1 Began with Trey on acoustic guitar.
Song length in play order. Tap a point for that song. Swipe the chart to see the rest.
Tonight's unique songs by the era Phish first played them.
- '83-'892
- '90-'942
- '95-'004
- '09-'142
- '15-'193
- '20-now4
The studio home of each song, from phish.net. Covers count as one slice.
- The White Tape2
- Big Boat1
- Billy Breathes1
- Farmhouse1
- Hoist1
- Sigma Oasis1
- The Story of the Ghost1
- Covers9
Shows since each song's previous appearance. A big number is a bustout.
- 3-511
- 6-155
- 16-501
Whose songbook tonight drew from.
- Phish original8
- Trey Anastasio7
- Ghosts of the Forest1
- Strauss, as interpreted by Deodato1
A typical night, rotation-wise - nothing shelved more than 50 shows.
Gap = shows since the song was last played, at the moment it was played.
A supreme version of the song, proper. Early, while chill, everything is ultra crisp, with singular notes, from all, landing like uppercuts. Around 6:40 there is a somewhat familiar shift, patterned play offset by acoustic Page and terrific Fish. A cool sonic surge arrives around 9:50, music just dripping with Mike beneath a series of echoes which, via extended Trey soloing, gels to inform "Plasma's" righteous riff.
The band neatly avoids some familiar tropes to deliver a version that exists in a sonic space somewhere between exploration and contemplation. On the back of Trey's growling tone, they quickly hit on a fresh progression that colors the jam to come and inspires some swirling group play that looks towards the light briefly before shifting to a more aggressive, rhythmic pulsing approach. Capped off with stiff frothy peaks, this is a tasty version that delivers the goods and a clean return.
After a composed section punctuated by flourishes from Page, Trey starts the solo with some swelling guitar licks which give way to a funky, groove based jam which goes from deep and murky to a fun, flowing jam that doesn't stray far from the song's structure.
Very exploratory, wide-ranging jam that is rhythmically oriented but, unlike other Sphere (and recent) jams, seems a bit more spacious. The jam easily could've ended (and been a classic) before 25:15, but, from that point on, the band enters some of the run's best improv. Maybe so. Incredible version.
Jam starts off in typical but inspired fashion, with the band taking a melodic, jazzy/conversational approach highlighted by Fishman and Mike's dynamic, syncopated play. A brief spell of "woos" signals a pivot, as emerging ambience coalesces into a spacey minor key groove. A major key shift then leads to peak-filled anthemic territory, followed by a brief, rhythmic groovy conclusion. > "Ether Edge".
Versions phish.net's jam charts single out as noteworthy.
The band took the stage while pre-recorded music similar to Plasma played, before beginning the song. During Ghost, the neon-colored outlines of three giant robots appeared to tower over the band, with their facial expressions varying and their arms and bodies swaying slowly. The three robots were then replaced by one massive robot, with spotlights utilized to make it appear as if beams of light were coming from the robot's eyes, before the original three robots returned for the remainder of the jam. During Divided Sky, the dome became a view of a sea of clouds, with patches of blue sky above. As the clouds moved, their appearance varied from purple sunset hues to dark and stormy, with the movement stopping and all of the color fading during the pause before returning for the rest of the song. Page teased Linus and Lucy at the end of Divided Sky. Trey began Shade on acoustic guitar. During Shade, an eclipsed star was shown behind the band, with its corona of changing colors visible and a silhouette of the band in the center. During Sea of Stars, the dome became filled with a curtain of gold-colored four-point stars, which twinkled and waved in front of roiling clouds. During 2001, the dome became a starfield before being illuminated by replicated images of the stage lights. Mike teased Plasma during Light. During Ether Edge, a string of umbrellas with colored drops trailing beneath were raised to either side of the stage. The umbrellas were lowered again during Piper. During First Tube, the dome again became a starfield, this time with a ring of stars centered above the stage slowly swirling. As the second "verse" of First Tube began, a white vortex appeared in this area. As the stars in its orbit began to become multicolored, the vortex pulled in their light and created flowing, rainbow-hued ribbons that grew as the jam progressed. Prior to More, Trey thanked the production team behind the Sphere shows, and said that he thinks the band will return to the venue. After Slave, the band gathered at the front of the stage to take bows and have a picture taken in front of the crowd. This show was connected to the other three with each night's setlist tied into a state of matter. This performance's matter type was plasma.
Setlist, gaps, jam charts, and notes from phish.net, a project of the non-profit Mockingbird Foundation.