the four take the song for another deceptively simple ride before, as…

Once again, Trey's newer material serves as springboard for some of the band's most compelling improvisation. Here we get a multi-part jam that moves comfortably between sections and which finds all members of the band communicating and contributing. Listen especially to Fishman and how he drives t…

Although Trey is very rough in the opening, he soon recovers, and the version coasts along as per "average-great-normal" until 11:45 of the jam segment when Trey teases "Mr. P.C.," and the jam takes off and eventually reaches a BLISTERING peak. Bass and Drums segment is average-great, and the Vocal…

Workhorse song goes huge, with Trey, just past the five-minute mark, riding rhythm effortlessly offset by an array of notes effects-laden and so "played," in equal measure, by his feet. Wonderful. Page is grand on his piano. Mike's play is deft and sweet. And Fish. On full display, here, that ineff…

A nice three-minute departure of lovely, low-key major musing tucked inside an otherwise typical "Stash" jam.

The breakout version from earlier in the tour at Bethel Woods turns out to be no fluke, as "Sample in a Jar" takes off once again in Toronto. The band launches into improvisation off of the IV chord (Dmajor) and settle into a powerful rock jam reminiscent of "Theme from the Bottom." This then lead…

Trey's frenetic playing before the song proper ends indicates this won't be a typical "Moma". The tempo slows momentarily before culminating in a classic latter-day peak. The last minute sees Trey meander his way back to the "Moma" riff which allows the band to finish the song.

Following in 10/29/21's footsteps, the band again launches into a jam which rocks through a few sections and ends > "SYSF".

A light and breezy, highly danceable groove is followed by some soul-piercing guitar when Trey gets out in front on the backend.

Upbeat major key bliss turns fiery and funky, getting 'ass-handed' before the band carves out a final trench of grimy filth that breaks for "The Howling".

Peeling away just after 6:00, the jam rolls along with swinging feel-good vibes and a bit of countrty twang, then does a few fakeout returns before finally reverting back to "Bowie" at 10:30.

Toss a dart at a summer show and you're bound to be delighted by any date's opening song sequence. It may not get better than this. If you don't know "Fluff's" Alpine travels, check the Jam Chart. Here, following a fan-favorite "1999," there arrives that once-in-a-tour rush where (at 14:00) you rea…

Completing the 7/24/99 throwback sequence, this version's outro rocks hard and then becomes even more noxious with an accompanying siren loop and synthesizer backing.

Outro diverges from standard and quickly enters a dreamy late-night groove before ending with a -> "BOTT".

A reminder of why we fell in love with Trey in the first place. Trace this play, marked by his incredibly warm tone, backwards or forwards, through rhythmic shifts and offset variation - of course accompanied by his best bud Fish (whose fills are outrageous) - through a passage of surprisingly stat…

First locks into a super-cool and menacing, textural jam with a perfectly integrated "Crazy Train" tease from Trey, then slides into major for a heavenly spell before more familiar bliss brings it all home.

"Slave" is often relegated to rote status, these days... A means to cap a terrific show... A "call" your 'bro' made a mile away. This is not one of those. Patient. Melodic. Forceful. Special. Here, the four, as if time (or curfews) were not invented, artfully work a version worthy of multipl…

The band is locked in early and gives us a series of scorching, rolling peaks that modulate and are eventually capped off by soaring trilling from Trey. The jam then downshifts into a not quite ambient section that maintains its forward momentum, growing more hypnotic as play gradually accelerates…

In its second outing since the Halloween debut, this "Sci-Fi Soldiers" track shakes off its liquid handcuffs and stretches into a Trey led melodic journey that manages to provide a lot of ear candy in just under 13 minutes.

"Piper" gets the call as set-closer for the first time and the band let's it rip with a hard-charging jam that barrels ahead ferociously from start to finish.

Another version that breaks form with grime out of the gate and then develops a "There is a Mountain" theme before dipping back into the muck at 11:30. From there the jam eventually winds its way into uplifting territory once again for an exuberant peak.

In the longest version since Lakewood 2015 (since surpassed by 7/23/23), the band treats us to a buffet of '22 sounds. Coming out of the gate with a rollicking, fast-paced jam that transitions through discrete sections as Trey toys with his tone, play brightens with outstanding contributions from M…

Departing fairly quickly from the song structure, "Moma" here takes at first a slightly contemplative turn with Mike leading and Page on piano. Trey begins to assert himself with some rhythmic effects play that eventually gives way to more aggressive, snarling leads from the frontman culminating in…

> from "No Quarter". Extra flourishes from Trey indicate this version may not be a typical "2001". Trey's play ranges from plucky and upbeat to blissful and melodic. This is a neat version that should be heard for its uniqueness. > "Melt".

Sheets of sound seethe and engulf the listener in a sonic maelstrom that pulses and threatens total dissolution without yet finally releasing its tenuous grasp on the song proper. A chilling, thrilling excursion that must be experienced as much as heard.

Solid composed section provides few surprises, but after an especially fiery peak, the jam becomes an extended, laid back and breezy meditation flavored with hints of "Meatstick" (or is it "Fire on the Mountain"?). Never quite achieving full band tease status, the jam nevertheless serves as reminde…

Jam breaks out of standard "Crosseyed" fare around 6:00, entering a brief passage of densely-layered synth funk counterpoint between Trey and Mike. The music ramps up into a more energetic rocking jam, buoyed by Fishman's forceful momentum. A shift to major key occurs, and the music develops into a…

After a moody start and key change, the jam pivots to major at 9:45 with Trey later emulating a signature move from the BD "CDT" just before 11:00, after which the festivities really kick off as the jam races to a celebratory peak.

Page makes good use of his L-R panning effects early on before Trey treats us to an Allman-esque climb up the mountain on the solid footing laid down by Mike and Fish. This version distinguishes itself especially in the post-peak outro section, taking an unexpected sonic turn as it segues into "It'…

Clean, sprite, and powerful version, the band "arrives" only to depart, "Fluff" arguably breaking for "Jam" crossed with some feral amalgamation of "YPC." What is clear is that Page is terrific on his concert grand as the band patiently searches for a sort of space to deliver what comes by way of s…

Melds -> in from an exploratory "Fluffhead" jam, and this "YPC" too gets an unusual treatment, as midway through the funk transitions to a pumped-up, increasingly upbeat blowout.

Excellent version that traverses through multiple sections. Elevated melodic playing shifts through several key centers before landing in a passage of colorfully dense psychedelia. This then pivots to inspired major key rocking, gradually building to an exuberant, peak-filled finale from Trey.

Debut.

Cool version > from "YEM." Straight from the song, proper, Trey wastes no time, leaning into his solo, a shearing sort of sound carving up space and backed by great Fish. As play seemingly cools, Trey augments his tone, his play offset by Page's inspired, sonic soundwaves. Form and structure dissol…

Loose intro with Trey entering on lead vocals sans Fish, while the outro bends the usual structure by downshifting into a more group-oriented jam before gaining intensity and peaking with some snarling guitar leads.

Despite some tuning issues in the composed section, the band ultimately delivers the second massive "Theme" of '22. The usual soaring play giving way around 6 min as Trey shifts to a more rhythmic approach and Page adds some crunch on the clav. The jam, gaining momentum, grows darker propelled by M…

Big set 2 opener that retains a steady, unhurried pace throughout. The band patiently books along, executing several modulations and subtle changes to the groove with Page and Trey's locked-in textural interplay standing out. The jam gradually builds in intensity, eventually arriving at an emphatic…

Flirts with a few blissful passages in the first half, but at 10:45 this version locks into a propulsive, heavy jam with Trey pouring on a bevy of punishing riffs, and then wraps up with a final cimb interspersed in the traditional closing.

Powerful and frenetic version that tears through MSG to end a massive second set. Fishman and Mike develop a forceful, driving rhythm as Page envelops the music with cascading synthesizer and electric piano textures. Atop this, Trey cycles through his rig and spits hellfire from his guitar, peeling…

Standard celebratory fare made interesting, as ever, by Trey, who toys with tone, meter, and "2001's" signature theme, amidst the song's backdrop beat. Things get interesting come the six-minute mark, with more by way of full-band improvisation, play offset by groovy Page and marked, come 7:00, by…

> from "2001". The upbeat song turns on a dime and becomes subdued from the jump. The tempo gradually picks back up again and then abates again. In a tight timeframe, this versatile jam goes from introspective to rocking and then back again. Trey eventually winds his way back to the song proper to…