The Jam Charts · phish.net's good stuff

Things build slowly at first as Trey and Page politely occupy the same tonal space. Mike and Fish, by contrast, are driven and focused throughout. Trey eventually finds firm footing and digs his heels into more rocking and rif laden territory, and with the help of Page, now on piano, they push the…

Sporting a significantly slowed-down tempo, this version finds itself moving fluidly from typical melodic "Weekapaug" fare towards funkier territory. As the band luxuriates in this space, effects-based play gradually becomes more rock-oriented, culminating in a more traditional crescendo before th…

Oftentimes, in latter-day Phish, a late Set 2 Twist feels like a crutch. The jamming portion of the set has ended and Trey's just looking for a song to fill the time. That is not the case here! The jam starts mellow and the tempo gradually and patiently picks up. By the end, it's a rollicking good…

Another nod to the sea (if not the scene), the song appears in the centerpiece slot, anchoring the second set, following a strong "NMINML." Tight, terse, and largely compact (play before the segue eventually bleeds) strong, if somewhat familiar play, seems to function as foundation for the night's…

> from a big-time "Twenty Years Later". Traversing all kinds of ground, this jam shows off the band's versatility. From the frenzied end of the song proper to a subdued, cymbal-filled brooding jam. There are recurring teases of "Norwegian Wood" and a frenzied maelstrom of a peak at the end, before…

A thoroughly funky opening gives way around 9:00 to an uplifting, inspirational build that carries through until a fakeout return to "Wolfman's" at 13:15, after which the band immediately launches into a high-powered segment of churning electro-rock culminating in a "Mike's Song" tease and another…

Something 'haunting' about "Oblivion's" opening when done right, and that's the case here. Always moody (one way or the other), the tune is a choice second set opener, and Trey opts for immediate excellence after crashing through the song proper, with the band finding a proper groove right around 5…

In just the third outing of this sparsely-played GOTF tune, the band significantly extends the groove and ups the intensity down the homestretch for a strong Type I jam.

Impassioned play comes early from the outset of the jam, before a breakdown after the 10 minute mark signals a change. An insistent riff from Trey then builds momentum as the music grows introspective and groovier, courtesy of Mike and Page's synth dominance. A propulsive yet atmospheric space is…

A celebration of the last night of the run on the beach, the band gives us one of their longest and most sustained reggae grooves they've ever performed. No frills, just the band locked in on a groove together.

The first post-EDM version of "WGTYM" is a distinctly slower version of the song. However, the jamming out of the song remains top-notch. Fish takes the reins initially leading a driving, percussive jam. This later gives way to a feel-good explosion of jubilant play that evokes Phish on a beach. Th…

Improvisation begins punchy and playful becoming more experimental and deconstructing as it moves through a transitional space before swelling to a dramatic conclusion drenched in Trey's molten guitar work.

> from "Theme". Where Trey might typically take his soaring solo, the song takes a much more subdued direction, indicating this isn't going to be the standard "BOTT" fare. Rollicking and upbeat one minute, spacey and searching the next. Things build from there into a fiery crescendo of a peak befor…

Major key play breaks away early, galvanized by Fishman's cowbell-inflected groove subversions. Eerie effects creep in to create a cerebral, spacey atmosphere before Page's piano brings the band back toward major key pastures for a candy-coated romp. The band then locks in here and rides towards a…

Show opening version kicks things off with swagger and wastes little time getting aggressively rhythmic. Mike sets a gritty tone while Page and Trey add lift. A weighty conversation develops that blooms into a delicate and satisfying peak and return.

-> from a small "Cities," Trey guides the band through a passage of subdued, moody sound, the sort of improv at home deep in some second set. While for some time the tempo remains thoughtfully slow and steady, Trey does augment his tone which, despite Mike adding some wild ideas, ultimately marks a…

Heats up quickly with a suspenseful minor jam out of the gates before sprinkling in some major at 9:40 and then fully shifts at 11:00 for a brief bliss-out. The next few minutes are transitional (though Mike is getting busy), but soon enough the jam roars back to life as the energy builds and build…

A familiar spot for the song as it opens the second set and familiarly goes deep. Fish's play around the 11:00 mark is outrageous and must be recognized. Around 15:00, the jam turns into space funk on steroids. Things wind their way to an end by > into "Twist".

The band take their time testing the improvisational waters, winding carefully and contemplatively at first, then quickly accelerate in a fluid race of ideas that weaves artfully into a sonic fabric accentuated in particular by the melodic telepathy between guitar and piano that drives a sustained…

After the band once again hangs on "A" following the song's traditional jam, "Halley's" breaks out for an extended excursion. The band immediately locks into a breezy, upbeat vibe centered around Trey's lyrical soloing. The band opts for the virtue of patience here, as Mike and Fishman's dynamic…

Of older material consistently performed well, particularly within the framework of more "conventional" play, "Roggae" seems overlooked. No more. Expertly the band moves through the song with the languid air of your favorite "Ocelot," marked by particularly impressive runs from Mike (he stuns, thro…

The return of Blonde No.1 elevates this Trey led version that, while it takes its time traversing melodic spaces early on, stays intently focused and forward moving throughout, growing organically into a satisfying masterclass in hose.

All four members achieve rhythmic brain lock early on. Page is crunchy and on point as Trey and Mike trade leads while Fishman steers a musical conversation that unfolds naturally into an uplifting and hymn-like peak before dropping precipitously into a trench of pedal driven murk and giving way to…

> from "NMINML". Score one for another massive "RW". Never stagnant and never wandering, there are few notes wasted as the band moves from theme to theme. There is no reliance on tropes as they keep the jamming fresh. The only thing unlikable is the jarring return to the song which seemingly comes…

Centerpiece of a classic first set, Trey directly breaks directly to jam, a la "Cities." There is a sense of unencumbered determinism as, through the 5:00 mark, with Fish nuts on his cymbals, Trey sets off to strum. He then picks a melodic line made very much of the stuff of the song, which contrib…

A "long" intro, when measured against recent versions: Hear the first indication this time's gonna be different. Trey scratches. We're off. A near-perfect composed section. Great tempo. Measured, highly musical and if not dark, nothing by way of light play ensues. Yet. Listen for "McGrupp." A chang…

In contrast to some of the other monsters of recent years, this version stays tethered to "Tweezer" (or something close to it) for an extended period before it gradually peels away, but even while the jam remains within arm's reach of home, the play is fresh and engaging. From there the band embark…

Mid-tempo first set version gets a quick layer of standard heat before taking a turn for territory marked by bass driven rhythmic interplay, undergirded by washes of organ, and highlighted by bouncing melodic leads that briefly traverse familiar woods before soaring to multiple peaks.

Dense and muscular, this version seems to know what it wants to be right away and wastes no time in getting there. A study in how familiarity breeds freedom and improvisational leeway leaves space for the serendipitous. The group mind here delivers a tightly wrapped package of near perfection that…

The jam quickly locks into a probing polyrhythmic bloom not unlike other choice versions of "Light", colored by modern textural approaches with Page's synth work standing out in particular. Play eventually coalesces and builds to a celebratory peak, before minimalist effects-based textures wash o…

Gorgeously upbeat and melodic version that bounces along fluidly and seemingly effortless for several minutes in very gratifying territory before finding a more aggressively punchy space that delivers a surprisingly flammable and rocking climax.

Strong version becomes a bit unconventional following the 7:30 mark. Fish kicks a cool beat, and Trey takes off. This leads to driving, forceful improvisation, which again shifts when Trey, using his feet, selects his effects, and, offset by Mike, lays into a series of licks which play like variati…

Excellent, extremely fluid version with "old-school" overtones. Play is primarily straightforward, but there is beauty in this, given that one: The band quickly, and quite notably departs to jam (almost as if to atone for the absence of ideas of the "Oblivion" Trey aborts to -> into "Lope,"), and p…

After a wobbly start to the song, the jam transitions to bliss at 3:50, a move unique for "Llama", and then wraps traditionally.

Begins in the usual tenor but becomes increasingly atmospheric and textured as it subtly brightens into a more established major sound until around 7:00 when a spunkier, more "Timber"-like energy returns to guide the jam back home. Longest version since 11/28/97.

A centerpiece "YEM" that takes full advantage of the two-jam format which has become familiar since 12/31/21. After a short vocal jam, the band digs back in with quality "Type II" riffing which intensifies before landing in a poignant, inspirational zone and eventually peters out -> "Twist".

No mere landing pad. After winding its way "in" from the remnants of a huge "YEM," the band completely divorces itself from former sounds to create yet another remarkable sonic space. Breaking quickly from the song, the jam is very much of itself and perhaps, at least initially, rich with a bit mor…

Tight, exploratory version that wastes no time. An early stop-start section (replete with Trey's careening sirens blocking out "woos") takes hold, before an excellent key change leads to an (at times) polytonal synth-rich romp with top-notch interplay. "KDF"'s DNA starts to slowly re-emerge befor…

Don't leave yet! This is no perfunctory Encore on the last night of the tour as the band drops one of their longest jams ever in the extra period. Trey leads the band through multiple distinct sections of jamming. After returning to the chorus, even the feedback ending gets extended.

Mike and Fish maintain an aggressive bounce that provides a foundation for a quasi-psychic back and forth between Trey and Page who exchange shimmering melodies that build toward a peak that takes a brief and gritty detour into more exploratory ground before returning to the more customary close.

After two Set 2 openers for the price of one ("Bouncing" followed by "Sample"), the band gets down to business with the longest "LSG" to date. They take a minute to find their footing, but Mike takes the reins around 9:30 and things take off. Excellent, melodic play from Trey at 14:50 gives way to…

While remaining in "Twist" territory, the band slows the pace out of the gate. Straddling the line between "type one" and a wavering tonal drift for several minutes, a curious examination of the moment dominates. Little time is wasted before effects layer in, amplifying the mystique that helps to i…

The first in a set of strong Summer '25 versions begins with a bouncing, plucky opening which gives way to more fluid play as it builds to a glimmering, multipart peak.

Quickly turns up the heat on the standard outro and soon becomes a ripping torrent. Short, sweet, devastating.

Takes the form of a gradual, stunning sunrise. The jam starts in a minor mode, contemplative and soft in a pre-dawn dark. Patience and group listening creates space for every voice. Fishman pushes the gentle ascent, Mike soars around 7:00, then Page and Trey take turns delicately opening the hose.…

Hazy, phase-y psychedelia breaks early on for ebullient, sunny grooves as Trey's crystalline Koa 1.5 tone shines brightly. A bit of minor darkness briefly creeps in, as the textural palette then expands exponentially into more space-y, synth dense pastures. The jam finds its "je ne sais quoi" here…

The return of Fish's intro affords a welcome old-school vibe, pleasantly offset by the band's latter-day spacious, breezy sound. Check out 2/3/93; 2/9/93; 2/12/93; 8/20/93; and 6/7/95 as a means to explore the song's fantastic history and evidence of a workingman's band "writing" on stage.

The first leg of a three-part "Tweezer" begins with a playful, bouncy groove buoyed by chunky bass and chugs along in an easy-going manner until briefly slowing as it transitions back to minor for more typical "Tweezer" riffing. After 12:45 the jamming steadily gains traction with a new direction a…

> from a big-time "Tweezer". The jam stays mostly within the bounds of the song until Trey finds a riff he likes. The rest of the band follows along and a bliss jam appears. Trey remains aggressive the entire way, all the way until he signals that it's going to be a "Tweezer-fest" and abruptly > ba…

> from a strong "Mercury" as the second leg of a three-part "Tweezer" bonanza. This section is largely "Type I" but with plenty of synthy flourishes and adds in a splash of ambience in the finals minutes before > "Pillow Jets".

> from "Tweezer" in a wild and wacky Tweezer-fest. The band sludges through some dark jamming before returning to the "Conjurers of thunder" refrain and ever so slowly, Trey finds his way back to > into more "Tweezer".

Slowly emerges > from "Pillow Jets" for the third and final time in a "Tweezer"-dominated set, and is quickly reduced to an eerie hush. Creepy effects are gradually added to the mix as the off-kilter energy builds until eventually Fish kicks back in and the riff returns to usher in a climactic fina…

The band, as if making up for not playing the song in 134 shows, delivers a choice version. Joyous soloing from Trey and Page intertwine beautifully, turning the Petersen into a windswept cathedral of sound which culminates in a peak of heartfelt glory. That said, it's Fishman's driving, propulsive…

Shades of '98 with somewhat dark "Gumbo" riffing that gives way to a serene major sound and briefly ascends to the astral plane before touching back down around 11:00, leading to a final chorus and Page's ragtime outro.

A little extra attention to detail early on tantalizes and hints at the spicy enchilada to come. Plenty of extra hot sauce, a satisfying dose of tension, and heaps of Trey-tosterone cap off this delicious and rewarding set closer.

Another two-jam version, this one sticks close to "YEM" until the final minute which then -> to a gigantic "WGTYM".

-> from a fun "YEM". Given how strong its jamming was from the first few versions played, it may have seemed inevitable a HUGE version would appear. This 40 minute masterpiece is just that. Moving from section to section with deftness and poise. Clearly, the band feels comfortable jamming this son…

This efficient single jam version begins with familiar, groovy "Mike's" probing, before a downshift steers the music into optimistic major key territory. As the music shifts back towards minor key, a repeated lick from Trey builds a subdued peak, with the closing chords for "Mike's" coming in to sh…

> from "Mike's Song", play is fluid, almost languid, great bass and drums accented by Trey's liquid tone and Page, who twice 'sprays' synth across the stage. Following a really cool line, listen for the locked-in audience (5:45) response before Trey, and the jam, takes off. What follows is Phish at…

Shortly after 3:00 the jam enters a segment of edgy, heavily-effected play backed by synth bass which culminates with "I'm a Man" teasing before snapping back to typical closing fare.

Another major "Fuego" drops in the 2-hole of Set 2. Fish's relentless drumming combined with Trey's attack ensures this jam remains upbeat and aggressive. Stay until the end to hear the distorted take on the song's riff. > to a huge "Golden Age".

Narrowly surpasses 10/28/16 for the longest version to date, and it's a doozy. Opening with minimalist funk which becomes increasingly reliant on synths and distortions of all shapes and manner, the jam seems to be crawling to a stop around 15:00, but is then resuscitated with a half-time, super-du…

Kicking off what has seemingly become a trend in 2025 of extended "2001" style intros, what we get here is the first truly significant departure from rote play since 8/16/97. A noticeably slower tempo in the "Landlady" section still slightly mars these modern outings but the relatively clean perfor…

Trey switches key for the jam, and the band responds accordingly. Around 4:10 Trey leans into, and repeats a phrase that works to serve as the foundation for a rockin', confident jam, which finds all four musicians contributing in equal measure. The return to "555" is somewhat abrupt, and leads to…

A song very much of its time (check the excellent 12/29/22 debut). Perfectly at home between canonical "Reba" and nu-canon "Plasma," this is next generation material. No song > improvisation, the jamming is organic as play from any "Moma," inventive and musical ideas rising from the fabric of the s…

As yet another outsized, aquatic crimson portal opens up, the jam begins in a swirling rhythmic push. This platform remains steady until play breaks into spacier territory around the 11 minute mark. Mellowing space then forms up into darker territory, and oscillates back and forth between brighter…

When Fish is this on, "Tube" need not 'jam' to be deemed notable. Special version, however, with Trey, picking through a number of notes, teasing The Dead Milkmen, and driving the improvisation in a number of fun, quirky, directions. This before leading the band into a really cool extended full-ban…

As if taking a deep breath from a huge "Tube", the band breaks from a banging rendition of the song, proper, and crashes into a powerful jam, featuring impassioned play from all four. Trey adds just enough by way of melodic variation, trilling, and sonic sustain before > for a mighty "Maze".

A massive extended dance party, Sally here makes a gorgeous racket that does not bother with vocal jams nor swerve from its intended purpose keeping the bodies bumping in Boulder and launching a stadium size celebration capped by peaks that sustain the energy deep into the second set.

A typically jaunty, groovy improvisation makes a break for more pastoral, psychedelic territories around the 6:30 mark. With Fishman's pocket remaining constant and ever rock-solid, Trey, Page and Mike's particularly funky affected tones help to create an intoxicatingly textural dance party, before…

Gets to "that place" in a hurry as it sails through the stratosphere on a wave of synths and full-sustain guitar to touch the divine.

Murky and soupy island funk of the highest caliber gives way to a familiar progression and leads to upbeat, focused, and ear-wormy play that blazes satisfyingly.

A shift after the 6:00 mark leads to floaty, searching space; this paves the way for a bass-heavy, clav-driven section, with Fish both accenting and pushing the jam as it builds. Eventually, Trey angles his way towards -> "MFMF".

-> in from "MFMF", with quotes carrying over. Less than two minutes into this section and the effects are engaged and a dissonant, atonal excursion takes hold, undercut (or overscored) with more knife chanting. Trey becomes more musical while simultaneously driving the psychedelic conversation. The…

> from "Fuego". Replete with teases and even a "Wu-Tang forever!" shoutout from Trey. The jam starts typically upbeat before the tempo is slowed way down, at times sounding like the band has gone fully back into "Fuego". The jam picks back up steam again before > into "Everything's Right".

Takes a different path from most recent versions, passing through twinkling bliss into pulsing, synth-heavy turbulence.

Phenomenally executed, the play is packed with treats, including "Buffalo Bill" quotes over the intro, quaint Trey and Page duo action, a carefully considered yet action-packed build, and a full-band lead. This culminates with almost three minutes of high-octane "Hood" peaking. Simply breathtaking.

Another new version suggests the song's recent resurgence may be no fluke at all. While not breaking new ground, Trey leans, and quite well, into familiar 'shapes' and sounds, before finding, and exploring, a nifty musical phrase which he drives throughout this fun, playful excursion. As the others…

Ease meets confidence as the four friends create a meld of the delicate and the thunderous ornamented with cascades and flourishes from both Trey and Mike that mark this version for closer listening.

Cool play coasts atop a mellow groove which finds Trey strumming his way into strong, protracted and, at times, melodic soloing. Offset by measured, calibrated play, Page, near the 6:30 mark, pushes for 'brighter' sounds, his synth not so much leading the way as offering direction. Trey plays with…

The jam finds itself immediately brimming with ideas simply by using the inertia of its driving rhythmic push. A downshift around the 10 minute mark finds the band in new territories, centered around a hypnotic, repeating bass line. With an unrelenting rhythmic center, an inspired, densely layered…

This is familiar, feel-good Phish. Mike works to nudge the jam in a different direction, but Trey surges forward, pushing the band not to a false, but a near peak. Pleasantly, the jam assumes a new identity past the 12:00 mark, and from here Trey moves through a number of ideas (which becomes fairl…

Remarkable for its unrelenting drive, this high-energy bliss bomb is akin to a full-speed highway drive on a hot summer day. Trey makes it known immediately that he'll lead the charge, which he does through a series of peaks, and brief downshifts, all underpinned by the rhythm section's undeterred…

Big, exuberant version brings lots to love by way of both exploratory and celebratory play that is light on samples and heavy on jamming.

> from (a slow version of) "Llama". Another huge, latter-day "Disease". The band stays in attack at the beginning of the jam with Mike and Trey each taking turns leading before Page comes banging in on the piano for his. Around 19:00, the jam briefly takes a respite before Trey's melodic play conti…

Sets a new standard for "Sightless Escape" with a lengthy exploration of the song's groove before eventually turning bright and sunny buoyed by synths and then -> "CDT".

After the standard outro the band drops into a laid-back '97-style funk groove fueled by the classic ingredients of wah-guitar, clav, and siren loop before flirting with major for a more contemporary sound and building moderately in the final minutes.

Nearly six years later, at the same scene of the last jammed-out "Destiny", the tune once again goes for an extended ride. An "I'm A Man" tease galvanizes a brief, extra passage of full band hard rockin' grooves before returning to the song's regular conclusion.

Immediately goes minor at the jam's outset then spends some time in the customary "Weekapaug" style before returning to minor with synthy funk led by Page.

Sparkling play from Page helps lead the band out of "Mercury" proper into a cool, laid back jam. The jam progressively gets more upbeat and energetic, before dropping into a funk breakdown and eventually > into "Soul Planet".

There's no time wasted in this all killer, no filler jam, which gets especially gnarly after 8:00 when it develops a mean streak and goes screaming through space to a supernova conclusion.

The intro here finally gets a little extra attention but as usual the real action comes later and right away it's clear that both band and crowd are primed to pop as the jam cascades and sparkles effervescently and bubbles over with abundance and abandon. It feels very good indeed.

This psychedelic set closing version gets a gratuitous extra helping of yellow matter custard and that special weirdness that makes Phish covering The Beatles in 2025 such a mind warping and revelatory experience in the last year of the first quarter of the 21st century.

The Wolfman surfs in on a van fueled by Trey's slick blues licks laid over a road bed of rhythmic funk that grooves and bumps along a linear trajectory without detours headed straight for peak town and delivering a tight and satisfying package.

"Thread" finally delivers on its initial improvisational promise with a knotty ,urgent exploration. Using its odd meter as a launch point, the jam holds tight to the bar line, with Trey, Mike and Page's effects-laced play creating a dense landscape that grows tenser and slightly dissonant as it m…

Leaves the station after a bit of funk, coalescing around a spacey synth section over which Trey solos melodically. The jam then seems poised to return home at 15:00, but relaunches with more rugged riffing before eventually closing strongly with a celebratory peak and the reemergence of the "Tweez…

A spirited, high-energy take that is particularly dominated by Trey and Page's nimble play early on. The syncopated jazz-funk-isms that are familiar to "Golden Age" are particularly tight here and inspired as this feel eventually rides to an anthemic major-key rock out. This then builds to a lovely…

Follows in the footsteps of 6/28/25 with an intro that further pushes the bounds of "PYITE" consisting of skronky guitar and lots of synth bass which is later intensified by Trey soloing and then drops directly back into the song. Tremendous opener.

A massive, hypnotic piece of multi-faceted improvisation that imbues the spirit of "Sand'"s minimalism, while also using its hypnotic grooves as a platform for a bevy of subtle complexities. Key modulations, textural effects-based shifts, and crescendos/decrescendos all remain tethered to Mike and…

From the onset, this inspired exploration finds itself in a murky subterranean landscape, with thick, churning (but melodic) play from Mike and Trey. This remains the identity of the jam until about 2/3 in, when a break towards an infectiously catchy and upbeat theme via Page and Trey occurs. This…

Play breaks from the standard "Gumbo" jam almost immediately, with Page's plucky clavinet setting the funky bedrock. Envelope filters, synths, and synth bass all slather the groove as the music glides into delightful space-funk territories. Trey then drives this towards a swagger-filled peak, befor…

This breathtaking version takes a turn into minor at 6:00 and spends the next few minutes brilliantly walking the tightrope between minor and major sentiments, at times seeming to exist in both simultaneously, until major crystallizes at 9:00 for the return home.

The jam takes off quickly with fluid and melodic ease before taking a turn. Spending ample time exploring a deep trench of groove allows the band space to play around with new sounds while keeping a foundation of the familiar. Pulsing and aggressive play pushes the conclusion pleasingly over the to…

From the jump, bouncy summer synth-funk smacks against the walls of the Mann's pavilion as Page's synths sizzle in the hot summer air, before the groove coalesces around the "Macarena", of all things. Suddenly the crowd is transported back to the mid/late 90s as Trey uses the "Macarena" melody as t…

An old-school "Gin" featuring a plethora of teases. The band's joy - Trey's especially - shines through once they get to the "Tequila" portion of the jam.

Though Trey hints early on that the answer to the question may be that there is "nobody home", there's actually plenty to discover in this wide ranging version that finds the band locking on to a handful of memorable progressions, moving seamlessly between sections, and soaring over peaks before ac…

> from "WGTYM" a little extra bit of Belew early on from Trey sets this one off on a trajectory for greatness that never strays but delivers a relentless swagger and propulsive drive that, rather than leave one waiting, forces the listener to sit up, pay attention, and keep a tight grip. Listen for…

Who needs lyrics? Not Trey, apparently. This remarkable "Seven Below" is the first instrumental version performed. The band makes up for forgetting to sing by producing a fun, fiery jam. For the completists, they return to the song in the second set to actually sing the song.

The spaced-out funk typical of "Tube" jams gets a bit more atmospheric and more densely textured here before shifting towards a brighter, major-key zone about halfway through. From here, a galloping, majestic jam takes off and builds to an inspired crescendo before shifting back to "Tube"'s compose…

What begins as warm and inviting takes a turn for the weird and hypnotic, drawing the listener into a synth and pedal darkened depth accented by swirling loops and gritty riffs, and punctuated with punchy rhythmic interplay that gradually carves a path of ascent to a sweeping and triumphant peak.

> from "Horn". A strong version of "Reba" for the era, featuring outrageous play by Mike and Fish. Trey whips up a frenetic ending before the band stops on a dime.

Gorgeously nimble and focused play moves through several sections including an atypical atonal break down in which Mike hints passingly at klezmer as Trey eventually navigates by way of some seemingly Hendrix inspired licks to an exciting and massive, rocking conclusion before > "Sparkle".

Trey's off kilter pedal play casts the now common intro into a uniquely new and sinister light that gives way to a lush, layered, and well balanced conversation steeped in swirling synths and accented by melodic exploration that grows more contemplative even as it picks up steam and heads toward a…

-> from "Scents". Another big version comes late but is far from perfunctory, signaling here a willingness not just to sustain but to push the improvisational conversation both horizontally and vertically, widening the vocabulary and drawing from a deep well of inspiration that eventually launches…

A mellow, groovy odyssey. Coming out of a crunchy performance of the song proper, play chills into a calming, trance-like space. Fishman's powerful drumming initiates a slow build, with the rest of the band gradually upping their energy until reaching a righteous peak. Play becomes decidedly more j…

Sticky clav-led funk rock is shaped by Trey's melodic bluesy riffing to start. Major key tonalities then take over, and the band rides out this bliss-rock feel until the "Cities" chords come back in to conclude the affair.

Another big-time first set "Ether Edge". Beginning brooding and searching, the jam winds its way to feel-good bliss.

Serving as the Set 2 opener for the first time since NYE '19, this "PYITE" gets an extra flourish from Trey and Page in its opening. Strong play continues throughout, before > into "Ghost".

Especially gorgeous play from Page on both acoustic and electric pianos distinguishes this upbeat and Allman inflected version that both bounces and soars to a satisfying peak and return to theme.

Caps a strong Summer tour for "Hey Stranger" during which it was further cemented as a first set staple with a jam that stretches the form and features jazzy Mike/Trey interplay before a sharp conclusion.

In its comfort spot opening a Set 2, this is a fantastic, multi-faceted "SYSF". Early in the jam, Trey sets the table with cool, relaxed play while Mike goes heavy on effects. The tempo picks up, then fades, before eventually > into a massive, must-hear "CDT".

A dizzying whirlwind that maintains strong forward momentum from the moment it starts until the closing -> "BaSoS," with nary a dull moment in between. Dynamic, innovative, and audacious are all apt adjectives to describe this relentless improvisation.

-> from "BASoS". Some of the band's most energetic playing since their return in 2009. All killer, no filler. Runtime be damned, this jam packs a major punch. > into "Everything's Right".

An entrancing, repetitive jam that gets into a deep groove and features "N.I.B" (Black Sabbath) teasing from Mike and Trey.

Killer version that swirls out of the standard jam with melodic invention aplomb. The band's driving rhythm never sways, instead allowing for an almost trance-inducing atmosphere to gradually but surely take hold and eventually build to a well-earned climax around the 16:00 mark. Instead of fading…

> from "Light". A breakdown jam begins before the song proper has really ended, which gives way to some effects-laden jamming. The jam stays up-tempo and energetic throughout, before slowing down and then -> into "Waste".

Ushered in an unprecedented "Tweezer Reprise" fest with a version that was easily the most jammed to date, that is, until being later surpassed in the same show. The similarities at times to "Tweezer" are unsurprising, but the jam makes its own mark with the uplifting section beginning around 7:30…

A perhaps less than perfect version notable primarily for the way Trey manages to work the "Tweezer Reprise" progression into the already gorgeous "Reba" jam and for the subsequent segue into same despite a botched attempt at ending the jam from Fishman.

Exhilarating segue -> in from "Reba's" peak, then drops into a short rocking jam and > "Funky Bitch".

The longest "Roses" since Cypress is another gem in the "Reprise Fest." Fish's driving play ensures this stays uptempo the whole time, before -> into "Tweezer Reprise".

This time, it's -> out of a big "Roses" jam that "Tweezer Reprise" gets another run in the middle of a wild set.

Compact version with no shortage of ideas or verve. Listen for the atypical tonal and mode shifts.

A nice side of musical deconstruction with all those different versions of "Tweezer Reprise". Fish and Mike stand out in the chaos. The jam emerges from the muck and like a freight train barrels back into -> another "Reprise".

Rises from the ashes of a destructive "Melt" jam to close a phenomenal set while also interpolating the usual "Melt" ending.

Brisk play takes hold from the beginning, with Trey and Mike's interplay being particularly elevated and conversational. Play then breaks into dreamier territory, retaining an upbeat bent while shifting between major and minor key tonalities. The band then latches on to an infectious, driving theme…

Finds itself in an almost elastic space both rhythmically and harmonically. The band's adept interplay pushes the music through several different tonalities and moods with ease. An intense, darker rock segment emerges before then flipping towards an upbeat vibe to deliver another intense, peak-fill…

The 5th(!) "Tweezer Reprise" from this instant-classic show is a must-hear, multi-sectioned freight train of improvisation. This journey includes optimistic peak-filled play, muscular dance-funk, space-y Pink Floyd-isms and a menacingly dark crawl, from which the "Tweezer Reprise" theme rises like…

The 6th and final "Tweezer Reprise" of a historic show begins -> from "YEM's" second jam and includes some bonus Trey soloing before emphatically closing out the set.

Puts a capper on a tremendous show and a tour which saw a strong return to form for pure "Hood" jams. This version begins delicately until a repeated riff from Trey at 9:45 starts the build to a beautifully layered peak, after which Trey thanks the crew for the end of the tour.

Average-great version slowly builds and builds (and builds and builds) to become something special. The band's patience is perhaps more impressive than Trey's commanding, sun-splashed trilling .... And that's saying something.

This Set 2 opener is pretty standard "Sand" fare until after the return to the song proper. A dreamy outro jam breaks out after the song should have ostensibly finished. > into a 20 minute "CDT".

> from "Sand". The beginning of the jam sounds rather Allmans-esque, with Trey playing some fun, nifty licks. After that portion of the jam concludes, the band gives a fakeout that it might be over, but Fish emerges from the quiet with driving play that sends things upbeat. The jam slowly fades out…

Relatively modest run time belies this aggressive and focused late second set jam that incorporates a healthy amount of crunchy synth and drippy effects into a heady swirl that turns bright and hints at melody but never quite peaks before > to "Everything's Right".

Birmingham proper finally got a "Cities" and it was one to remember. Coming as the second song of the night, the band shows they're ready to let loose. Mike leads the jam early and the slow funk gradually picks up tempo. The jam winds its way to a more contemplative space before > into "Sample".

This behemoth quickly takes on a slightly more agitated tone than your typical jam and then makes a clean break as the band spends several minutes pulling their respective strands together into a single stream and drilling down on a monolithic groove totally removed from "Gin". After pausing to tak…

In from an amazing "Gin" (last paired 8/9/04, and definitely worth revisiting), the play here, if not an extension of the improvisation, is certainly a welcome complement. While "Jim" has been great of late, this is a signature version featuring, at first, an extended 'conversation' between Trey an…

In the most exploratory version since Dick's 2024, "Sigma" kicks off a fluid second set segment of thematic jamming. Interwoven melodies from Page and Trey float above 8-armed magnetic drumming from Fish, where synths meet bright chords in weightless jamming that eventually rises around 14:20 into…

Out of the gates, the straightforward jam bristles with inspiration. Around the 7 minute mark, a shift towards softer textures builds towards a gorgeous, almost plaintive segment. As textural ambience seeps into the spaces between, the music then carefully builds back up to a sludgy, minor-key, wah…

In the midst of a stunning second set, we enter the "LSG" jam like a comet ripped apart by gravity, falling inwards towards the sun, before the band fully unifies around a Krautrock beat and driving chord progression from Trey. Fishman works against the established groove to expand the jam into a m…

Strong, fairly forceful jam that, from the jump, bends, even if it doesn't quite break. Marked, fluid shift just before the seven-minute mark serves almost as a "second" jam, with Page really toying with the song's signature theme. Play does brighten, and considerably, but a familiar 'peak' is offs…

> from a AWOH. Patient, rhythmic, and hypnotic; the band takes an approach here that, while it feels familiar, is interpreted through the fresh lens of the past handful of years' inventive play and that occupies a space halfway between aggression and ambience. Fans of peak free exploration will wan…

Not even four minutes in and all four contribute to produce one of the finest jams of the year. Play does take a different direction, one particularly melodic in nature, while befitting a "unique, rock and roll dance band." Stupendously, what might have become patterned play is undone when Trey dri…

Maintains high intensity while taking a few extra swings at the ending with false peaks before the true conclusion. Not the most precise version as Trey hits a few off notes, but it packs a wallop nonetheless.

Breaks apart early on via a major mode shift, as a spacey loop from Trey creates an airy vibe on top of Fishman's strong foundation. The music shifts back to minor, with Mike's melodic basslines and Page's enveloping synths curating an introspective atmosphere. Optimism then begins to peek out of t…

An initial jam segment defined by back-and-forth darkness and light spaces, Trey puts his foot down around 11:40 and pushes the jam into dark and layered chordal builds, which gives the listener a callback to the brilliant minimalism of the Mexico '17 version. After flirting with "Izabella" for a b…

> from "Sally". The longest version of "The Howling" to date and the band doesn't waste a second. Ebullient, soaring play from Trey leads the way as the jam rolls to a frenzied peak, featuring Page pounding his piano and Trey screaming "The Howling!" before > into "BDTNL".

Kicking off a killer set 2, this outsized juggernaut of a version glides smoothly through multiple sections with the utmost patience and confidence, including passages of majestic anthemic rock, spooky minor-key delay grooving, dimly-lit synth-filled ambience, and cosmic hose before finally shiftin…

Segueing -> out of a phenomenal "Carini," Trey and Page waste no time getting the band back to jamming in one of the strongest second sets of the entire year. Around 6:30 the band breaks off via isolated playing which hears Trey and Page mimic each other with bright chords while Mike and Fish offer…

A little extra dose of "Carini" plus mini-jam blasts out of a killer "Light" to wrap up a massive improvisational sandwich.

Stellar version that marries the Spirit of '99 with the earnestness and multi-faceted nature of modern Phish. Trey's expert loop-craft, Mike's perfectly-timed effect deployment/note choices, Page's pristinely tasteful keyboard textures, and Fishman's relentless swing combine as pieces to a puzzle o…

Yet another two-jam version, this one stays pretty close to "YEM" but is quality all the same as it builds to a second, incendiary peak.

With synths a plenty throughout, this all too rare treat of a jammed encore version goes minor and simmers threateningly, and then, perhaps in a nod to the song's '99 roots, springs to life with soaring major guitar leads to remarkably close out the show.

Takes its time rumbling in the aftermath of the standard outro and then gradually winds up into a fairly intense vortex, then flips the tonality from minor to major in expectation of a peak but instead dwindles mysteriously > "Rift".

Cool lines and great vibes, the band embarks on a great, throwback version (one can almost hear "Another One Bites The Dust" working to surface). Trey strums after the six-minute mark, signaling a contemporary shift, and his solo follows suit - the tone, if not the mood of the jam, markedly differe…

More than anything, this jam is defined by the wall of loops Trey builds from around 11-16min wherein the band executes one of the most unique peaks of the year. It's dimly lit as Mike roots everything through ominous playing, but the combo of wild loops and synths on top gives the impression of co…

Returns > from "NMINML" with plucky synth-funk which transitions to a more calming, upbeat vibe before concluding > "Waste".

The improvisation here blossoms naturally and grows in a way that feels inevitable and which marks the late summer of 2025 as fertile ground and which gives rise to this melodic ascent of spontaneous beauty. The interplay between Trey's clean sound and Page's grand piano is particularly satisfying.

At a time when "Simple" seems more comfortable as a supportive piece of a set (7/27/24 notwithstanding) here it serves as the centerpiece of a Saturday Night Special in Hampton. A bubbly and bright exit from the song proper defined by Trey's use of chords and Page's cloud-like Rhodes playing, the j…

-> from AWOH. More than a simple return, this coda caps off a thick 40 min of improv that gives way to a notable "Beneath a Sea of Stars part 1".

One of the more interesting (possibly?) Fish-driven jams. If interested in following a different sort of percussion rinse - a riveting (albeit subdued) amalgamation of our favorite drummer's different styles and sounds - you can do much worse. While his play belies the suggestion the improvisation…

A major version of the modern "Melt." Placement seems to be instrumental, as the jam, exploding from the middle of the first, seems unfettered by "role" or expectation. Note for note notable, play becomes particularly interesting after the ten-minute mark, when Page, following a slow, psychedelic,…

Serenity, now. This sublime version stays true to the tune's namesake as Trey's pure, melodious weaving guides the band's rhythmic center through intimate, dynamic, subtle transformations. Page's synth washes underpin an almost mystical vibe throughout, when around the 17 minute mark Trey plucks ou…

This atypical version begins with low-key funk and then drifts into a more spacious minor jam which comes into focus as it gains a pulsing drive backed by synths before eventually growing more upbeat and ends unfinished > "PYITE".

The final version of "PYITE's" remarkable 2025 once again features an extended improvisational intro. Syncopated funk, synths, and effects all feature prominently in this newfound addition to the song's structure.

Around 6:45 we shift from "Theme" to a seedy funk groove. From there the band builds into a shimmery strut behind ominous chords from Trey & Page's focus on the Clav. What develops is a very focused and singular theme which will guide the extended cut of "Theme" into easily the longest version play…

Cool placement and version. > from Mike's, this ultra-chill, low-key jam evokes elements of "Hey Stranger" and, in a way, "Sand" - so much so Mike teases the song. Trey engages familiar themes and new, melodic motifs (all while toying with tone). Fantastic. Fish. Fantastic. Page fans: visit the aud…

Stormy play colors the jam early. A tonal push and pull between Trey, Page, and Mike creates an oxymoronically dissonant, yet pleasant atmosphere. Trey then introduces a bludgeoning hard rock riff and the band immediately latches on and drives the music to a massive crescendo with blazing guitar pe…

A persuasive improvisational essay, the jam follows the intro with 3 paragraphs of exploratory premise before a neat conclusion. Transitioning out of the song the first section of play leans ambient, partially recalling the spirit of The Lemonwheel version, before deftly moving into a mid-section…

Continuing what started in 2023, the band appended another latter-day jam to this NYE version of "MFMF". While not breaking new ground, the band keeps the energy high throughout until they rustle up a frenzied peak, before Trey starts screaming the chorus again.

Mainly distinguished for its inclusion in the evening's festivities, i.e., Trey replacing Fishman on the drum set late in the song to further facilitate the "gag". Nonetheless, the intro jam is extended longer than usual for the modern era and features some great, delightfully synth-y interplay bet…

Monster NYE "Gag" version emerges from "Auld Lang Syne" to set the tone for 2026. Extra dancers/vocalists join the song proper, singing the "Tweezer" lyrics in multiple languages. Shenanigans subside, and the band gets down to business. What begins as energetic anthemic major key rock then traverse…

Picking up the brilliant "Gag" from "Tweezer," the final "Piper" of 2025 builds on the extended cuts we've heard over the last two years. Jumping right into a rhythmic and propulsive jam the band builds with intensity and power, landing in a similar unified groove-based jam ala much of what we hear…