Jam Chart for the state of NV (134 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1996-12-06 | Las Vegas, NV | 10:25 | Smooth Trey in the first jam gives way to staccato-filled second jam. Unique version. Blast off into "Llama". | |
| 1996-12-06 | Las Vegas, NV | 25:59 | Great B&D!! VJ based on donuts. | |
| 1996-12-06 | Las Vegas, NV | 9:10 | Nice bluesy swing in this version, patiently played out before the rousing finale. | |
| 1996-12-06 | Las Vegas, NV | 18:31 | A must-hear version for "Simple" fans, and part of a huge "Mike's Groove." A stretched-out but conventional version until after ~11:40 where the jam soars into a pulsing, upbeat groove that mostly (but gloriously) stays within the "Simple" harmonic structure. | |
| 1996-12-06 | Las Vegas, NV | 15:40 | Top notch "Hood" follows a stellar "Simple" as the "meat" of a fantastic "Mike's Groove." The jamming highlights include cool percussion in the intro, super Page, lots of syncopation, great power rocking, and a terrific peak. | |
| 1996-12-06 | Las Vegas, NV | 10:33 | Fantastic and fun jam begins with some early sounds of funk followed by a Page-led piano section. Next, Trey leads a couple of full-band stops, then the jam simmers down with a heavier dose of funk before exploding into a classic '96 peak. | |
| 1996-12-06 | Las Vegas, NV | 9:17 | Guest artists include Les Claypool, Larry LaLonde, Courtney Gains, the Yodeling Cowgirls, and several Elvis impersonators. One of the Elvis impersonators leads a "Susie Q" jam at the end of "Suzy." | |
| 1997-11-13 | Las Vegas, NV | 7:05 | Debut. Standard version with a strong but typical jam, with assertive playing by Trey throughout. Page's grand piano lends some unique flavor as the jam peaks. | |
| 1997-11-13 | Las Vegas, NV | 23:36 | Very catchy theme in the jam! (No B&D.) | |
| 1997-11-13 | Las Vegas, NV | 21:32 | Jam shifts into major mode at about 10:40, then teeters between sentiments in quiet contemplation. Around 17:00, the jam begins to work its way back to "Stash" proper. | |
| 1997-11-13 | Las Vegas, NV | 11:30 | > in from "PYITE." Just a rock solid '97 from start to finish. Trey really pours his heart into this one. > to "BATR." | |
| 1997-11-13 | Las Vegas, NV | 15:04 | A really great and different groove is established early in the 1st jam, before drifting back into more typical territory. The jamming moves back out for more of the original groove, including great scratch funk around 8:30. The 2nd jam kicks in at 10:10 and features gentle and soothing play with "Born On The Bayou" teasing and glides into "Hydrogen." | |
| 1997-11-13 | Las Vegas, NV | 10:34 | Spirited and soaring jamming mellow uptempo as after 5:10 with some solid "CYHMK" teases and jamming, before finishing in a raging style with "CYHMK." | |
| 1997-11-13 | Las Vegas, NV | 7:00 | Quite a strong Trey solo, have a listen! | |
| 1998-10-30 | Las Vegas, NV | 16:48 | A minute of exploratory action (6:20 - 7:20) in a jam that otherwise is straightforward. But following "Rocco" there several minutes of eerie and spacey effects and chanting by Trey before the final closing. | |
| 1998-10-30 | Las Vegas, NV | 7:16 | Straightforward "Stash" begins Set II (rare Set II placement for "Stash") and has a superb -> to "Manteca," the first of 3 consecutive segues (->) in this set. | |
| 1998-10-30 | Las Vegas, NV | 3:26 | -> in from "Stash." Extended "Manteca" with an ambient feel rocks along and -> to "Tweezer." | |
| 1998-10-30 | Las Vegas, NV | 16:50 | Siiiiiiick Trey soloing! "Manteca" and "You Better Believe It Baby" teases. | |
| 1998-10-30 | Las Vegas, NV | 5:37 | -> in from "Tweezer." Straightforward "NICU" completes a string of great segues (->), comes to an end and > to a classic '98 ambient "Jam." | |
| 1998-10-30 | Las Vegas, NV | 4:07 | > in from "NICU." One of a number of great '98 ambient jams, this one emerges from "NICU" and > to "Prince Caspian." | |
| 1998-10-31 | Las Vegas, NV | 10:56 | Funky '98-style jam emerges, where Page on clavinet is the star. Rocks along until morphing into some more ambient, serene space, before a fantastic -> to "CDT." | |
| 1998-10-31 | Las Vegas, NV | 8:22 | -> in from "Sneakin' Sally." The -> is fantastic, and this is an excellent "CDT." It's "Type I," but very solid. | |
| 1998-10-31 | Las Vegas, NV | 11:45 | A pretty wild "Type I" jam with a super-charged ending that threatens to get out of control, but is ultimately well-executed. | |
| 1998-10-31 | Las Vegas, NV | 13:12 | Debut as part of the Velvet Underground's "Loaded" Halloween costume. First run is an upbeat rocker with an extended jam that stays pretty close to the "Rock And Roll" theme and groove. Released on Live Phish Vol. 16. | |
| 1998-10-31 | Las Vegas, NV | 10:05 | Fiery jam segues into a magnificently enchanting, psychedelic horizon. | |
| 1998-10-31 | Las Vegas, NV | 30:11 | Haunting Halloween Masterpiece. At 9:50, the jam descends from low intensity funk mode into 14 minutes of dark, chilling, effects-laden improvisation. A few movements to resurface are rebuffed, and the jam remains deep down until 24:00 when a bluesy shuffle provides some cathartic relief. -> to "Piper" which further brightens the mood. | |
| 2000-09-29 | Las Vegas, NV | 9:32 | After a few minutes of soloing, Trey gets into a demented, octaved-down, shred zone, and the band reciprocates with pulsating, demonic energy. Seek out video of this extended, metal-tinged version to see Trey workshopping his 'First Tube feedback sword-fighting moves' during the noisy outro which segues unexpectedly into Spock's Brain. | |
| 2000-09-29 | Las Vegas, NV | 16:57 | The standard jam gives way at about 9:30 to a great Mike-led, bouncy groove that grows increasingly rocking and intense. | |
| 2000-09-29 | Las Vegas, NV | 9:40 | The last big "Moma" of 2000, played in the same powerful style as 7/6 and 9/23. Strong, rocking version. | |
| 2000-09-30 | Las Vegas, NV | 8:21 | A more ranging and interesting jam than any performed up until this date. It's also blissfully serene and delicate. All performances after these September '00 versions would feature much greater variation in the jam. | |
| 2000-09-30 | Las Vegas, NV | 9:12 | "She's dead. She died." A flub paves the way for both lyrical and musical improvisation, and "Esther" truly goes for a ride. A feeling of warmth and mirth, as opposed to anger or frustration, informs great, soulful jamming, which eventually breaks for a > into "Weekapaug Groove." | |
| 2000-09-30 | Las Vegas, NV | 10:38 | Not so much a groove jam as some excellent funky and rhythmic jamming with awesome playing by Mike and Fish. Has moments that recall the excellent "Suzy" from 9/14/00. | |
| 2000-09-30 | Las Vegas, NV | 7:49 | Big contrast to the 7/14/00 version as this jam has a more eerie, morose sentiment. An ominous cloud. | |
| 2003-02-15 | Las Vegas, NV | 15:03 | Some great exploration starting at 6:40, with no return to "Wolfman's." Upbeat, far-ranging, and funky, the jam eventually softens and > to "Reba." | |
| 2003-02-15 | Las Vegas, NV | 12:03 | Beginning of the jam is straightforward, but once they head for the peak, it's worth hearing. Quite nasty. | |
| 2003-02-15 | Las Vegas, NV | 18:38 | Swaggering space roullette "Oh Happy Day" groove with a watery wobblefunk rage side slide into deep space cathedral vespers outro. [An awesome and very groovy early section with great Page gradually cycles up to euphoric party mode, breaks into a funky reprise, and settles to great quiet play.] | |
| 2003-02-15 | Las Vegas, NV | 18:46 | The jam seems to peak at about 13:00, then breaks into several minutes of angry and dissonant rocking before returning home. | |
| 2003-02-16 | Las Vegas, NV | 17:49 | First "Bowie" opener since 12/30/93. "Manteca"-like jamming early, then it breaks from the standard several times, only to return. Includes "Bowie" -> "Catapult" -> "Bowie" in the jam. | |
| 2003-02-16 | Las Vegas, NV | 0:33 | -> in from "DB." Brief version near the end of a big "Bowie." -> back to "DB." | |
| 2003-02-16 | Las Vegas, NV | 2:03 | -> in from "Catapult" to complete this solid version. | |
| 2003-02-16 | Las Vegas, NV | 11:53 | Excellent and extended low-key outro jam. | |
| 2003-02-16 | Las Vegas, NV | 11:05 | "DwD" -> "Seven Below" -> "DwD." "DwD" gets a little beyond straightforward. | |
| 2003-02-16 | Las Vegas, NV | 9:32 | -> in from "DwD." A short but very good "Seven Below" -> back to "DwD." | |
| 2003-02-16 | Las Vegas, NV | 2:24 | -> in from "Seven Below" to close and complete the sandwich. | |
| 2003-02-16 | Las Vegas, NV | 19:51 | Short intro leads to up-tempo, rhythm driven, melodic jam. This is a favorite version for many fans, for reasons that will be obvious when you check this version out. Fishman's snappy work propels this funky jam. | |
| 2004-04-15 | Las Vegas, NV | 13:48 | Sloppy intro, but the first jam segment (1:55-4:25) is excellent. The main jam absolutely erupts and burns as hotly as "Moma" ever has. | |
| 2004-04-15 | Las Vegas, NV | 9:17 | The jam starts off in very fine fashion, with a cool and different groove, but then veers increasingly toward chaotic dissonance. This darker sentiment is underscored by Page who shifts his harmonic underpinnings to minor mode. | |
| 2004-04-15 | Las Vegas, NV | 16:58 | Shaking off a rough start to this version, Trey leads the band into the jam which begins intensely with great thrumming Mike and growling, distorted guitar effects. The intensity gradually diminishes, resulting in more quiet play which retains an ominous sense of melancholy. | |
| 2004-04-16 | Las Vegas, NV | 12:01 | Jam mellows after a bit and sustains a decent pulse with nice Page work. "Low Rider" teases. | |
| 2004-04-16 | Las Vegas, NV | 7:56 | Well played, extended outro jam with good segue (->) into "Possum." | |
| 2004-04-16 | Las Vegas, NV | 13:56 | Sloppy and takes time to peak, but when the band finally comes together and eventually peaks it's a gorgeous moment of clarity that cuts through everything and makes things happy for a minute, before getting goregously goopy and grimy like only '04 can. | |
| 2004-04-16 | Las Vegas, NV | 23:58 | Exploratory and multi-faceted jam emerges around 8:00 after some nice variations on the "Twist" theme. Intense, the jam includes power rocking, distortion and effects, and builds to a furious peak before returning to "Twist." | |
| 2004-04-16 | Las Vegas, NV | 5:18 | Trey's voice is pretty beat, but he quickly gets into a twisted, chaotic, octave-hopping, 2.0-style, shoegazey mode, as Mike stretches the groove out over snappy Fishman fills. | |
| 2004-04-16 | Las Vegas, NV | 0:59 | In the chaos that usually precedes "BLAT BOOM", Trey leads the band into a "Little Drummer Boy" vamp, at first festive, and soon going down a more evil path in a minor key, desert rock mood over droning church organs while a quiet, but harsh loop sounds throughout. | |
| 2004-04-16 | Las Vegas, NV | 0:41 | Trey "BLAT BOOMs" his way out of Little Drummer Boy to conclude a unique version of Wilson. | |
| 2004-04-16 | Las Vegas, NV | 19:27 | This "Hood" shifts to a rocking "Type II" groove at 8:45, briefly returns to "Hood," then departs into a dark, rhythmic minor mode section before finally coming home to close around 17:25. | |
| 2004-04-17 | Las Vegas, NV | 18:52 | Despite a few brief departures from the norm, this version stays mostly in "Type I" territory through 15 minutes when it downshifts and works its way into a stop-start jam around 16:30. From there, it dwindles and > to "Caspian". | |
| 2011-08-09 | Stateline, NV | 16:57 | Heavy-duty "Storage Jam"-like improv. While lacking the melodic grandeur of some versions, it out-improvs nearly all other versions in a very cool space out jam. | |
| 2011-08-09 | Stateline, NV | 7:12 | Unfinished version with teases of "Dixie" and "Hedwig's Theme" (Harry Potter), and a delicate -> into "Slave." | |
| 2011-08-10 | Stateline, NV | 8:45 | Breaks beyond "Jim" at about 6:30 into a nice, exploratory groove. > to "Ghost." | |
| 2013-07-30 | Stateline, NV | 7:45 | Very well played, mostly straightforward jam that has a nice settled section before rebuilding to a fiery conclusion. | |
| 2013-07-30 | Stateline, NV | 12:10 | A wild vocal jam of sorts launches the instrumental section into some very solid and rocking "Type I" playing. | |
| 2013-07-30 | Stateline, NV | 12:55 | A pretty locked-in version including funk, rock, and upbeat melodic jamming. > to "46 Days." | |
| 2013-07-30 | Stateline, NV | 8:42 | Nice funky and rocking section with great Mike emerges on the back side of the standard "46 Days" jam and > to "BORW." | |
| 2013-07-31 | Stateline, NV | 7:53 | Another nice little funky and rhythmic "Ice" jam with Page rocking on the B-3. | |
| 2013-07-31 | Stateline, NV | 10:16 | A very good "old school" "Stash," with a dark tone and real tension throughout, plus some dissonance and rhythmic shifts. | |
| 2013-07-31 | Stateline, NV | 36:16 | One of the most magnificently focused, sustained, and enchanting improvisations in Phish history, with several discrete sections, and audience participation taboot. | |
| 2013-07-31 | Stateline, NV | 8:37 | Excellent rocking and extended straightforward version. | |
| 2014-10-31 | Las Vegas, NV | 10:32 | Page and Trey in a rocking, guitar-accented piano showcase > ghoulish and spooky Halloween jamming > klezmer > weird chanting by Mike > conclusion. | |
| 2014-10-31 | Las Vegas, NV | 4:10 | Promising debut. Following Laura Olsher's narration, Phish explodes into arena rock, replete with full-tilt guitar histrionics. | |
| 2014-10-31 | Las Vegas, NV | 4:25 | Debut. Following Laura Olsher's narration and "screaming" sound effects, a plucky Trey leads the band into a jam that, prior to "Tube's" resurgence, would not have sounded out of place in a, well, "Tube" jam. | |
| 2014-10-31 | Las Vegas, NV | 14:00 | Debut closes the legendary Chilling, Thrilling Sounds of the Haunted House Halloween set. This version includes extensive use of vocal samples, many of which are tempo and pitch-shifted, sounding at times like a "YEM" vocal jam performed by hamsters. After a crunchy encounter with the hungry landing committee, the longest version so far ends with a four minute fadeout of the spaceship blasting off towards the planet Mars. Your trip is short! | |
| 2014-10-31 | Las Vegas, NV | 18:02 | A multi-section winner, featuring extended funk jamming, a rocking peak with a "School's Out" tease, and a great -> into "Tweezer Reprise." | |
| 2014-11-01 | Las Vegas, NV | 11:04 | This version serves as the launching pad for one of the better sequences of songs from Fall 2014. It never turns into the full on shred fest that most expect out of this song. It sits on a loose funky groove based jam with some good synth work from Page. About 2/3's of the way through, Fishman escalates the tempo before they bring things back down and actually execute a smooth transition into Light. | |
| 2014-11-01 | Las Vegas, NV | 11:13 | While never departing "Twist" proper, this version includes "Lengthwise" and "Manteca" quotes, several "Manteca" teases, solid "Type I" play, and a cerebral ending transition. | |
| 2014-11-02 | Las Vegas, NV | 14:29 | A second and rocking section of strong "Type I" jamming helps to strengthen and elevate the build up and peak, giving this solid version a significant boost. | |
| 2014-11-02 | Las Vegas, NV | 8:03 | Strong "Type I" version with lots of amusing quoting from the previous night's "Martian Monster." | |
| 2014-11-02 | Las Vegas, NV | 16:23 | After some "CDT"-like musings, the jam shifts after 6:00 to melodic major mode playing. At 9:30, the jam moves to lower octave, funky and semi-dissonant play, which continues until 13:40 when the upbeat theme returns, starts to boil over, then recedes into "Piper." | |
| 2014-11-02 | Las Vegas, NV | 13:25 | A solid and "complete" version, breaking first to some growly, echo-filled play, which settles to a rhythmic foundation for Page and Trey to play off. At 7:45, the jam brightens in tone, but remains low intensity, then mellows further with quiet musings led by Page. | |
| 2014-11-02 | Las Vegas, NV | 26:08 | While there's no Trey-led jam nor even a Bass & Drums section, the full band contributes, especially Page, to a raging improvisation that culminates with everyone on drums before the vocal jam concludes the festivities. | |
| 2016-10-28 | Las Vegas, NV | 7:48 | Strong interplay between Trey and Page, good syncopation, and solid Fish working like glue to hold it all together results in a quality performance. | |
| 2016-10-28 | Las Vegas, NV | 10:31 | Really nice band interplay between verses, then a heavy fog rolls over the post-verses jam, almost "Echoes"-like in nature. Very cool effects from Trey and Page here. Strong version, especially for a first set. | |
| 2016-10-28 | Las Vegas, NV | 25:39 | A multi-section, "Type II" behemoth which covers a lot of ground and peaks twice in the process. > to "Simple". Longest version to date. | |
| 2016-10-28 | Las Vegas, NV | 13:41 | Moving beyond some rocking and melodic action in the instrumental section, the jam breaks into some swirling and rhythmic play, before settling into some excellent brooding, probing and charged intergalactic space. | |
| 2016-10-29 | Las Vegas, NV | 9:07 | Trey goes to the MuTron out of the final verse, and Fish hits on a "Manteca"-type beat that helps lead into a funky and psychedelic jam. Mike, in particular, is superb. | |
| 2016-10-29 | Las Vegas, NV | 16:06 | Second set opener is anything but elemental, illuminating the song's jam potential. Mike is super, and Trey modulates his tone, a liquid sound darkening to offer a bit by way of transition metal. A pointed, effects-enhanced -> gives rise to a centerpiece "Piper." | |
| 2016-10-29 | Las Vegas, NV | 14:31 | The customary "Piper" jam is melodic, rocking, and somewhat different from the typical, trilling shred-fest of years past. Around 7:00, the jam takes on a percussive aspect that grows increasingly powerful. Following great Fender-Rhodes action from Page, things settle, then blast into a spirited, celebratory conclusion. | |
| 2016-10-30 | Las Vegas, NV | 11:24 | Beginning with some great quieter playing, including some "Manteca"-like action, the jam warms for bit, then heads into the familiar tension and release head waters, with excellent Fish and solid Page/Trey interplay. | |
| 2016-10-30 | Las Vegas, NV | 21:15 | An intense, driving and multi-faceted juggernaut. Initially breaking into quieter, probing play, the mood brightens into a rocking, upbeat section. Then Mike destroys the world as the sentiment turns darker, intense and ominous. Page and Fish are pivotal, but Mike rules as the energy rises to a second, ferocious peak, before settling a bit. Talk about Ass Handed! | |
| 2016-10-30 | Las Vegas, NV | 15:05 | Supercharged -> from "DwD" sparks breezy, airy playing, which breaks down around the 5:00 mark. Page is great, and the jam never loses momentum as Trey modifies his tone and the band fluidly floats through a few different tempos before, ultimately, alighting upon a suspended plane of marked beauty and sustained grace. | |
| 2016-10-31 | Las Vegas, NV | 12:57 | Around the 8 minute mark, Page leads the band into a "Type II" segment of glorious, major-key play. | |
| 2016-10-31 | Las Vegas, NV | 11:30 | At the time, the longest 2001 since the MJ version, and best since Darien 2011. Trey leads out in the second jam and the MGM turns into a DMT paradise. Things get evil, spacey, and the band quotes "Fame" while Mike liquefies the crowd. Monster version fitting of the monster 2016 Vegas run. | |
| 2018-07-17 | Stateline, NV | 13:18 | This cool version has an unusually improvisational outro which builds tension and peaks before flipping back to typical "Moma" to conclude. | |
| 2018-07-17 | Stateline, NV | 16:08 | Page-guided white water rafting trip through a buttressed cathedral of an ice cream sundae. [A spirited first-set version that dives into a lovely Page-driven dreamscape before moving at Fish's urging to a driving, hard rocking jam. The jam closes with an amusing take on the usual "Ghost" ending, as the band slows down the tempo while dropping chromatically with each note played, almost like a turntable being played at an increasingly slower speed.] | |
| 2018-07-18 | Stateline, NV | 9:52 | Forgoes the usual bluesy Ocelet jam for a slower, dreamier jam (thanks to some superb work from Page) that builds to a low-key, satisfying peak and then rolls back into "Ocelot" proper to close. | |
| 2018-10-31 | Las Vegas, NV | 9:57 | A solid, medium intensity exploratory groove emerges from the typical "Hallley's" outro, with nice interplay between Trey, Page and Mike. | |
| 2018-10-31 | Las Vegas, NV | 6:23 | Debut. | |
| 2018-10-31 | Las Vegas, NV | 9:24 | Compact bliss jam full of sustained whammy guitar leads over a bed of wavy electric piano. | |
| 2018-11-01 | Las Vegas, NV | 15:14 | A second jam emerges post refrain with some brief funk and then works its way into a bouncy upbeat groove with a tasty "Third Stone From the Sun" tease in Trey's soloing. This vibe continues towards the end of the jam until the band makes a nifty move back to "CDT" for a second pass at the traditional song ending. | |
| 2018-11-01 | Las Vegas, NV | 19:46 | The jam breaks out into some raunchy, textured rock but does not last long before a shift to major around 10 minutes. From there, a mellow groove of bass, keyboards, and organ effects from Trey unfolds and gradually gains intensity as guitar becomes more prominent. After the peak, there is an outro of synchronized stop-start "woo" riffs and > to "NMINML". | |
| 2018-11-01 | Las Vegas, NV | 12:38 | The typical "Twist" jam features good variation and dynamics modulation. Things begin to peel away around 5:20, with a mode change. Following some brief, upbeat playing, the jam begins to rock, as well as further explore. Unexpectedly at around 9:35, Trey and others add moaning, vocal chanting to mix, which combines well with Page's circus-like organ playing. The vocals here are a big plus, providing an element of surprise to a quality, improvisational jam. | |
| 2018-11-02 | Las Vegas, NV | 24:29 | The first segment consists of strong and varied "Mercury" style jamming, highlighted by a hypnotic groove in the 13th minute. After regrouping at 15:30 the song's theme returns but in a major key and propels the jam to a peak and a bit of echoey play at the tail end before > "Suzy". | |
| 2018-11-03 | Las Vegas, NV | 10:50 | Funk smoothly transitions to a warm major-key groove at 4:30 which comes together nicely from 7:45 - 8:15 with Trey employing delayed auto-wah tones at the peak, and then drops just as easily back into "Tube" at 9:00 to conclude. | |
| 2018-11-03 | Las Vegas, NV | 20:04 | Quickly shrugs off the usual jam structure and embarks on a thrilling exploration of multiple disparate themes, the last of which is some spooky space that leads back to "SOAM" at 18:30. | |
| 2021-10-28 | Las Vegas, NV | 16:19 | Kicking off what would become the instant classic "numbers" show, Phish unleashes the version of "2001" we've been waiting for. A 17 minute true representation of the power of "2001". The intro alone is 7 minutes (longer than some 3.0 versions). This take is Phish as tight as the entrance to the MGM. It's a full sledgehammer of groove that is impossible not to dance to. Moves into "1999" to form 30 of the best opening minutes to Phish you will find. | |
| 2021-10-28 | Las Vegas, NV | 14:48 | Coming after a massive, show-opening "2001", "1999" makes its third appearance in a Phish setlist. The band wastes no time getting down and they find a groove together almost immediately. By 13:00, the party jam has turned into frenetic energy. Soaring play from Trey towards the end of the jam as they clunkily > into "555". | |
| 2021-10-28 | Las Vegas, NV | 9:35 | After years of waiting and speculation, "555" finally gets jammed. The big shift comes at 6:15 with a quiet and patient turn for bliss mode jamming. As the jam starts ascending to its peak, Trey adds bluesy notes to the fray which prevents further ascent; > "46 Days." | |
| 2021-10-28 | Las Vegas, NV | 14:24 | After some typical rocking the jam falls into a black hole of sinister cosmic energy and claws its way out the other side for an uplifting conclusion. | |
| 2021-10-28 | Las Vegas, NV | 16:19 | > from "Strawberry Letter 23". The first set-closing "20YL" doesn't disappoint. By 6:20, Trey has played the jam away from a typical jam from the song; this is lighter. Behind his deft playing and Fish's fantastic drumming, this jam truly takes off. By 10:30, the band is locked in, the prowess of their great jamming in Fall '21 on full display. Things get a bit swampy before Trey guides the band back into the song proper. | |
| 2021-10-28 | Las Vegas, NV | 16:50 | Skirts around the edges but stays mostly within the framework through 12 minutes, after which the jam briefly settles delicately before a rising wave of hard-rock takes over, a sound further explored in the following > "If 6 Was 9". | |
| 2021-10-28 | Las Vegas, NV | 15:33 | A great cover choice for the "numbers" show, and a great jam from the "numbers" show, full of Trey guitar pyrotechnics, gnarly and powerful jamming, and an absolutely soaring finale. Hendrix would've been proud. | |
| 2021-10-28 | Las Vegas, NV | 7:57 | Tough to count the number of times this really cool Phish song has been celebrated, but this version counts. For once, '21 vocal delivery evinces bygone eras, and the music assumes that millennial, poorman's, stately melancholy. This might have been enough for us, but Trey strums the band (listen for terrific Page on piano) into a beautiful passage of remarkable - and timeless - improvisation, before the band, shirking too much trussed up beauty, breaks for a more pressurized calm in the form of NO2. | |
| 2021-10-28 | Las Vegas, NV | 10:34 | More "Numbers Show" madness, as this is the only version to date which makes a significant departure from the usual celebratory outro, including a generous "Seven Below" tease and an alien synthesizer finale > "Character Zero". | |
| 2021-10-29 | Las Vegas, NV | 21:23 | Punishing play, typical of the song, cools. Out, then, from the song's familiar closing refrain, Trey shapes his tone, his sound heavy as a stone, and offset by spaceage Page. On-point (somewhat incendiary) Fish, Mike anchors what becomes an oozing, liquid event. Lazer-like, the band enters a jam that evokes Floyd inside the walls of a cave, with terrific lead Fish. Listen again and again - Trey is so inventive - as there is always something different to hear, or say. | |
| 2021-10-29 | Las Vegas, NV | 12:56 | On the heels of a towering "Axilla II" jam, this "Mike's" starts with a distinct funky groove which soon evokes "Martian Monster" before returning to more typical play through 6:45. From there, the jam switches to major for a playful and increasingly suspended-in-air feel until the closing chords. | |
| 2021-10-29 | Las Vegas, NV | 12:09 | A squirrely little Paug, the version closes out a terrific, traditional, "Mike's Groove." Too hot to quite enter stop / start play, the band comes close, before Trey breaks to solo. Nimble and spirited, many notes inform play both cerebral and danceable - the best kind of Phish - improvisation, with Fish consistently as ever attacking his kit. With Mike in check, and Page pivoting from keys to piano, Trey alights upon a melody he deems fit to follow. Play cools to pause before, terifficaly, returning to [plus some goofy banter] refrain. | |
| 2021-10-29 | Las Vegas, NV | 13:23 | High-energy set-closer delivers a rousing jam that gets beyond the usual techno-synth into a pumping euphoric blowout. | |
| 2021-10-29 | Las Vegas, NV | 5:57 | A fun little amuse-bouche to a superb second set, as the band really leans into the hard-rock outro to "Ass Handed" proper, Fishman snapping into a tasty groove while Mike takes point on the jam. Short but sweet. > into "Tweezer". | |
| 2021-10-29 | Las Vegas, NV | 19:33 | After beginning ordinarily enough, the jam eventually takes-on a Trey-led melodic theme reminiscent of "hose" improvisation, yet the "type I" form is maintained in a compellingly fierce manner. This theme-jam takes over four minutes to begin peaking, soaring, in a dizzyingly beautiful fashion, and then Trey turns on the syrupy envelope-filter effect, and Mike begins playing lead fucking bass, with fantastic accompaniment from Page, who then begins soloing a bit over this incredible groove being laid down by Mike, Trey and Fish around 16 mins in. Spine-tinglingly cool, repetitive, grooving takes over, and Trey begins soloing melodically o'er it before Fish returns to Tweezer's drum line, and the jam dissolves away as Trey nearly teases "Lifeboy" before Bitch begins. It's a safe bet that if this sick improv doesn't move you, then 4.0 Phish is not for you. | |
| 2021-10-29 | Las Vegas, NV | 14:13 | Like all things '21, "Reba" - here perfectly placed - has been touched by Trey's grace. Solid play breaks for a jam we haven't seen too often of late, a simple bit of riffing, or vamping, with Trey here or there adding notes atop a bedrock beat. Terrific. Perfectly paced, Trey's marvelous tone offset by Page's perfect fills, terrific Mike, and scattershot Phish, the band, even before the banter, drives to a nice peak. | |
| 2021-10-29 | Las Vegas, NV | 12:00 | Trey wastes no time getting a "Tweezer" tease in, kicking off a "blissy" jam. No longer chained to the song's bass line, Mike has some very inventive play. The "bliss" gives way to Trey going heavy on his effects, and eventually -> "Tweezer." | |
| 2021-10-29 | Las Vegas, NV | 4:59 | After Sand peaks and "goes type II," Trey leads the full-band back into Tweezer at 11:53 of the Sand (LivePhish timing; fwiw the fact that this isn't tracked on LivePhish explains why Phish.net does not rely on LP tracking for setlist purposes---it can be demonstrably, objectively, Wrong). This renewed Tweezer jam cooks for many minutes before the key modulates in "type II" fashion and the groove melodically soars anew, with a wondrously smooth segue into Sigma Oasis. | |
| 2021-10-29 | Las Vegas, NV | 8:10 | Having found a home as the S2 closer in its last three apearances, this "Walk Away" really loads the spring, finally relenting for a well-earned peak and walk off the stage. | |
| 2021-10-30 | Las Vegas, NV | 8:26 | The opening song of the "animals" show, a surprisingly insistent low-key groove reminiscent of "BOAF" emerges out of the song proper, driven by Page's piano work. Trey then briefly moves the band into major key territory, before the jam grows hazier and more effects-laden, and then neatly moves back into "The Dogs". | |
| 2021-10-30 | Las Vegas, NV | 11:06 | First: Listen to the aud. Second: Inspired, given the evening's theme, the band is game. More so than most of late, the band dallies a bit, seeing "Lope" as playful as is ought to be, with all sorts of (and you don't even need to watch) smiling band intraplay. Page is of course crashing in on his keys; Mike is hammering from the start; and Fish is Phish (or close); but this version dominates because Trey attacks. No set-closure, we're early on here, and Trey makes that clear. When he works his effects before reaching for that peak, tune in. And keep listening - because it's false. And then we're in ..... | |
| 2021-10-30 | Las Vegas, NV | 11:01 | The normally upbeat song/jam goes contemplative. The rest of the band creates a texture for Trey to solo over. All four members coalesce around 10:00 for a neat groove, which eventually fizzles out and > into "Guyute". | |
| 2021-10-30 | Las Vegas, NV | 5:56 | Strong version that really comes to a head with Trey wringing some gnarly notes from his guitar in the peak. | |
| 2021-10-30 | Las Vegas, NV | 15:16 | "YPC" gets its legs fully stretched out for the first time. As this song can, it sounds not unlike a "Tube" jam. This version is replete with great playing from Page on his synth. Around 9:15, Trey leads the band into new territory. His play is deliberate, Mike and Fish push the jam underneath him. Page wails on his keys alongside. The jam reaches a frenzied peak around 13:45 and then goes back into the song proper and then > "Runaway Jim". | |
| 2021-10-30 | Las Vegas, NV | 10:56 | > from "YPC," the play here, while not extraordinarily out of bounds, is expertly placed, showcasing yet another of 2021's strengths - song placement. As if effortless, the band moves through a spirited, languid "Jim," blissfully light of effects and rife with tonal shifts and pure musicianship. Each musician - riding Fish's bend-but-don't-break wave contributes. That said: Trey fans. Tune in. His tone and his play is remarkable, and listen as he brightens (Page following) to > "Piper." Excellence. | |
| 2021-10-31 | Las Vegas, NV | 26:30 | "Ghost" gets its almost-always-spot on Halloween night and it does not disappoint. At 10:30, the band locks in after searching around. Fish's play drives the jam and Trey's soloing leads the way. The upbeat jam slows considerably at 14:00, with the ensuing play sounding reminiscent of a "BASOS" jam. From that, emerges a murky, effects-laden jam. Mike's bass playing towards the end is a highlight in the longest version of the song since the IT Festival. | |
| 2021-10-31 | Las Vegas, NV | 12:30 | Trey's favorite delay signals this version will break the mold, and a fully-formed, feel-good jam quickly emerges. A bit of the 2021 "Sci-Fi Soldier" sound creeps in before the final lyrics and becomes more pronounced in the outro until > "Free". | |
| 2021-10-31 | Las Vegas, NV | 12:02 | Quite the version in that it keeps the intricacy and speed of the traditional "Bowie" jam but in a major tonality and then swerves back to wrap in normal fashion. | |
| 2021-10-31 | Las Vegas, NV | 12:25 | Religions could be founded around the eternal question, "shall thy lumpy head be happy or angry this evening?" This gracious offering promptly responds with fleet-footed and upbeat major key jamming that shows adept and confident peak building. A massive wash of heavenly synth tones blasts from the PA at the 8 minute mark; this pleases his lumpiness, who then gets angry at its departure and turns for darker pastures. After the many moods of the great drum tech is expressed, -> "Lonely Trip." | |
| 2021-10-31 | Las Vegas, NV | 14:16 | Deep in the third set of the Halloween show, the band still has enough creative juice for one more killer jam, as Fish kicks up the tempo and Page does some fine electric piano work, before a slower and more contemplative jam emerges. Fish picks the pace back up and the band enters anthemic mode, Trey's funky new filter adding extra spice, then things get darker and nastier almost out of nowhere with a stomping and powerful jam. -> into "Death Don't Hurt Very Long" out of the muck. |
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.
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