Unfortunately, it seems the 'ratings mafia' got ahold of this one early. In fact, they're busy down-voting Friday's spectacular show as well. I understand that a lot of people spent a lot of money on Mondegreen and skipped Dick's this year, but this run has produced three excellent shows with no sign of letting up. The FOMO among East Coasters is real and it's palpable. Don't let their bitterness color your opinion of this one.

After such a scorcher on Friday, I tried to temper my expectations going into this show. How could the band replicate that sort of success? The 46 Days opener was unremarkable, but served its purpose and kicked off the show on a positive note. The first real jam comes by way of Oblivion, which has been slowly building momentum since its debut last year. I haven't listened to every version they've turned in so far, but I suspect this 18-minute shapeshifter is one of the better takes. The slinky rhythm of this one seems to lend itself to easy jamming. A fiery Axilla II sets the stage for a lovely transition from the outro jam into Bathtub Gin, the night's second major outing. Also clocking in around 18 minutes, this jam is more streamlined and less exploratory than Oblivion's, but it hits the spot.

The second quarter dials back the type II explorations in favor of standard readings of Undermind, Maze, and Free. The tempos are hot and the solo breaks are rollicking. With a little time left on the clock, the band dropped into a surprise set-closing Most Events Aren't Planned. A curveball of sorts, this one settles into its role as a set closer and builds to a satisfying peak. All in all, a solid first set.

After a truncated setbreak, the band wasted no time in getting energy back up with a set-opening singalong. Unmoored from its typical role as a closer/encore, Loving Cup immediately brings the crowd to its feet. With no real jam opportunity, the band swiftly transitions to KDF and the first chance for some exploration in the second set. Clocking in around 25 minutes, this jam is undoubtedly the centerpiece of the set. It covers so much ground it's difficult to describe after just a couple listens, but its easy rock and roll groves stand in contrast to Friday's nervy, peaky liquid magma improv. It probably won't make any best-of lists, but it's worth hearing just the same.

As KDF concludes, we're treated to another new track: What's Going Through Your Mind. Making only its third appearance, the one seemed to elicit confused looks from casual fans. Many in the stands took a seat while trying to comprehend the story behind the song's unquestionably Phishy lyrics. In prime position for an extended jam, the band wastes no time in peppering the simple chord progression with darkness and mystery. Though shorter than proceeding jam, this one proves to be equally interesting. If you're trying to familiarize yourself with this song's capabilities, this would be a GREAT version to listen to.

The fourth quarter, while slim on the big jams, finally delivers some of the fabled "Saturday Night dance party" vibes we're all craving. First, we get a red-hot Crosseyed that never lets up. Next, the band tosses out a rare mid-set Melt, offering some mind-bending psychedelic fury that coalesces into a rhythmless melange of sound. Shorter than usual, this Melt is transitional — a comma rather than an exclamation point. Our cool-down comes by way of another new track, Monsters, making just its fifth appearance. This dark, somber ballad seems to fit this show in both tenor and concept, bridging two the band's most monstrous tracks and providing a brief respite before giving way to a massive set-closing Carini. Like Loving Cup before it, Carini is unmoored from its usual role as a jam vehicle. This version hits the gas and drives like a banshee toward the finish line. I was quite content with how it turned out.

Finally, we get a succinct one-two encore of the always-enjoyable Bug and a screaming First Tube. While it pales in comparison to Friday's YEM bonus jam, this encore still wraps up the show nicely.

While it might not have reached the heights of Friday's jam spectacular, this show was a perfectly serviceable follow-up performance. It provided enough color and contrast to distinguish itself. It produced at least four massive jams that occupied about half of its total runtime. It also featured a number of red-hot type I outings that were more about energy than form. I think there's a little something for everyone here. It's certainly worth a listen.