A number of recent versions (see: 7/25/18 and 10/20/18) demonstrate the band's renewed interest in one of their finest compositions. Given your preference (the spirited first "half" of early-90's "Runaway Foams," or the crazed, free-form improvisation found within something like Shoreline 1997's II-opening jam), the band delivers an exciting amount of content, befitting triumphant "Funiculi Funicula" teasing. The entire ride is worthy of attention, but, true to 2019's style, Phish squeezes out an incredible amount of interesting improvisation, so remain tuned in to the outro, which doesn't so much fade as hint at a "DDLJ" before > "SaSS."

Wastes no time moving to a warm major key jam (with charming "If I Only Had A Brain" teases) that picks up speed and gets almost tropical at Page's urging, before shifting to some tasty rocking out and letting Mike really shine. A lot of meat packed into a smaller frame.

> from "20 Years Later." After a normal start to the song, at 5:50 the band shifts to a quiet, minimalist jam for about a minute. At this point, Trey starts singing the words to "Have Mercy" over the jam and the rest of the band follows suit. "Have Mercy" is sung over the jam for a moment, and then more typical "Possum" play until the song is brought to a rousing conclusion.

The jam has a more relaxed vibe than most. A bit of pitch shifting by Trey, which was an issue on 2014 versions. The ending segment is extended as well.

Although Fish keeps the rhythm firmly tied to the basic "CDT" rhythm throughout, Trey and the others explore a lot of varied themes, sounds and motifs within this structure.

A very strong composed section features great Trey. Then Page's forceful piano soloing is matched by a bit of full-band improvisation, with Trey coloring the jam with a few scattershot notes before settling into a nice, warm line. A really fun and inviting version.

Enchanting, even stunningly beautiful, jam to which each band member contributes powerfully. (Listen carefully for Mike's tease of "Cars Trucks Buses" as well.)

Pretty clean - and rather fast - playing through the composed section incites strong improvisation from Trey, who syncs up with Mike and Fish, who nicely modulate intensity. Great guitar - with Page painting bright fills - dominates a strong, patient, and highly musical build, with Trey trilling to a thrilling release.

Another strong 3.0 version.

"Fuck Your Face" teases (Trey; Mike in B&D); "Moving in Stereo" tease (Trey): Vocal jam included portions of "Proud Mary" and "Get Back," along with "Dong Work for Yuda" and "Slow Ride" quotes.

The jam settles down at about 6:00, then gradually amps back up.

Great "Gin" which begins with several cool stops, works through the "Type I" standard, then goes beyond, breaking into a groove which morphs into several different moods and sections, and then returns to "Gin" to conclude.