After a stereotypically dark "Carini" jam, a happy groove quickly develops thanks to strong Trey-Mike interplay. An extended passage of very quiet and mellow jamming follows, eventually rising in energy roughly halfway through the jam as Trey goes whale call and Page switches focus to piano. The first intense peak washes over, coursing on the back of Fishman's ride and intense whale call. Three short minutes of peaking wind down to ambient space, only to be propelled straight back up thanks to Mike and Page directing the jam into a new key. A quiet-yet-plinko jam develops as the energy builds on Fish's polyrhythmic snare and cymbal work. Flirting with darkness for some time, the jam eventually yields to murk, grime, and effects-laden darkness before finally winding down to Trey-based loops and Page on the organ.

Galaga and Zaxxon battle Space Invaders in the resplendent Echoes of an exploding Dark Star. [One may not need not a chamber to be haunted, but the best Ghosts - at least of late (and for sure: this is one of the best) - appear orchestral in nature. Fluid, nebulous, and wholly organic, deep brain-grooves give rise to a series of music images which, like paper dipped in water, slowly form to bloom, presenting a picture of exactly what this band is capable of, whatever the set, and whatever the year. (This, and the closing refrain is both chill and humorous.)]

Compact, but musically loaded version with major mode playing and quieter musings > to "Wilson."

> in from "R&R." Band breaks away from typical fare at about 6:00 into a quiet but pulsing and rhythmic jam that transitions nicely into "Tweezer."

With synths a plenty throughout, this all too rare treat of a jammed encore version goes minor and simmers threateningly, and then, perhaps in a nod to the song's '99 roots, springs to life with soaring major guitar leads to remarkably close out the show.

Kicking off a killer set 2, this outsized juggernaut of a version glides smoothly through multiple sections with the utmost patience and confidence, including passages of majestic anthemic rock, spooky minor-key delay grooving, dimly-lit synth-filled ambience, and cosmic hose before finally shifting into a similarly expansive "Light".

Yet another two-jam version, this one stays pretty close to "YEM" but is quality all the same as it builds to a second, incendiary peak.

Stellar version that marries the Spirit of '99 with the earnestness and multi-faceted nature of modern Phish. Trey's expert loop-craft, Mike's perfectly-timed effect deployment/note choices, Page's pristinely tasteful keyboard textures, and Fishman's relentless swing combine as pieces to a puzzle only a band 40 years into their career could create. Fishman's "Yeah Baby" sample to end is an appropriate acknowledgment.

A little extra dose of "Carini" plus mini-jam blasts out of a killer "Light" to wrap up a massive improvisational sandwich.

Segueing -> out of a phenomenal "Carini," Trey and Page waste no time getting the band back to jamming in one of the strongest second sets of the entire year. Around 6:30 the band breaks off via isolated playing which hears Trey and Page mimic each other with bright chords while Mike and Fish offer staccato beats to create space for the jam. Trey deepens the overall exploration around 11:20 via his expert use of the synth pedal. Moving through watery tones the band explores an uptempo zone before pushing towards a truly stunning and explosive peak full of sirens and heavy Fish playing before a -> back into "Carini." We're in a strong period for "Light," and this version is right there with some of the finest they've ever played.

Not even four minutes in and all four contribute to produce one of the finest jams of the year. Play does take a different direction, one particularly melodic in nature, while befitting a "unique, rock and roll dance band." Stupendously, what might have become patterned play is undone when Trey drives the jam to a near peak before the song's shift.

> from "Sally". The longest version of "The Howling" to date and the band doesn't waste a second. Ebullient, soaring play from Trey leads the way as the jam rolls to a frenzied peak, featuring Page pounding his piano and Trey screaming "The Howling!" before > into "BDTNL".