A teeth-gnashing multi(sectioned)beast of a jam, this take traverses through various disparate yet cohesively-arranged themes, including hyper-drive psychedelic rock, "Woo's", dense mind-bending dissonance and finally, a stoner/doom metal-esque dirge that grinds down > "Oblivion".

Truly monstrous first set version marked by tone shifting ferocity and relentless drive that samples from a range of effects, builds through several movements and eventually unleashes an ungodly peak that subsequently deconstructs before segueing to "NICU".

Almost exactly 6 years to the day, "Mike's" gets another monster run as the Set II opener at MSG after 8/2/17's Baker's Dozen stunner. After a spirited, if routine first jam, the second jam forges ahead at 8:45 with a progressively upbeat display of the band's ability to weave a tapestry of interplay as they cycle through the changes. Trey's walkup at 19:20 signals a blowout finale on the horizon which arrives in full a few minutes later, after which the closing chords are repeated, then > "Sand".

Exiting the song proper, Trey wastes no time finding a fat, heavy line. Doing well to push past "The Well" quotes, a truly unique musical conversation ensues, with Mike, in time, dominating much of the discourse. Page is perfect on his piano before jumping to his keys, splashing sound, and moving the jam in a new direction. Worth repeated listens, this is one of Summer 23's actual blockbusters.

If Phish plays a residency at MSG, chances are you'll want to hear the version of "Sample" they play there. This second set opener is the longest one played to date. Trey and Mike have some fun interplay which sets the tone for the jam. The band latches onto a real fun groove around 13:30. The end of the jam is awesome and makes you wish they'd keep it going, instead Trey > "Kill Devil Falls."

Veritable monster of a version that works as an emblematic example of Phish's comfort in MSG. Focused patience marks the affair, as "soundcheck" vibes abound. Eventually the grooves turn spacier and funkier around the 20:00 mark, before building towards a major key rock out. The music then downshifts into heavenly "hose" territory, with Trey looping infectious '99-esque repeated licks and subtly reintegrating the "Fuego" melody for a stunning finale.

Despite some tuning issues in the composed section, the band ultimately delivers the second massive "Theme" of '22. The usual soaring play giving way around 6 min as Trey shifts to a more rhythmic approach and Page adds some crunch on the clav. The jam, gaining momentum, grows darker propelled by Mike's aggressive lines and Fishman's deft cymbal work as Trey's tone becomes grittier. Page moves back to piano and around 11 min the band modulates to a brighter space with Trey continuing to adjust his sound. Play then turns atmospheric under the influence of Page's synths and Mike's bass effects before > to "Reba".

-> Trey pulls out of the "Egg in a Hole Jam" with a deft return to the "Simple" riff for a triumphant conclusion to a mind-blowing segment.

"Simple's" incredible exploration gets a slight tweak and lands on the "Egg in a Hole Jam" and then -> back to "Simple".

Initially an upbeat jam that pleasantly bobs along until a switch is flipped around 13:30, launching into a segment of terrifying power and space-age effects -> "Egg in a Hole Jam"

Arguably "the" jam of this fun and quirky run, the version's quick, plucky tempo features, like an old-school "DWD," fire Trey and a lot of notes - a wonderfully wild array of ideas offset by melodic variation and extended trilling. Straightforward jamming breaks for perhaps the run's most interesting passage, with Trey expertly moving through myriad sounds while swapping deeply textured and patterned play with Mike. The finest in the nation sort of Phish you could listen to all day, improv wherein you can hear the -> into "Caspian" coming from leagues away.

Punches out of "Steam" and soars triumphantly, hearkening back to the peak of the set's opening version, before seguing into "Ruby Waves."