The Jam Charts · phish.net's good stuff

A version that stays nimble, building on a bed of synth and loops until the band finds a space that recalls some of their finest play and lingers briefly, without losing momentum, honing an aggressive edge that gains focus and intensity. A true rocker.

After a string of post-Sigma Oasis versions that were mostly compact, it seems the band is ready to stretch "Mercury" out again, underscored by this being the longest version since 2019. Mellow and brooding at first, the tempo rises and by 12:00, it's a perfect beach jam. The band builds towards a…

> from "NICU", "Prince Caspian" is afloat upon the waves in Mexico again. Trey puts the proverbial "extra mustard" on his outro solo and he leads the band into an extended first set jam. Trey’s licks lead the way and Fish returns in kind with fun interplay. Page's synths appear, before > "Oblivion".

After a brief gesture towards major around 10:00, the rest of this version dwells in a haunting, melodically melancholic zone and subtly intensifies before -> "Ruby Waves" without a return home.

Every time you wonder what "Ruby Waves" has left to say you get a version like this. Building upon loops and a driving riff, Trey leads the band into an uplifting peaking jam that hits the summit at 1630 via aggressive chord swells, only to find another gear and peaking with swirling madness some t…

Like a great beach read that was...played on the beach. While none of the themes were novel, they may keep you guessing where they show up. There's a surprise in the middle. The end leaves you wanting more, and then, it's gone. > "Light".

Easy-breezy major jamming bounds along until a pronounced change in demeanor around 11:00 when the jam turns minor and becomes a heavy-duty, lumbering rock-out a la the 6/27/25 "Golden Age" but not quite as punishing. After building to a weighty peak, the "LSG" riff returns and leads to a final cho…

After a somewhat anemic and imperfect composed section, "My Friend, My Friend" launches into extended improvisation yet again. Grimy murk-rock takes center stage initially, before amorphously gliding into a more melodic, patient low key psychedelic rock passage. This then morphs into the final act:…

It may already be cliched to observe the band is relaxed on the beach, but this very "soundchecky" outing is truly not in a hurry to get anywhere at all in particular, loping along nonchalantly for more than twenty minutes before it, almost as an afterthought, takes a turn for the funky and interga…

As if inspired by the massive reading of "A Song I Heard the Ocean Sing" that preceded it, this take spreads itself out at a luxuriating, gradual pace. Melodic and rhythmic elasticity mercurially envelop the music, as is custom for "Sea of Stars", particularly colored by Fishman's finesse-driven rh…

A swift pivot from the standard towards upbeat, blissful play opens the portal before shifting towards introspective melodic minor key territory. Page’s dominating presence via both electric piano and wobbly synths then coaxes the jam towards psychedelia, as Fishman’s tribalistic rhythms grow a bit…

Here the jam almost stalls before it begins, but instead churns in a murky space, finding some direction behind Page’s lovely Rhodes work which acts as prelude to both Mike and Trey asserting themselves. Fish’s rhythmic diversity pushes the improv further and everyone contributes to an intensifying…

Another latter-day jam that Stefon from SNL would be proud of, because, “It has everything.” From emotive play to funk. From upbeat Fish-led rock with ebullient play from Trey, that eventually gives way to an ambient, dream-like outro.

Momentarily bordering on plinko to kick things off, the jam becomes echo laden and accented with a dark groove as Trey briefly plays on the low end and Mike’s effects cast a shadow that serves as contrast to what follows. Trey’s lead becomes more linear and Page responds in lockstep. The whole affa…

Opening with snarling leads from Trey, this shifts at 9:40 into a more open terrain before Fishman takes command of the jam's direction. Wall of sound Mike and Page moves into a late-nite ambient space highlighted by Trey and Page trading delicate riffs around 13min. Moving deeper into the ether, t…

Emerging from a swirl of abstract sound, the world's lone Dark Puddle is vibrant and free of form; high quality abstract jamming. Building to a major-key peak around 1045 we descend into Mike-led Fuego quotes before another build just after 13min. We hear the road not taken at Sphere where the visu…

Moving into a familiar hypnotic groove space we shift at 9:15 to a deeper groove which thus opens the space for the jam to blossom. Mike and Fish dominate here before Trey shifts the band into Fuego.

Shifts quickly back into open-ended jamming following the repeated Fuego riff; Fish and Mike push them into a rock space before Trey returns with sky high riffs. Hard-rock fusion with Frankie Says esque riffing concludes before the jam fades out.

Bliss-rock at the front gives way for more assertive, rocking play before a series of modulations begins a push and pull between major and minor key tonalities. Settling towards a funky rock zone, the band finds stability and turns the jam into am ebullient, funk-rock rave-up with a smidge of space…

The jam vehicle of the mid-2020s drives forward in a thick groove space right out of the gates. At 10:20 Trey moves into a rawk space before sliding into a Page/Trey duel that brings back memories of Fall 2021 Phish. Trey's chordal bursts at 16:15 push the jam into a new direction before building t…

A true slow build Piper, the jam builds like all Pipers do before locking in around a Trey and Fishman duel. A chordal peaking jam, this never strays too far from what Piper does best, but it's worth hearing all the same.

After warning some hot dogs to get out of his face, Trey is primed and ready to take Axilla deep again. The band is comfortable hanging in the murk of the song and doesn’t rush towards any of their “comfort jamming zones.” The jam feels gooey as it oozes along. Those who don’t need their jams to pe…

Cosmopolitan jam that stays fairly close to home rhythmically but departs melodically under Trey’s lead, brightening and decorating the neighborhood with a brisk and buoyant optimism and a gentle uplift before returning to the song to conclude.

Steps out of the box with low-key minor jamming which then becomes more mellow and dreamy as it transitions to major with synths and then > "Blaze On".

A dark, spooky, and contemplative affair that maintains forward momentum thanks to Fish’s pushing before shifting efficiently to an upbeat melodic climb with familiar motifs and a crushing climax that decays into an ambient sample laden froth.

Shifts into minor at 6:30 and becomes darkly atmospheric with extensive Trey soloing as it builds dramatically to a final chorus of "breathe".

2026 picks up where ‘25 left off in regards to the extended intro section of this classic rocker. The band remains committed to ‘punching up’ the play here with synth effects as well as some additional clean leads from Trey to guide the affair into the song proper. The “Landlady” section still sadl…

Swampy murk-rock typical of “ASIHTOS” gives way to a patient, dreamy vibe at the 5:00 mark before quickly pivoting back towards psychedelic minor-key space rock. The band holds tight here as the music blooms inward, highlighting a loose but but directional vibe. The jam then threatens a full-on fun…

A laid-back opening then turns briefly darker for a minute around 11:00, after which the intensity picks up and the jam crests with a powerfully sustained peak, and finally washes away in a disconcerting ambient deconstruction which eventually > "Caspian".

Standard “Jim” play begins to hint at something more as Trey briefly abstracts his tone with effects towards the front of the jam. As the harmonic range opens up a bit, a downshift just before the 9:00 mark takes the jam into a murky zone. Fishman’s skittering rhythms underpin an almost futuristic…

39 years after its debut, "The Sloth" makes history with its first encore appearance and first version to feature a bonus segment of hard rock jamming tucked inside of the composition.

Trey’s relaxed comping immediately sets the tone of the jam from the onset, establishing a hazy low-key vibe. Mike then introduces a tonal pivot towards minor key territory which platforms a harmonically-rich and at times sci-fi textured atmosphere. As Page moves to the piano, more organic/clean pl…

> from a “Seven Below” you’ll want to check out. Clearly comfortable in the venue on the penultimate night of their run, the band drops “Plasma” in the two-hole of a four song suite lasting around an hour. The band toys with effects as the jam flows along effortlessly before > into a massive “C&P”.

Emerging from the song proper into a melodic take on the main Crosseyed riff thus setting the table with an emotional build. HEROIC riff from Trey around 840 channels Eno's St Elmo's Fire. We shift around 12:25 into an overdrive rock jam before fading back into an minimalistic groove. The return to…

This version earns its “noteworthy” status by way of a comical instrument switch-up between Trey and Fishman, as Trey takes on the drum chair to allow Fish to blow sweet music on his vacuum. Trey then introduces Fishman by a few of his famous aliases before ending the tune.

Unidirectional and cohesive, the jam here is focused and the band is locked in from the start with little deviation to deliver a grin inducing and arm raising ride that accelerates to a very satisfying peak before crashing > into Llama.

Thematic jamming that bounces along at an even pace with little deviation and only slight modulation but stays focused without wasting time searching and delivers a steady stream of memorable moments that accumulate rather than peak.

One last 20-minute jam before the run ends. The jam starts out energetic, as most “RW” jams do, and keeps its pace for a while until it turns into time to try and see if the aliens can be summoned. Fish seems not ready to stop rocking, so he finds a way to get the rest of the band back on that path…

Rocking outro gives way to a fairly propulsive, beguiling groove textured with thick bass and then winds down over the course of several minutes in a decidedly off-kilter manner.