Like a cross between a breeze and the space between stars, the jam, a smooth and total sound, breaks free all but immediately and becomes a true show-stopper. Trey, atop Fish's scattershot (off)beat, both creates and occupies space - it feels like it, but he never stops playing - the resulting improv remarkable in its restraint, notable for its ingenuity, and startlingly refreshing. Terrific play from all four creates a sound (driven space, as opposed to ambience; give "ER" a spin, for instance) that will likely stand out from this excellent run. A bit by way of customary play dissolves as the band > for "Cavern."

The first section recedes quietly without a return to the lyrics before the jamming begins anew in minor and works through a few different variations with Fish's ever persistent drumming keeping things moving at a brisk pace. A closing theme begins building around 15 minutes and leads to an encouraging group peak with looped guitar riffs and "Soul Planet" quotes included, and a final reset briefly hints at a new direction before jumping ship > "Carini".

The first post-EDM version of "WGTYM" is a distinctly slower version of the song. However, the jamming out of the song remains top-notch. Fish takes the reins initially leading a driving, percussive jam. This later gives way to a feel-good explosion of jubilant play that evokes Phish on a beach. The band eventually winds its way back to the "Mind, mind, mind," refrain.

Improvisation begins punchy and playful becoming more experimental and deconstructing as it moves through a transitional space before swelling to a dramatic conclusion drenched in Trey's molten guitar work.

A celebration of the last night of the run on the beach, the band gives us one of their longest and most sustained reggae grooves they've ever performed. No frills, just the band locked in on a groove together.

In just the third outing of this sparsely-played GOTF tune, the band significantly extends the groove and ups the intensity down the homestretch for a strong Type I jam.

Impassioned play comes early from the outset of the jam, before a breakdown after the 10 minute mark signals a change. An insistent riff from Trey then builds momentum as the music grows introspective and groovier, courtesy of Mike and Page's synth dominance. A propulsive yet atmospheric space is cultivated here and patiently explored with varying textures from each band member, before yielding to the "Fuego" conclusion.

Something 'haunting' about "Oblivion's" opening when done right, and that’s the case here. Always moody (one way or the other), the tune is a choice second set opener, and Trey opts for immediate excellence after crashing through the song proper, with the band finding a proper groove right around 5:30. Trey and Page pair from the jump, with the improv, some of the very best kind, finding Trey seemingly playing with two minds, somehow splashing different, concentric ideas - in a manner of thinking - off the other, in a manner (or sound) similar to one of his heroes.

A thoroughly funky opening gives way around 9:00 to an uplifting, inspirational build that carries through until a fakeout return to "Wolfman's" at 13:15, after which the band immediately launches into a high-powered segment of churning electro-rock culminating in a "Mike's Song" tease and another pass at the traditional closing. This time, the return sticks and this highly distinguished version concludes with a jazz lounge ending.

> from a big-time "Twenty Years Later". Traversing all kinds of ground, this jam shows off the band's versatility. From the frenzied end of the song proper to a subdued, cymbal-filled brooding jam. There are recurring teases of "Norwegian Wood" and a frenzied maelstrom of a peak at the end, before > into "Taste".

Another nod to the sea (if not the scene), the song appears in the centerpiece slot, anchoring the second set, following a strong "NMINML." Tight, terse, and largely compact (play before the segue eventually bleeds) strong, if somewhat familiar play, seems to function as foundation for the night's heady highlight - Piper - which pleasantly, after a strong '24, remains on Trey's radar.

Sporting a significantly slowed-down tempo, this version finds itself moving fluidly from typical melodic "Weekapaug" fare towards funkier territory. As the band luxuriates in this space, effects-based play gradually becomes more rock-oriented, culminating in a more traditional crescendo before the tune's conclusion.