No mere landing pad. After winding its way "in" from the remnants of a huge "YEM," the band completely divorces itself from former sounds to create yet another remarkable sonic space. Breaking quickly from the song, the jam is very much of itself and perhaps, at least initially, rich with a bit more by way of those welcome Santana over- and undertones. But then. Listen in. The jamming, if not quixotic, has something of an exotic, offbeat, hushed and admirable atonal quality. And then. Keep processing. Thanks in large part to Page, everything is something else completely. Quirky. But not quite. For Trey keeps working a number of warm melodies before play becomes pleasantly droning and noisy with Trey then screwing this heavy morass into "Twist's" signature riff.

Tight, exploratory version that wastes no time. An early stop-start section (replete with Trey's careening sirens blocking out "woos") takes hold, before an excellent key change leads to an (at times) polytonal synth-rich romp with top-notch interplay. "KDF"'s DNA starts to slowly re-emerge before the jam melts from the song's traditional ending > "Lifeboy".

Don't leave yet! This is no perfunctory Encore on the last night of the tour as the band drops one of their longest jams ever in the extra period. Trey leads the band through multiple distinct sections of jamming. After returning to the chorus, even the feedback ending gets extended.

Gorgeously upbeat and melodic version that bounces along fluidly and seemingly effortless for several minutes in very gratifying territory before finding a more aggressively punchy space that delivers a surprisingly flammable and rocking climax.

Strong version becomes a bit unconventional following the 7:30 mark. Fish kicks a cool beat, and Trey takes off. This leads to driving, forceful improvisation, which again shifts when Trey, using his feet, selects his effects, and, offset by Mike, lays into a series of licks which play like variations on "Bag's" theme. Page bathes the stage in sound as the jam rages on before play bleeds to > into "LSG."

Excellent, extremely fluid version with "old-school" overtones. Play is primarily straightforward, but there is beauty in this, given that one: The band quickly, and quite notably departs to jam (almost as if to atone for the absence of ideas of the "Oblivion" Trey aborts to -> into "Lope,") but, and perhaps more importantly, two: Given the nature of the song, generally (marked by Trey and Page's play, principally).

Mid-tempo first set version gets a quick layer of standard heat before taking a turn for territory marked by bass driven rhythmic interplay, undergirded by washes of organ, and highlighted by bouncing melodic leads that briefly traverse familiar woods before soaring to multiple peaks.

Dense and muscular, this version seems to know what it wants to be right away and wastes no time in getting there. A study in how familiarity breeds freedom and improvisational leeway leaves space for the serendipitous. The group mind here delivers a tightly wrapped package of near perfection that peaks and gradually fades to > "Light".

The jam quickly locks into a probing polyrhythmic bloom not unlike other choice versions of "Light", colored by modern textural approaches with Page's synth work standing out in particular. Play eventually coalesces and builds to a celebratory peak, before minimalist effects-based textures wash over and take the jam into a more cerebral and slightly dissonant direction, before fading > "Mercury".

This first set delight comes out the gate with swingin' swagger. Trey locks the band into Bmin to escape the confines of "Cities" proper and the band develops an incredibly cohesive, melodic, effect-drenched boogie down. After the 12 minute mark, the music takes a hazy, cinematic turn towards patient psychedelia. This then develops into a gorgeous, technicolor dreamscape that crescendos towards anthemic territory before > "Tube."

Another huge version of the once rare song in the catalog. Plucky playing from Trey around 9:30 changes the jam's trajectory. The searching, grimy jam sounds like the background to a noir detective show at times. The tempo gets kicked up towards the end, before eventually > "A Song I Heard the Ocean Sing".

> from "Mr. Completely" comes a completely unhinged jam that immediately dives headfirst into an unrelenting, grinding, grimy groove, and in the blink of an eye flows back -> into "Mr. C". Heavy.