Simultaneously rocking and dark, with 3 distinct and excellent movements, and with a psychological edge like many top Summer '95 jams.

From the jump, bouncy summer synth-funk smacks against the walls of the Mann's pavilion as Page's synths sizzle in the hot summer air, before the groove coalesces around the "Macarena", of all things. Suddenly the crowd is transported back to the mid/late 90s as Trey uses the "Macarena" melody as the linchpin of an upbeat groove-fest, before the time portal then finally dissipates and > "Ether Edge".

The jam takes off quickly with fluid and melodic ease before taking a turn. Spending ample time exploring a deep trench of groove allows the band space to play around with new sounds while keeping a foundation of the familiar. Pulsing and aggressive play pushes the conclusion pleasingly over the top before giving way to fragmentation and dissolving slowly -> to "Mercy".

This breathtaking version takes a turn into minor at 6:00 and spends the next few minutes brilliantly walking the tightrope between minor and major sentiments, at times seeming to exist in both simultaneously, until major crystallizes at 9:00 for the return home.

Play breaks from the standard "Gumbo" jam almost immediately, with Page's plucky clavinet setting the funky bedrock. Envelope filters, synths, and synth bass all slather the groove as the music glides into delightful space-funk territories. Trey then drives this towards a swagger-filled peak, before giving way to Page's traditional piano outro.

A massive, hypnotic piece of multi-faceted improvisation that imbues the spirit of "Sand'"s minimalism, while also using its hypnotic grooves as a platform for a bevy of subtle complexities. Key modulations, textural effects-based shifts, and crescendos/decrescendos all remain tethered to Mike and especially Fishman's unrelenting, deep pocket, culminating in the longest version of "Sand" to date.

From the onset, this inspired exploration finds itself in a murky subterranean landscape, with thick, churning (but melodic) play from Mike and Trey. This remains the identity of the jam until about 2/3 in, when a break towards an infectiously catchy and upbeat theme via Page and Trey occurs. This rides delightfully toward a peak before receding towards a playful, vocal "MYFE" ending.

Follows in the footsteps of 6/28/25 with an intro that further pushes the bounds of "PYITE" consisting of skronky guitar and lots of synth bass which is later intensified by Trey soloing and then drops directly back into the song. Tremendous opener.

Distinguished for its mid-jam breakdown from 4:30-6:00, and then rebuilds itself in the traditional manner.

A slow brood early leads to a now familiar and welcomed progression that could signal fulfillment, but here it's the front half of a jam that takes a turn down grittier paths and explores chunkier rhythmic space. Accelerating through synth laden territories, Trey's leads and Fishman's drumming race to what feels like a rocking finish, but instead the band hits a stride that carries them over another peak into a smooth landing that > "Joy".

Fans of Mike will want to seek out this excellent version. Listen for his deft finger work and fluid fret runs throughout to propel the improvisational conversation. Segues neatly into "BOTT".

Taking the set 2 anchor spot in only its second Phish outing, Trey's new Tom penned piece is a study in contrasts. Bluebirds and shimmering piano work give way to manic screams and a multipart jam that samples the water at multiple depths. Dipping first into jagged play and thick snarl, then lifting into plucky staccato melodies that lead to a vocal reprise and false ending before dropping the bucket for another load of muck and an absolutely disgusting peak. Fish wants more.