1 Lyrics changed to "Make it a triple; Fee, Sloth and Punch; Won't get our nipple."
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-'894
- '90-'944
- '95-'002
- '03-'041
- '09-'142
- '15-'192
- '20-now2
The studio home of each song, from phish.net. Covers count as one slice.
- Fuego2
- Billy Breathes1
- Junta1
- Lawn Boy1
- Rift1
- Sigma Oasis1
- Undermind1
- Covers5
- No studio album4
Shows since each song's previous appearance. A big number is a bustout.
- 6-158
- 16-508
- 51+ · bustout1
Whose songbook tonight drew from.
- Phish original12
- Trey Anastasio2
- Ghosts of the Forest1
- Lee Dorsey1
- New York!1
Rarer than most - 1 song shelved 50+ shows.
Gap = shows since the song was last played, at the moment it was played.
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 sadly suffers from some minor pacing and performance issues.
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 funk-off, but instead spaces out around Page’s clavinet and Trey’s alternating wah leads and clean comping. Play then finally fades out for a > “A Wave of Hope”.
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 vibe, with Page and Mike’s synth-y slathers grounding Trey’s echo-rock lead play. Patiently working back towards major key, the jam then finds its way back to “Jim’s” traditional ending.
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.
Versions phish.net's jam charts single out as noteworthy.
As the show began, the view was from inside a cabin with windows on all four walls. The room began to spin, and accompanied by recorded sound effects, the visuals eventually blurred into multicolored streaks, finally resolving into a turntable. Once the needle dropped on the record, Trey began The Wedge. Among the visuals for Halfway to the Moon was the Colosseum, but built out of port-a-potties. During Golgi Apparatus, a camerman came on stage for close-ups of each band member as they played, projecting the image as a kaleidoscope across the dome. Trey teased The Secret of Life (The Dead Milkmen) in A Wave of Hope. The scene for Runaway Jim began by looking out at Las Vegas and the Sphere. Turning upside down and zooming in on a "Phish Hotel," the view passed through the peephole of the front door and into a surreal museum and library filled with odd sculptures, flying bowling pins, and toilets. After passing through several rooms, the view reached a door which opened and closed to reveal a variety of scenes, until finally backing out of the museum and returning to the Las Vegas strip. The Sloth contained alternate lyrics referencing the three songs (Fee, The Sloth, and Punch You In the Eye) which reference nipple slicing, all of which had been played during the Sphere run, and during none of which did Trey appear to have sung the traditional "nipple" lyrics. For the outro to The Squirming Coil, the view was a drive-in theater with video of the band playing as the movie. When the song reached the final chorus, suddenly only four cars remained. As each band member stopped playing and walked off stage, a corresponding car drove away.
Setlist, gaps, jam charts, and notes from phish.net, a project of the non-profit Mockingbird Foundation.