The first of the two monster jams upon which the reputation of 8/6/21 II sits. Immediately moves into a more low-key zone out of the usual jam, with Page stepping to the forefront on both electric piano and synths and Mike adding some real hip-shaking funkiness to the proceedings. Trey finds a new key, but the funkiness stays intact as Fish kicks into a new gear, and then Trey finds a really neat riff and the band catches on as the jam molds itself around that tropically flavored riff. The jam grows in power and then moves into another danceable segment at Mike's urging, with Trey moving to his effects, then Page goes major key and the band dances around "Mind Left Body" once again before hitting a superb peak and heading home. Absolutely majestic version.

Why we travel from points far and wide to Noblesville, Indiana. Pick a timestamp. 6.37 finds Trey alighting upon a lovely, carefree vibe. Jump to 10.35, and the band is moving through a passage of gnarly, tripped-up disco funk. 12.45 finds Trey (and listen to Page!) working his pedals like it's 1995. Or something. 15.15 features Trey shearing sound, the band deep in psychedelic play that makes recent Melts blush (the focus / the cohesion). Pick a point and it just might be your favorite .... Before the band, taking a victory lap, returns to simply sing us back home.

Nice departure from the crescendo oriented "BOTTs" of '10 - '11. This jam begins in "plinko" mode, modulates to a great Page-led section (very unusual for "BOTT"), and ends unfinished with some dissonant space. -> to "HYHU."

Delicate and beautifully played at first, the jam has growing intensity, and then leaves the "Waves" ranch altogether with several movements that skirt around the perimeter of "Waves" proper. Unfinished with > to "Bug."

The rest of the band, particularly Trey, plays along during Page's solo, and there is some nice interplay between the two. Stepping into the lead, Trey migrates from the melodic to some mildly dissonant, atonal scales near the conclusion of this fine version.

The Curtain section is well-executed, with notably strong Mike and Fish. The With jam features great Trey and Page interplay - not exactly call and response, but Trey plays a few licks, then Page responds with thoughts of his own. As the jam develops, they play simultaneously, each offering similar, yet distinct musical collages, while Fish and Mike adeptly keep the rhythm machine chugging along. A solid version start to finish.

Extended rocking groove held together by Mike and Fish with Page and Trey adding texture and melody over top.

Gets into a nice swinging, upbeat movement at 5:20 which continues until about 9:00 before getting back to "Antelope." Few versions since 1995 get as far removed from the basic "Antelope" jam as this one.

First post Hiatus performance. Band breaks into a very rhythmic, though not overly percussive jam coming out of "Sally" proper. Mildly funky, this version has a somewhat dark sentiment, and builds energy near the end.

Some beautiful major key jamming at first, a "CYHMK" tease, then it gets a little more dark and intense. There is some very good modulation of intensity as the jam progresses and > to "Coil" with no return to "DwD."

Show opener morphs from the standard, sedate outro jam into an intense, multi-faceted jam with an incredible and powerful peaking section.

Dark monster of a jam. Goes between dark and uplifting segments. Some very nice playing from Trey throughout. Really shows off the strength of the 2.0 era.