A delicate, slightly spacey jam emerges from the standard and gradually builds in power and intensity. Then Mike and Trey shift direction, leading a nice "Moby Dick" jam at the end which mellows and > to "Free."

Jam breaks away from "46 Days" into a spacey, quiet mode, then Trey and Fish pick things up into a really great, pulsing and upbeat vibe. Another improvisationally rich version.

> in from a great "Theme From The Bottom" -> "Dog Log" pairing. Following an extended, straightforward outro, this improvisational version morphs into a rhythmic and pulsing groove that grows increasingly effects laden and eerie, before transitioning to "Free."

Awesome, improvisational version which proves that "Mike's" doesn't have to have 2 jams to kick ass. Immediately breaking into a lilting, un-"Mike's"-like groove, the jam settles down, gets punchy, settles again, all with a sense that tension is loading. The release begins at 13:30, and by 14:30, a melodic hose-storm is unleashed, repleat with "Sweet Emotion" vocal quotes and jamming.

Drops in neatly > from "Tweezer" and produces a cool hybrid jam that rhythmically stays in "BOAF" territory but melodically departs for stretches before charging back for a proper finish.

From out of the pre-show chaos, a show-opening jam appears. The jam begins in a pulsing rock-out space, with confident Trey out front leading the way. In lieu of multiple sectional shifts, this jam retains its rhythmic pulse throughout. Fishman once again guides the band masterfully through rhythmic ebb and flow to maintain momentum. The music builds to a solid peak with some flashy Trey playing, then returns to the song's chorus to close it out.

Like the old days (see 12/95's Mike's > Paugs), Trey seems intent to better, or build off from, a prior performance. Like 7/20/22, "Bag," after years of perfunctory play, is stretched out. Trey, way impressive, is way out front, with Page making vintage Phish something totally synthed-out and utterly two-thousand and twenty-two. Trey's return to the riff? Legit. Great jam.

Building on the Deer Creek version from earlier in '22, Mull sails towards uncharted waters here at MPP. The jam starts in sludgy funk mode, with Trey and Mike's effects thick as molasses and Fishman setting the tone with a "Destiny Unbound"-esque beat. The band keys in on the groove immediately, while the music deepens at an exceedingly rapid pace. Page's synths pool around Trey and Mike's bevy of effects as the jam builds into a clinic of dark/textural soundscapes. Fishman contextualizes the madness rhythmically with the expertise of a deep sea fisherman, and then leads the band > "Foam." Highly inspired improvisation.

After an upbeat lead-in, the jam turns dark and menacing at 8:45, at first simmering, and then sizzling with intensity as it reaches its apex when it's fully unleashed after 12:00.

Straightforward jam until 9:15, when the key modulates and an "All Along The Watchtower"-esque progression takes shape (an ajamakinto "Watchtower," but no musical quote of its melody so no tease). They jam on this "Watchtower" progression for many measures, going "type II" to an extent in the process though Fish returns briefly within it here and there to "Tweezer's" drum line. Then there's another key modulation and Trey begins soloing melodically o'ertop beautiful accompaniment from Page, Mike and Fish. This improv eventually gels around an enchanting theme before the key modulates yet again and a steady, dark, heavy "type II" jam ensues. Fish soon brings back "Tweezer's" drum line, and Trey Mike and Fish briefly to "Tweezer's" melodic line and comping, as this jam fizzles out and "Wingsuit" begins after sustain.

As "Shafty" so often does, this version introduces itself with a ->, in this case from the first ever Type II "Halfway to the Moon", and adds to that jam's funky bent.