Jam Chart for the state of DE (24 entries)
Legend:
Highly Recommended
Attended
JOTY
| Info | Notes |
|---|---|
|
Llama (4:53)
|
Some great Page, and then Trey cranks the tension up and Fish hammers it home. |
|
YEM (20:12)
|
Cool B&D segment. |
|
SOAMelt (9:56)
|
A nail biting thriller with excellent melodic variation, loads of tension and an intense and dissonant ending. |
|
Gin (10:09)
|
Although largely straightforward, the jam is played at an accelerated tempo. This also marks the first real appearance of the present day, "Type I" "Gin" jam with Page and Trey melodically playing along to the "Gin" theme. |
|
Moma (12:37)
|
Trey dials up a friendly fest opener, the band eschewing "funk" in favor of warm, inviting play, with (these days) unsurprisingly sprite Trey, solid Mike, offset by particularly plucky contributions from Fish and Page. |
|
Wolfman's (19:19)
|
An expansive, Festival Phish worthy take that sees the band casting a wide net through multiple sections. As the initial "Wolfman's" muck-funk jam breaks apart, the band then passes through multiple vignettes, including a "Cissy Strut" tease, an extended passage of sunset psych-grooves, and a near-pivot towards "Heavy Things" that instead catalyzes an anthemic peak section, before returning to the "Wolfman's" theme to close. |
|
Sand (14:52)
|
Strong set-closer marked by impressive, collective, improvisation. Patient, Trey pushes the band to, and through, a pointed peak before the band returns to land "Sand's" signature riff. |
|
WGTYM (25:09)
|
Nothing green here. With Trey back on lead vocals, a great version of the song breaks from what already seems like a signature lick to spark a huge jam. About seven minutes in, sound swells to inform that patterned bounce, and then the effects kick in, with Page laying heavy on his synths. Play coasts before, as one, the four become more active, propelling the play. Trey shears blocks of sound, an impossibly cool pattern, one that, on Fish's back beat, builds to a thrilling conclusion. |
|
Light (11:41)
|
> from "CDT," play is gorgeous, melodic, and enchanting, before a stunning drop into dizzying mayhem eventually >'s into "Prince Caspian." Choice version. |
|
Caspian (15:03)
|
> from "Light". Given this was the first festival "Caspian" since Magnaball, this version had a lot to live up to. It's a fun jam featuring a "Sneakin' Sally" tease, a smattering of "Woos" and a truly sublime end section. A worthy follow-up to Magna's. |
|
Ruby Waves (15:16)
|
Bananas - there's possibly something like six (or whatever) key changes - Phish arguably performs a parody of a "Type II" Phish song. While there may be segments one might not recommend, it's almost as if there's willful-sh*t in this version. And so perhaps you'd rec. it all. It's crazed. The ending might leave you thinking, "WTF?", too. Awesome. > "Pillow Jets." |
|
Pillow Jets (9:49)
|
> from "Ruby Waves," the jam (once through the song) is more an interlude, a punishing kaleidoscope of sound sure to please shoegazers and those with their heads in the clouds. Terrific outro-cum-drawn-out segue for a rabid "YPC." |
|
Your Pet Cat (6:57)
|
> from "Pillow Jets," the song, some of the faster Phish you’ll hear these days (this version, anyway), functions as an extension of the set's sound, "YPC's" signature-lick taking several speedy laps before Trey breaks to solo, at points melodically, and hammer the -> drawing out "Ruby Wave's" conclusion. |
|
Ruby Waves (0:44)
|
> from "YPC" to complete the version. |
|
Fluffhead (16:07)
|
In keeping with Phish's renewed appreciation for faithful performances of their classic material, this version is distinguished not only by high-level execution through "Fluff's" most challenging passages, but also by an incendiary "Arrival" section, with Trey sending sheets of euphoric sound throughout the Woodlands of Dover. |
|
Woodlands Jam (50:47)
|
Performed behind a giant curtain which obscured the stage and served as a screen for dynamic visuals designed by Moment Factory like those shown at Sphere earlier in the year to morph and intensify with the music, this experiential set is another massive must-hear festival instrumental. Dubbed the "Woodlands Jam" to reflect the name and arboreal setting of the Mondegreen festival grounds in Dover, DE, trees are also predominant in the imagery shown throughout. Following that same theme, the opening minutes of the jam can be interpreted as the sounds of the forest as it stirs to life and slowly envelops the listener in a musical massage. With Trey employing the acoustic guitar in a jam like never before, Page layering in dreamy synths, and Mike and Fish providing delicate rhythmic accompaniment, a baseline of peaceful post-rock crossed with psychedelic folk is established, a mode which is returned to later in the set. The first step outside of this zone is marked by the snarling electric guitar and percussive rolls shortly before 12 minutes which introduce a much more assertive segment of rock that quickly escalates and becomes chaotic and decidedly uneasy as synth textures from Mike and Trey come to the forefront. After a brief reemergence of the acoustic calm of the first movement around 20 minutes, the electrified sound returns and builds waves of bliss around an indelible theme led by Trey simultaneously riffing on both electric and acoustic guitars until some rock and minor dissonance creeps in, leading to a sudden shift after 35:00 into a thrilling high-speed chase which gets heavier and more hectic as it builds to a frenzied peak. Then, at 43:00 a final celebratory coda is unleashed to peak the jam a second time and leave the Woodlands awash in a beautiful buzz. |
|
Jibboo (12:34)
|
Soaring play from Trey is underscored masterfully by Mike's thunderous bass. There's even some nifty playing even after the jam finds its way back to the "Jibboo" riff as it seems as if not everyone was ready for the return. |
|
46 Days (10:32)
|
A heavy, listener-unfriendly jam which utilizes brooding effects more than traditional harmony to create a nightmarish industrial soundscape. |
|
DwD (19:15)
|
Big festival version goes deep at the Woodlands in Dover as one course in the middle of an absolutely stacked second set entree -> "Tweezer". |
|
Tweezer (19:32)
|
The second of a potent 1-2-3 punch, this "Tweezer" initially stews in layered psychedelic funk fitting for its festival setting, before shifting towards eruptive, celebratory rock. Mike's seismic bass bombs provide a platform for Trey's pumped-up blues rock heroics, before a return to the "Tweezer" theme signals a denouement, dissolving into scratchy guitar loops and > "Scents and Subtle Sounds". |
|
Scents and Subtle Sounds (16:20)
|
Call and response between Page and Trey sets the tone early, as the jam gradually but surely grows more psychedelic. A repeated riff from Trey then fires up the intensity, with Page and Mike's agile effects-based play helping to create a harmonically minimalist, but texturally dense sonic landscape. |
|
Bag (8:31)
|
"Mercy, Mercy, Mercy" is becoming a "big show" tease (see 9/1/12 and 4/18/24, respectively). Here, Trey and Page again team up, finding in Adderly's melody a means to considerably brighten this "Bag". Easygoing play swings a bit like "Gin" jamming, before a really rad return to the song's theme at 7:30 fuels a fiery finish. |
|
Gin (12:29)
|
It doesn't take long for this "Gin" to abandon its usual approach and morph into a warped electro-funk groove. > "Izabella". |
|
Fuego (16:32)
|
Following a strong composed section, the version gains greater momentum come 7:30. Laser-focused breathless jamming becomes unhinged late (some really cool sound) before, pushed by Fish, play becomes wildly percussive and, again, impressively air-tight. |
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
Phish.net
The Mockingbird Foundation