Venues

The Fillmore

San Francisco, CA, USA

Jump to: Top Rated Reviews Jam Details

Top Rated Shows

Highest rated shows at this venue by Phish.net users:

Date Rating
1998-10-15 59 votes 3.6271/5

Top Reviews

Highest-rated reviews from shows at this venue:

1998-10-15 by westbrook 10
Maybe this secret show didn't quite meet the assuredly high expectations that are inevitable under these circumstances, and yeah, the second set does read more like a first set, but there are several instances of improvisation in this show that make it a worthwhile listen. No complaints...
1998-10-15 by Bob_Loblaw 2
This show is pretty lopsided from one set to the next. But still some interesting stuff going on here. Ghost is always a hell of a way to start a show. The jam starts very loopy and then picks up some steam, nothing new or exploratory but a nice fiery jam. It mellows out into some nice...

Notable Jam Chart Performances

Individual jam chart entries from this venue:

1998-10-15 • Harry Hood (16:53) Set 2 Noteworthy
The jam has a very gentle, ambient quality, and the build and peak sections veer away from the norm, at moments almost sounding like something other than "Hood."
1998-10-15 • Ghost (16:20) Set 1
Almost 30 years to the day (10/17/68) after the debut of the Steve McQueen film Bullitt, Phish provides a new score for the car chase scene. [Show opening bubbly and bouncing groove goes uptown and Trey and Page rock the house, then serene play nicely cools things off before a -> to "Water In The Sky."]
Great funk section with some "Manteca"-like jamming early on. Never really opens up out of funk mode although it settles as if ending, then rebuilds with no return to "Wolfman's."
1998-10-15 • Gumbo (9:01) Set 1
An unusual "Gumbo" as the jam stays relatively close to the "Gumbo" theme other than an umptempo, melodic groove that they lock onto in the beginning.
1998-10-15 • Reba (18:21) Set 1
The jam proceeds typically, with strong soloing from Trey and great Page. Around the 14:00 mark Trey calls an audible, and a dark, bizarre, and somewhat ominous jam develops. This descends into an atonal morass, before concluding with Trey > into "Character Zero."
> in from "Velvet Sea." Intense, high octane version that has some swirling, high octave playing by Trey that would become common in versions from '99 and '00. > to "Frankie Says."
Fiery and intense version features some excellent work by Page.


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