The Jam Charts · phish.net's good stuff

Trey focuses on rhytmic riffs at the outset and then picks up the pace of his leads, but instead of building to a full crescendo, the jam relaxes into a warm current that recedes into -> "MFMF".

Early near-MLB riffing moves into a textured synth romp, after which the feel-good vibes are in full effect as a celebratory jam perfect for dancing on the beach carries through to > "Twist".

Terrific Phish. Yes, the old-school "Stash" formula continues to melt, but the band, while eschewing tension and release, doesn't break for "major," or "bliss" jamming; instead, driven by Fish, the friends quickly enter an extended passage of full-band improvisation - a jam (given there are two) be…

A version that takes its cues from the terrain of the Yucatan, dives into sonar laden depths and emerges through sunken caves to march up erupting volcanic peaks. A journey from the sublime to the menacing, "Melt" continues to offer some of the band's most forward looking improvisation.

Fish sets the tone early with some stellar play that shines through. As the jam breaks from the song proper, a dark, subdued tone accompanies a slower tempo. Music served better for a mystery than on the beach. The tempo gradually rises again and the jam builds to a frenetic, heavy-effects peak-adj…

Veritable monster of a version. The band enthusiastically sets up a passage of dense, funky psychedelia off the back of Fish's propulsive engine. Inspiring play follows as Trey, Mike and Page all shine with affected tones and loops. Without ever dipping in energy, the band then patiently builds to…

This short powerhouse immediately leaves "CDT" behind for dark and choppy waters, surging ahead until 6:35 when it blurs the line between melancholy and ecstasy in brilliant fashion. More impassioned bliss follows, and then the jam slowly dissipates over the closing minutes and > "Gin".

> from a barnburner "CDT". Everything one would expect from a set-closing Gin. No lulls or slow tempo, just upbeat and fun the whole way through. Around the 12 minute mark, Mike comes barreling in to push the jam to another level as he takes the lead. Things eventually lead to the set-closing peak…

Several key modulations and tempo changes adorn this wild improvisational ride, which also features some curiously melodic synth work from Page at times. Put on the headphones, close your eyes, lie down and listen to this imagining yourself lying on a sandy beach beside cascading soothing waves adm…

A strong collective effort results in an ideal "Type I" version. Trey opts for chordal riffing at times, giving Page room to lead, before bringing it all home with a spirited, high-wire peak.

A cloud of uncertainty hangs over the early stages but Fish keeps things afloat with constant forward motion. Around 12:00 the jam begins to gradually emerge from darkness with Trey wielding his guitar like a blazing beam of light cutting through the gloom as it builds and builds to a series of pea…

Tight, airy play hews closely to the song proper for quite some time before Trey calls for improvisational departure. Fish breaks the beat - listen, a bit after the 8:00 mark, for this wonderful moment - before the groove bleeds to become hushed, restrained play, evoking early (as in 60s) psychedel…

Arrives in fine fashion with an unusual modulation, giving the outro a "YEM"-like twist before returning home at 14:54 to close the show.

Trey leads this one off the beaten path with a squiggly guitar tone, and as the jam continues down the rabbit hole, it reveals a dizzyingly beautiful dimension of sonic pleasures. This holds sway until a sea change around 11:00 brings a heavier, more industrial sound, setting the table for a welcom…

Really unique. One must (arguably) go back to the early days to find not a better version, but such markedly different improvisation. Near the 7:50 mark Mike drives the band towards direct, "compact" play...Trey, onboard, works through a series of licks - which he, himself, rhythmically offsets - w…

Fairly quick departure after the lyrics, led at first by Page's organ and then Trey showing off his tone. The jam picks up momentum and deconstructs, becoming more percussive as Mike and Fish step forward. The bass effects propel the improvisation to a darker more aggressive space that churns temp…

Showing up in the second set for only the second time since 2010, this "Tube" is a late-in-the-show surprise. Nimble playing from Trey highlights while Fish controls the tempo like the master he is. Things get whipped into a frenzy before eventually navigating back into the "Tube" riff to wrap thin…

Continuing along its 30 year trajectory of functioning as a great excuse to jam, the Greek Tweezer is another historic version that not only overflows with ideas in showcasing the band's commitment to excellence, but also swells and soars with (at times) wonderfully weird improvisation, brimming w…

-> from another MASSIVE, must-hear Bay Area "Tweezer". The tempo is slow at first, then picks up as effects from multiple band members are toyed with. A change at 11:15 sends the jam to a gloriously rollicking place. The play from Trey is anthemic as the band takes a proverbial victory lap after dr…

What comes first: The effects or the melody? Tough to say, with Trey, these days. Nevertheless, deft musicianship is on full display - and here, especially, in a song seemingly constructed to showcase the band’s myriad strengths. Lovely, lilting - and, in many ways, Fish-driven version. Seriously,…

Big, anthemic version finds the band four decades deep, exploring several memorable themes, and moving confidently between sections. Making use of a revitalized palette of instruments and effects, they channel a sound that is both familiar and fresh; exploratory and seemingly effortless, bookended…

> from a huge, must-hear "Bathtub Gin", and the band was clearly not done jamming. This extended version never strays too far from the song, but shouldn't be missed by fans of the song.

The first set-opening "Don't Doubt Me" kicks off a heavily jammed set. This jam traverses an effects-laden soundscape before giving way to a light, ethereal jam to end things before > "Kill Devil Falls".

An appearance of the dial tone opens the door to exploration and the jam first makes a quick detour with Trey playing wah rhythm chords while Page comes to the forefront, but before long it morphs into a more conventional upbeat jam. This eventually peters out and something a bit more discordant an…

Rough start after a somewhat awkward transition. The band omit a section of the composition early on and forget some lyrics before launching into the jam. As is often the case, they make up for stumbles with transcendent improvisation and here they truly dive deep. After cascading peaks and some v…

Strong version that features great Trey from the jump. Fish dominates, though, his offbeat, cerebral play warranting multiple listens, and informing the version's primary direction. Cool play arrives when, late, Page switches up his sound and runs through his rig. Play cools before the jam truly br…

The jam initially begins in standard "Jim" territory before a Mike-led tonal shift signals new directions. Fishman's inspired melodic drumming retains a familiar vibe, as the rest of the band shifts through several moods in seamless fashion. This gradually escalates towards a lushly-textured minor…

While not "Hydrogen," the version functions similarly; what has now become familiar, airy play, a welcome transition from "Mike's" strong, driven, punch. What follows is a wonderful, psychedelic, excursion. Fish fans would do well to tune in around 6:25. What follows is remarkable as the improvisat…

After some standard outro riffing, the jam quickly hones in on a more focused vein as it traverses a few intermediate phases before landing on a fiery psychedelic zone with a recurring descending motif. Around 15:00 the groove thickens with churning bass, synths, and twinkling octave-upped guitar o…

In lieu of lead-pointed playing, Trey sets the initial tone by tossing out spacious chords and arpeggiations. Page synths and hazy Trey delay paint the scene before a slightly dissonant transition space develops. The band then dials up the grime to deliver a sludge-y, stomping minor key rock-out…

Beginning with the now familiar seam splitting descent, what erupts from the glowing core is a white hot fountain of liquid play from Trey. Fed from a shimmering reservoir of Page's piano and synths and driven to a boil by Mike and Fish, Trey's trills sustain jets of phosphorescent sound that casca…

Propulsive play out of the gate settles into a spirited melodic space. The space expands as the band moves into dreamier territory, albeit with an unrelenting foundation courtesy of Fishman. A brief switch to minor key occurs with an infectious riff from Trey, before moving back towards major key.…

> from "2001". Eschewing the vocal jam, Sally gets the extended treatment for the first time in years. Mike's play shines through from the beginning as he leads the groove-based jam. The tempo gradually picks up, before > "Back on the Train".

This first set delight comes out the gate with swingin' swagger. Trey locks the band into Bmin to escape the confines of "Cities" proper and the band develops an incredibly cohesive, melodic, effect-drenched boogie down. After the 12 minute mark, the music takes a hazy, cinematic turn towards pat…

Another huge version of the once rare song in the catalog. Plucky playing from Trey around 9:30 changes the jam's trajectory. The searching, grimy jam sounds like the background to a noir detective show at times. The tempo gets kicked up towards the end, before eventually > "A Song I Heard the Ocea…

> from "Mr. Completely" comes a completely unhinged jam that immediately dives headfirst into an unrelenting, grinding, grimy groove, and in the blink of an eye flows back -> into "Mr. C". Heavy.

-> from "A Song I Heard the Ocean Sing" to close out the "Mr C" > "ASIHTOS" -> "Mr C" sandwich.

A thumping, relentless version marked by Mike's new bass. Trey plays with loops and gives Mike a run for his money with bass effects of his own before leading things in a more melodic direction over a soft bed of Page's keys and driven, as always, by the "brother" himself. The jam eventually cools…

The versatile "CDT" takes its role as the high-energy set closer in this instance and does everything you'd expect. Trilling, frenetic play from Trey gives way to a momentary slowdown, only for the tempo to immediately ratchet back up. A fun, rollicking version.

A gritty, sweaty take that bakes in southern heat before opening into a cooler sonic space that bubbles to a rolling peak and simmers to conclusion.

Don't bother looking for Vikings, but listen early for a flourish from Page that kicks off a rush of play, gathering the rest of the band and using the momentum to catalyze a slowly fermenting brew of synth and effects from which the four friends extract an echo-laden groove that -> "Piper".

Almost from the start of the jam segment Trey appears to have a sense of the melodic theme he wants to explore. Within only a few minutes he begins repetitively strumming in a life-affirming, charming, Franklin's Tower-esque way, over grand accompaniment, and then his solo soars and peaks in a deli…

Comfortable in his pocket, Trey abandons caution and strikes any number of notes. Tapping grace and "YPC" licks and offset by pointed Page, full-band perfection incites classic effects-laden Phish whose tube builds to break at 11:17. Wonderful stuff.

Sticky-hot set closing version soars through the Georgia air. Fleet-fingered Trey playing dances on top of familiar melodic space. The band settles, and eventually breaks the music down, leading to a tease of Pink Floyd's "The Nile Song". This then builds to a celebratory and rousing finale, replet…

A Fish propelled, space hopping rocket that sizzles thanks in large part to the drummer's restless shuffle. A big version that only gets bigger, gathering speed from a brief orbit near a certain planet, it explodes in loopy peaks before a full return.

Maintaining a nice line that develops during the song's outro, discordant, near cacophonous and quite percussive play drives fluid Trey, whose dark soloing would sound at home in a recent "Melt" or atop a tower.

Strong show-opening jam >'s to "Foam," completing one of the summer's classic throwback moments. Tight, full-band play is marked by no shortage of 23's sound, most notably found when, exploring tonality, Trey's out there striking notes and justly changing shapes.

Major summer highlight that Mike fans would do well to follow. Late, though. When Page lays into his synths. Here, Trey eventually takes control, setting free his soul with such metered control as if aiming past the sun (listen for Floyd this summer) and those such great heights that this Trey-fav…

Phish's 2023 "Tweezer" rampage continues with yet another monster version from Alpharetta. Stutter-step delay grooves, kaleidoscopic psych-bliss, and big-boned muscular funk form this delightfully hearty stew before a heroic, guitar-laden hard rock strut brings it all home. ->"Golden Age".

> from "Golden Age." Page really shines on this version; his piano shines midway through the jam. Mike comes bombing in, and he and Trey lead the band into a great, feel-good summer groove. By the 11 minute mark, you'd never know this jam came out of Phish's "techno" song. Things eventually wind th…

Some pretty standard "Gin" fare until about 12 minutes in and Page moves to the synth and the jam really takes flight and becomes must-hear. Trey's soaring play leads the way as the band weaves its way back to the song proper.

Laid back but never languid, the improvisation is breezy at first. Shaped by Trey's plucky tone and sustain that leaves room late for Page to shine on piano. The jam gives us an arm raising peak before dropping into a deep trench of groove where the band mines one final chunk of filth before return…

The band eschews the typical "Sand" guitar-led jam for immediate introspective exploration. The music grows inward, with Trey's thoughtfully psychedelic approach leading the way. Page's enveloping synth and electric piano textures spread the music out, while Fish and Mike provide an indefatigable,…

Vocal calisthenics give way at first to thoughtful and melodic play morphing quickly to an exceptionally groove driven thumper that begs for dancing. Aggressive leads strut with swagger over a thick bed of funky rhythm that decays into a hazy stew, regaining some drive before > to "Light". Excellen…

Trey and Mike kick off the improv early in the first set with interlocking leads that propel the jam over an atmospheric bed of Page's keys matched by Fish's energetic pocket. Pointed play ensues, building some tension as both leads adjust tone. The mood eventually brightens and Trey picks out melo…

A slower take on the song itself opens what would become a storm-shortened set 2. The band wastes no time diving into propulsive improvisation that efficiently modulates more than once. Listen as Page begins a conversation enjoining instant feedback from Trey and Mike that grows into a fluid three-…

> from "Chalk Dust Torture." The second version of "Oblivion" gets taken for a big-time walk. This is grimy, dirty Phish; no bliss jamming or peaks to be found. Page on the synth, heavy effects from Trey, this is a truly exploratory jam.

Gets a tweak and changes keys shortly before 7:00 but retains "Stash's" light-on-its-feet jazzy swing. Later, a lovely underwater passage leads into major bliss, where the jam stays for the remainder.

All four members are right up front contributing creatively without hesitation, actively listening, remaining locked in and punchy with direction. An upbeat set 2 opener that segues neatly into "The Final Hurrah".

-> from "Sigma Oasis." This fun tune has an upbeat jam for a while before giving way to a slowdown with Trey soloing over the rest of the band creating a cool texture for him. Fish really shines here. The jam dissolves and eventually > into the debut of "Pillow Jets."

Phish debut version downshifts after 6:00, becoming more moody and atmospheric before mounting another round of heavier rock which washes into > "David Bowie".

Opening the second set for the first time in ten plays, this version hearkens back to the heavy-hitting 2021 "ERs." The band is fully locked-in, navigating the jam as one entity. Trey eventually winds back to the "Na na na, yeah" lyrics of the song before it > "Soul Planet."

Hard-charging out of the gates through 7:15 when it settles into an ethereal transition, then winds up again for a heartening resolution and floats into -> "Twist".

Firmly in the conversation for best "KDF" to date, this version diverges quickly with a driving, upbeat jam which then becomes more textural and hard-edged after 9:00. It then reverts to major for the stretch run to a strong peak which Trey hammers home with a memorable melodic hook.

Begins with a brief major tangent but then reverts to a typically rocking "Tweezer" jam, albeit in a different key, then finds its footing again with a segment anchored by Trey's off-kilter, cyclical lead. From there, it builds more conventionally until the main riff returns, seemingly to bring thi…

The second leg of a mammoth 1-2 punch following "Tweezer", "Oblivion" proves to be a prime vehicle for synth-drenched improvisation. A late-night, portentous atmosphere persists until the pivot to major shortly after 11:00, bringing to bear an encouraging blissful payoff.

Fans of Mike will want to seek out this excellent version. Listen for his deft finger work and fluid fret runs throughout to propel the improvisational conversation. Segues neatly into "BOTT".

Taking the set 2 anchor spot in only its second Phish outing, Trey's new Tom penned piece is a study in contrasts. Bluebirds and shimmering piano work give way to manic screams and a multipart jam that samples the water at multiple depths. Dipping first into jagged play and thick snarl, then lifti…

Distinguished for its mid-jam breakdown from 4:30-6:00, and then rebuilds itself in the traditional manner.

A slow brood early leads to a now familiar and welcomed progression that could signal fulfillment, but here it's the front half of a jam that takes a turn down grittier paths and explores chunkier rhythmic space. Accelerating through synth laden territories, Trey's leads and Fishman's drumming race…

Setting the tone for the highlight-rich MSG run to come, the band drops a multi-faceted monster in the 2 slot. Pure inertia pushes the band through several sections with impressive cohesion before eventually coalescing around a triumphant chord progression. All four band members then lock in to del…

Big Red's love affair with The Big Apple, coupled with his renewed interest in jamming "Cities," yields a whole lotta good points. Chill playing ushers in fantastic, truly rhythmic improvisation, Trey's strumming offering a shimmery, warm, almost shoegaze feel - and, most importantly, room for the…

> "Ruby Waves," and breaking for "Simple," strong, almost muscular play, informed by righteous riffing, showcases, yet again, the song's promise as a true show stopper.

Eschewing the typical rocking Set 2 closer, this version of "Melt" is a complete and utter deconstruction. It's wild and daring. Fans of heavy, dark or "evil" Phish will want to check this one out ASAP.

Stays in the song's upbeat outro until cooling into a minor section at 7:00 that bridges the gap to the heart of the jam around 8:50 when it's driven into soulful bliss that runs through 14:00, after which a coda prods in a new direction and brings things to a close.

Veritable monster of a version that works as an emblematic example of Phish's comfort in MSG. Focused patience marks the affair, as "soundcheck" vibes abound. Eventually the grooves turn spacier and funkier around the 20:00 mark, before building towards a major key rock out. The music then downshif…

More Burlington than Boise, the jam brings to mind early play where the band, opening a set, deftly moves through a song to extend bend-but-not-quite-breaking-free improvisation. Make no mistake, though: Trey and Fish, ticking like a bomb, decidedly get the show on the road.

No clever ruse, "MFMF" goes big again, Trey working the song's melodic outro into a dark, driving solo; this is impassioned jamming that, in spots, sounds like "Fuego." Fire play, either way, that, incredibly, sees Page jumping from his piano to his keys before -> for "Gin" and, of course, a return…

Playful, sprite, and inventive, this is no deep dive, a la 1997, but rather a reflection of Trey's recent penchant to embrace, then explore, recent goofiness. Whacky vocals, "funky" otherness, Trey, way out front and in full effect, moves through his bag of tricks, offering a version that settles t…

Debut. Trey and Page's new "Gunn" inflected banger goes big in its live debut. Focused and inventive play moves with purpose through several layers of varying texture, weaving a tapestry of sound that is a true stand out among tour highlights. Breaks > for "No Men".

A fully realized version that feeds on the preceding improvisation, launching itself off ferocious peaks to unfold into a layered and looped blossom of effects that provides a space where melodic lines and muscular leads can weave into a taut and textured fabric. Trey is fluid and confidently in ch…

Strange and cool jam. Play quickly, and especially for "Light," becomes muddled and murky. This isn't to suggest the version isn't musical or, in parts, melodic; rather, the first part of the jam possesses many unique qualities. Just for a bit. Pleasant bleakness considerably brightens, and that by…

Stretching out "Timber" in one of the the longest versions the band played since returning in 2009 is a great indicator they are feeling comfortable four shows into 2023's MSG residency. The jam stays true to the song for a while before taking on a decidedly Allman Brothers Band feel. Very fun vers…

Exiting the song proper, Trey wastes no time finding a fat, heavy line. Doing well to push past "The Well" quotes, a truly unique musical conversation ensues, with Mike, in time, dominating much of the discourse. Page is perfect on his piano before jumping to his keys, splashing sound, and moving t…

If Phish plays a residency at MSG, chances are you'll want to hear the version of "Sample" they play there. This second set opener is the longest one played to date. Trey and Mike have some fun interplay which sets the tone for the jam. The band latches onto a real fun groove around 13:30. The end…

In from an excellent "Axilla (II)" outro, Trey orchestrates more conventional jamming, spritely soloing over Page's great piano play. A cool theme emerges after the 4:30 mark, which the band is content to explore, weaving in an array of different textures and sounds; this leads to confident, if not…

-> from "Energy." Like most extended "Meatsticks," this iteration is a blast to hear. Page and Fish drive the jam from the beginning, with Trey and Mike hopping in after some dance lessons. The band coalesces in the jam, locking in so much that the -> into "It's Ice" is quite smooth.

A surpise -> from "Meatstick" begins this "Ice" which jams in a familiarly funky manner and also includes a "Frankenstein" tease.

Not a note for note recreation, but draws heavily from the famed "Island Tour" funk Cavern (4/5/98). Once again, a slow ultra-groove version of the song emerges from an introductory funky jam filled with wah-guitar, clav, and slapping bass. > "Carini".

Unhurried but focused improvisation leads to play that is linear, moving confidently through several sections with purpose. More celebratory than exploratory, bordering on hymnal at times. Triumphant. The outro takes a brief turn towards the dark before fading to "Piper".

Jam starts with typical play before the band hooks up on a major key motif. High level interplay follows, and Trey touches the sky with a long, sustained note which culminates in a full band crescendo. The energy shifts towards minor key before returning to the "46 Days" riff to close.

Fire Fish rolls on through the four-minute mark, when he teams up with Trey, the friends synching to create the first of a couple markedly cool improvisational passages. Breaking free, Trey soars above Page, who, with Mike, creates all sorts of colors in sound. Play concludes with a decidedly Allma…

The jam escapes the confines of "Halley's" by way of staying on "A", and a brief but potent excursion ensues. A propulsive, upbeat minor key groove develops, with Trey cycling through effects atop Page's Rhodes, Mike's synth bass, and Fishman's steady pulse. A major mode shift then catalyzes a smo…

Almost exactly 6 years to the day, "Mike's" gets another monster run as the Set II opener at MSG after 8/2/17's Baker's Dozen stunner. After a spirited, if routine first jam, the second jam forges ahead at 8:45 with a progressively upbeat display of the band's ability to weave a tapestry of interpl…

Acting as the palate cleanser between a titanic "Mike's Song" and a breakneck "Crosseyed and Painless", this version opts for supreme patience despite its short run-time. Trey's throwback Whammy loops set the tone, as the band settles into a blissy psychedelic space. This then slowly builds to a sw…

One of the fastest paced versions to date explodes -> out of "Sand" and launches a thrilling straightforward jam before taking its foot off the gas around 7:30 and downshifting into a more contemplative space.

This Trey-led version has a cool jam that breaks free of the song around 4:15. While not the longest "MM" ever played, it's full of energy and packs a major punch before > "Divided Sky."

Truly monstrous first set version marked by tone shifting ferocity and relentless drive that samples from a range of effects, builds through several movements and eventually unleashes an ungodly peak that subsequently deconstructs before segueing to "NICU".

Opening composed section and early part of the jam segment before Mike begins "Guy Forget."

Mike begins "Guy Forget" out of pure improv (so-called "type II" jamming) and Trey catches on in seconds, and after only a few measures Fish starts singing "Guy Forget," and Trey and then Fish rap/speak the only lyric of "Guy Forget" over upbeat improv.

"Type II" improv continues after the "Guy Forget" silliness ends, sounding absolutely nothing like "Tweezer" for several minutes (and then only Fish temporarily returns to "Tweezer's" drum line for a few measures). Collective "full-band" improv at its finest, with each band member complementing eac…

After a delicate, nearly ambient start, the jam takes on a foreboding tone and builds anticipation as it gradually intensifies until bursting into the traditional climax just after 13:00 to memorably close out the seven-night run at the Garden.

Extended take drops into murky funk right out of the gate and luxuriates in that space. A mode shift then brings in a more introspective minor-key vibe with notably spry Mike play. Fluid Trey soloing leads Page towards a seamless mode change towards lydian space, before Trey finds the "Moma" melody…

This jam takes off around six minutes in, when Trey's soaring play, Fish's fills, Mike's thundering bass and Page's impressive play all coalesce to give this version an unusually fierce ending.

The "We Welcome You to Munchkinland" teases from Trey start at 6:45 and don't stop as they become the theme of this bizarrely triumphant jam on the 84th Anniversary of "The Wizard of Oz's" release.

The jam begins in earnest, propelled with vigor by the rhythm section while Trey and Page build layers. There is some searching midway as a slow build leads to fine peak directed noodling from Trey that eventually peters into transitional space. The band then pushes through several minutes of percu…

-> from an expansive "AWoH". This multi-sectioned journey initially takes off in a minor key and plants its flag there as Trey's looping and Mike's cascading high octave wash apply density and complexity. The grooves grow polyrhythmic before coalescing into a dark, intense, effects-laden attack. A…

Less a typical "CDT" jam and more akin to the soundtrack of a slasher film as the killer gives chase to another victim. Extended, spine-tingling dissonance raises the tension to obscene levels before the usual closing section, after which it cranks up twice more to insanity and concludes with a tea…

A guest appearance and surprising cover selection lead to shimmering play that transcends expectations. Even in the composed section, what the estimable Derek Trucks brings to this special flood recovery benefit performance makes this version, and what follows, must-hear.

> from "Golden Age." The first "Everything's Right" with a guest featured is must-hear. From the beginning of the song, Derek Trucks adds a layer to the song that makes it feel fuller and more whole. Around 10:00, Trey and Derek lock in after having traded licks back and forth and within a couple m…

This song closing the second set is about the only thing normal about it. Part of the Derek Trucks sit-in, this standout version is unique in "First Tube" history. Derek and Trey's play is complementary as they navigate the song. Derek then takes center stage with some truly deft playing, even bust…

With Derek Trucks, whose slide-like guitar work greatly enhances "Possum's" bluesy flavor. The jam first features DT and Trey trading lead duties before culminating with the two joining forces for a blistering conclusion.

This version was dedicated to "Frenchie" (a fan who had passed away earlier in the year) by Trey. It honors him by going almost 20 minutes as the first song of a four-day run; the band wasted no time getting to jamming. The lack of rust after having played SPAC the weekend prior is evident as this…

In contrast to Trey's typical whammy-oriented soloing in "Halfway", this version's outro finds Trey opting for thoughtfully melodic and fleet-fingered soloing, which in turn inspires a fully fleshed-out melodic conversation between himself, Page and Mike. Gorgeous.

Another year at Dick's produces yet another monster version of "Sand." Strong play from Mike and Page kicks this jam off in fun fashion. Ideas are thrown out from each band member, with nothing ever sticking for too long. If a portion of this jam doesn't hook you, just give it two minutes and the n…

Making a rare encore appearance, "Melt" again provides a space for the more sinister spirits of improvisation to brood and bend reality, pushing the limits of musicality in a truly alarming jam that is both anxious and angular. Listen especially for Mike to ratchet up the tension in the last few m…

Regardless of your preferred moniker for the current era of Phish, in 2023 one need look no further than these charts to find a handful of technically clean and improvisational modern versions of "Fluffhead". Here the post Arrival jam inaugurated by Mike forcing a modulation takes us to spaces that…

Breaking the straightforward confines of "Bag" proper, the band launches into a peppy, candy-coated groove in G. This steady platform stays the course, with Trey's inspired melodic phrasing occasionally abstracting into more effects-colored textures. A brief wind-down concludes the affair, which th…

A surprising but smooth segue out of new song "Ether Edge" begins this wild version of the perennial Dick's favorite. Fishman's heavy attack provides the base on which the band bangs out a percussive stomp of rhythmic interplay. Trey engages with snarl early on, setting an aggressive tone before li…

Transcends the song's always crowd-pleasing funky dance-party mode to become an uplifting hymn with Trey intoning "The Howling" like an affirming chant. > "Piper".

Set closing shot of pure serotonin. The band sustains serious momentum, propelling themselves melodically over Fishman's driven play, tacking only briefly to gather steam before opening the hose and unleashing a spray of blissful, Trey led peaks.

Goes minor just for an instant around 6:15, after which another key change brings the jam back to major while it becomes more dreamy and soothing, allowing a build unlike "Jibboo" to flourish with a charming peak and ends -> "Oblivion".

- > from a "Jibboo" worth your time. This sprawling jam starts patiently as the band jams around the structure of the song for a good bit before spreading its wings. Ever so slowly, the tempo gradually builds until things reach a "mini-peak" before Trey winds things back to sing the chorus again.

Great "Mull," with more than a few "Destiny Unbound" undertones. Jamming breaks for a bit of "2001," a callback to the show's strong show-opener, before > back to "Mull."

> "Mull" and > back to "Mull" to inform part of a snappy first-set passage of musical exploration.

> "2001" to close a snappy first-set passage of musical exploration.

A fun first set jaunt. Starting slow and bluesy, the tempo builds and builds until the band is in a controlled frenzy. It's a mix of old and new Phish, alike. In a jam-heavy first set, this may be the crown jewel.

A fine example of "SOAMelt's" late-period renaissance, with an ambitious, multipart jam which remains uncommonly coherent even while exploring a number of dizzying directions before a celebratory knockout ending leads back into "Melt".

The "Music City" inspires another big 2023 version of "Cities". Mike's fat synth bass carves out the initial funky path. Trey and Page dial in the murk in response, crossing through some vague "MLB"-isms on the way to a major mode shift. The music turns on a dime toward celebratory fare, but retai…

Terrific full-band play remains true to the song's primary melody before breaking near the 6:45 mark. Here, more cerebral, contemplative play, led by Fish's supreme off-beat drumming, informs a passage of imaginative improvisation, featuring some great Page way up in register. Play nearly stills, a…

Measure for measure extremely fire, fluid, and deceptively simple (yet exceptional) full-band play. Listen for some familiar "hose" throughout the jam before the band breaks not for "Uncle Penn," (they cool down, first), but a welcome "Cinnamon Girl."

Standard but quality play breaks for new directions after the 7 minute mark. Ambient synths, Trey's bevy of effects, and big drawn out waves of bass are all anchored by Fish's expert dynamics. The stew grows ever weirder, as a beat switch leads to a bizarre, carnival-esque dissonant passage before…

In its first outing in over 100 shows, "Cool Amber and Mercury" makes a strong impression with arguably its most spirited appearance to date.

The jam begins with intentional, cerebral playing from Trey before quickly breaking for minor key. Page's clav and electric piano dominate along with Mike's enveloped synth sounds and Trey's stacked looping. The music shifts back to major key, building patiently and inspiringly towards a crescendo…

After a standard and somewhat introspective first jam, the band once again charges into the fabled second jam, ready to explore. The music grows inward, as Page's rich, gorgeous grand piano catalyzes a delightfully layered and stunningly spacious melodic section, replete with gorgeous loops from T…

Dark, brooding and sometimes searching, this is the epitome of latter-day Evil Phish Improv.

A multi-section monstrosity that features highly inspired melodic playing, atypical modulations, an extended passage based on either "Roll with the Changes" or "Paradise City", and a false ending that catalyzes a deep dive of inter-dimensional sonic alchemy rarely heard in the modern era. Must-hear.

-> from "Halley's", this version has a quicker beginning than most. This is a laid-back, feel-good first set jam. Introspective and then euphoric. Peak upon peak. (And stick around for the "Albuquerque" bustout afterwards!)

A fantastic sort of throwback to "Sands" of the late 1.0 era in that it doesn't range far from the format, but in doing so is able to drill down into the entrancing groove even deeper with loops and synths aplenty over top of a rock-solid rhythm section. Around 9:30, the reins are loosened slightly…

> from "Waves". In a rare spot as the third song in the second set, this (relatively) compact version packs a big punch. The band locks into the jam quickly and seamlessly. Around 11:20, Trey weaves back to the Tweezer riff, giving off this version might be incredibly compact. Instead, he pivots on…

No messing around here, as Fish and Trey quickly push this jam into overdrive en route to a mean peak, then -> "Light".

Sometimes it's better to simply sit back and listen to the music play. Beautiful ->'s into, and out from "Talk," as if rehearsed (which was probably the case). A defining moment from any point in the band's history, either way.

Beautifully emerges -> from "Hood's" jam and -> back to "Hood". Quite a way to make its first appearance in 14 years.

-> from "Talk" to complete this hearty, set-closing version.

"Sample" once again gets a bonus jam starting at 4:45 and builds up a head of feel-good steam before sliding back into the closing chords.

> from "Tube". Echoing the 8/3/18 "Carini", there's a full-on "Chest Fever" jam played soon after the song proper finishes. Even after winding back to the chorus of the song, Trey can't help but fall back into "Chest Fever" mode one more time. Truly unique version.

Another exploratory version pulsing with chaotic energy that retains strong forward momentum and a semblance of "Melt's" character thanks to Fish's percussive through line. A break in the storm appears with a shift to major around 8:00 but the jam soon splits open again and becomes even more franti…

Compact, direct, Fish-driven version not unlike early powerhouse "CDT's" by way of intensity. Play breaks just before the 5:00 minute mark to feature a bit by way of Trey, but this version is really all about the drums. And then a shift! Around 7:44, Page leans into his keys, ripping a hole in a s…

More punch than normal in every respect. Mike's vocals; Page's work on the piano - electric or otherwise; Fish's Fish; and Trey's play (his deployment of the echoplex and a bit more by way of soloing): Excellent.

Spacious playing sets the tone before a shift at the 7 minute mark turns towards introspective psychedelia, led by a cascade of synthesizers and Rhodes piano from Page. Mike then suggests some spicy modulatory directions before an energetic major key motif takes hold. The band rides this all the wa…

> from "The Howling", "AWOH" continues its run of huge, improv-heavy versions in 2023. Heavy effects from Trey early give way to a slowed tempo by the 10 minute mark. The band shows patience as they work through the jam. At 17:00, in a place where you might expect a new song to pop out, they instea…

The namesake sound effects from the set's preceding "The Howling" are repeated in the intro, and then this "Mike's" launches into an appropriately funky jam to further cement the former's influence before becoming more typical at 7:15 as it crescendos into the closing chords, then > "Simple".

A tale of two "Simples". Providing a great contrast from a notable "Mike's", the band drops quickly into less by way of bebop to traverse more bucolic terrain. A welcome approach, the version rewards repeated listens-given that the extended improvisation is ineffable-before Trey subtly signals a ch…

A soaring, muscular version distinguished by bright and conversational interplay is especially notable for the return of Trey's "Deluxe Reverb" which paints the affair with cascades of crystalline peaks, settling eventually into a cloud of sound that uncurls into "Mountains in the Mist".

A teeth-gnashing multi(sectioned)beast of a jam, this take traverses through various disparate yet cohesively-arranged themes, including hyper-drive psychedelic rock, "Woo's", dense mind-bending dissonance and finally, a stoner/doom metal-esque dirge that grinds down > "Oblivion".

After a brief stay in the minor synth zone, the jam trends more upbeat by 8:00 and shortly thereafter features more seriously rocking riffage, then deftly turns on the hose with a few long sustained notes from Trey along the way for a surefire crowd-pleasing conclusion.

A spirited version in its own right, Trey's vocal incantations (and power chords) build into a blistering "heavy metal" jam capped with a ferocious, percussive outro; here's swagger that winds down to inform an uncanny groove - like a series of handstands in grand fashion. -> into "Sand".

Because the divergent "Hood" has become ubiquitous in recent years, sticking to the classic format and delivering a purely "Type I" jam as this version does is a welcome subversion, especially when the climactic build and peak are executed as passionately as they are here. Old-school "Hood" lovers…

Soars out of the verses into mild weirdness with Trey and Page synthing it up while Mike and Fish keep things on track with a strong pulse, then locks into a tremendous heavy-duty groove just before 11:00 and rocks out until a short interlude and -> "Train Song".

> from "It's Ice". The song's first set debut and it fits the role of set-closer like a glove. The jam is a raucous, high-energy affair. It peaks, keeps on going and then peaks again.

In the shadow of a resurrected rhombus, the "March of The Multibeast" opens an improvisational portal fitting of the historic moment. At once dark and strident, sinister and celebratory, what would be an exceptional excursion under any circumstances becomes transformational in context and relentles…

Although you may dislike or even hate it, this version involved a chorus and co-lead actor-vocalist Jo Lampert (who also helped narrate the "Gamehendge" performance), to Trey's delight in particular.

Erupting from the song, proper, Trey lays into a series of fist-pump power chords, pushes through some "Woos," and pours it on. Infectious, electric play finds Page pounding his keys as the band plays a perfect take for their punchdrunk fans.

This extra-mustard thrasher of a version serves as a fitting capstone to a legendary night. Seemingly unwilling to let the night end, Trey and Co. blow past the goal posts with unbridled joy, with a series of false peaks giving way to a mountain-top crescendo and fanfare conclusion.