|2016-01-15||Sand||Riviera Maya, Quintana Roo, Mexico||12:12||Strong peaking action in the first jam and then some growly, staccato funk in the second segment, which ultimately -> into "Ghost" stupendously.|
|2016-01-16||Cities||Riviera Maya, Quintana Roo, Mexico||13:18||After a stretch of perfunctory versions, "Cities" has now gone four for its last four. A laid back tropical vibe yields to a stormy, foreboding jam, before the sun peeks through the clouds and the -> Light grows brighter.|
|2016-01-16||Hood||Riviera Maya, Quintana Roo, Mexico||14:18||The early part of the jam includes great interplay and soloing by Trey. The gradual, but deliberate and well executed peak reminds us that a strong but plain ol' "Harry" is pretty spectacular in his own right.|
|2016-01-17||Moma||Riviera Maya, Quintana Roo, Mexico||8:30||One of the few recent renditions of "Moma" that (fittingly) sails to new seas. There's some especially spry, melodic playing in the opening segment that gives way to a punchy, funky jam led by the rhythm section (with Mike Meatballs) in support of Trey's adept use of his MuTron *and* Echoplex and Page's expert use of his clav. Unfinished and -> "Saw It Again."|
|2016-01-17||DwD||Riviera Maya, Quintana Roo, Mexico||19:12||A very solid version in which the jam initially breaks away into some dark and low intensity playing. The mood brightens, then Page starts playing samples from "Shipwreck." After several minutes, the guys abandon ship, ending the jam on a high point with jubilant, celebratory playing.|
|2016-01-17||Roggae||Riviera Maya, Quintana Roo, Mexico||9:36||Compared to the preceding two jam chart versions, this one reveals a third and new approach to "Roggae," as this one breaks into a swinging, blues-infused jam, accentuated by some guitar effects, but less than in Dick's '15. Strong Mike and Fish help bring this excellent version to a powerful peak.|
|2016-01-17||C&P||Riviera Maya, Quintana Roo, Mexico||15:05||The initial jamming is less rocking than most, but what it lacks in intensity, it makes up for with more melodic variation and synced-up playing. The latter part of the jam takes on a genuinely chilling tone with "Shipwreck" quotes, eerie effects, and power drill all thrown into the mix, as if to accompany the arrival of a ghostly ship on the horizon. > to "Farmhouse".|
|2016-01-17||Slave||Riviera Maya, Quintana Roo, Mexico||10:29||A great version in which the Page and Mike stick mostly to the primary beat, while Trey adds off-beat color. As the intensity builds, Trey jumps mostly to the primary beat, providing power and grace.|
|2017-01-13||Wolfman's||Riviera Maya, Quintana Roo, Mexico||12:36||Although it follows a familiar trajectory, this strong version luxuriates in the funk, before flipping the switch and peaking in celebratory good form. Trey really brings it on quite nicely.|
|2017-01-13||Fuego||Riviera Maya, Quintana Roo, Mexico||19:53||After settling into some quieter musing, the jam takes on a percussive sense, and proceeds to build to a Trey-led, rocking peak. Gradually settling down, the jam transitions to a strong "Caspian."|
|2017-01-13||Caspian||Riviera Maya, Quintana Roo, Mexico||9:37||> from a superb "Fuego". Trey's trilling grows nasty and dissonant at times, and Page hops on the clavinet to help lead the band into a dark and low-key groove. Fish does some fine work throughout.|
|2017-01-13||Twist||Riviera Maya, Quintana Roo, Mexico||9:53||Floating in on the waves of a powerful "Prince Caspian" -> and staying in G, the echoing "Twist" intro leads to a tropical and topical "Tequila" jam before sliding seamlessly into "Seven Below."|
|2017-01-13||Seven Below||Riviera Maya, Quintana Roo, Mexico||11:17||Awesome, melodic play from Trey, and we're only 2:40 in. The jam continues to impress, with Trey in total control, his precise, cerebral work matched by Mike, who also takes some seriously strong runs. Fish, of course, is great. There's super synth from Page. And Trey (7:00) introduces an incredibly cool theme, which the band shapes to its seemingly logical conclusion, ending a dulcet "suite" before > for "Golgi Apparatus."|
|2017-01-14||CDT||Riviera Maya, Quintana Roo, Mexico||12:49||Super first set closer, which, in no small measure, soaks up the spirit of "IT's" (8/3/2003) rhythmic, pulsing soul. Breaking from "CDT" around 5:20, the jam melts into a focused passage of metrical rhythm, before brightening considerably, with all four musicians contributing equally. Trey's spirited solo, rich with sustain and effect, is complimented by great play from Page, before the version returns to "CDT" proper.|
|2017-01-14||Meatstick||Riviera Maya, Quintana Roo, Mexico||11:34||This version's outro is much more musically productive than the typical and includes a "C&P" tease from Trey.|
|2017-01-14||Winterqueen||Riviera Maya, Quintana Roo, Mexico||10:14||The "Prince of Music" neglects a verse but shrugs the flub and sets forth to shape one of the finest versions to date. The jam quickly assumes a quiet, delicate form, informed by great play from Mike. Trey's playing is patient and melodic, colored by customarily great fills from Page. The version skips along atop Fish's steady beat, with Trey building intensity via means of measured sustain and perfectly-placed notes, before working the surrounding space to a resounding peak.|
|2017-01-14||Mercury||Riviera Maya, Quintana Roo, Mexico||15:15||After a strong composed section, the band crosses the bridge confident and assured, entering a jam anchored by great play from Mike and Fish. Trey adds much by way of layered texture and nuanced grace, before straight-forward soloing, colored with great fills from Page, builds into a passage of percussive and echo-altered sound. A cool > introduces yet another white-hot "Light."|
|2017-01-14||Light||Riviera Maya, Quintana Roo, Mexico||15:41||The typical "Light" jam takes goes mildly dissonant, before shifting to some funk/rock action. This percussive section, with excellent playing led by Fish and Page, moves further and further away from "Light" proper, before eventually settling into a solid cool-down jam in the final few minutes.|
|2019-02-21||I Always Wanted It This Way||Riviera Maya, Quintana Roo, Mexico||20:22||Around 8:30, the music begins to peel away from the typical play, settling into pulsing, low-key groove. Page and Trey add color, giving the playing a warmer, upbeat sentiment, which gradually builds to a blissful peak. The playing settles back down to a funky, crunchy groove after 16:45, before further settling into transition space.|
|2019-02-21||2001||Riviera Maya, Quintana Roo, Mexico||13:04||Gets the party going with some "Death Don't Hurt Very Long" teases, then as the jam continues the bottom drops out and Trey and Page whip up a dark ambient space. Fish comes back in and they go into the "chorus", only with the dark ambient space mixed in. A very unique experience. This ain't your average 3.0 "Also Sprach Zarathustra".|
|2019-02-22||Tube||Riviera Maya, Quintana Roo, Mexico||8:59||A quality jam with an uncommonly subdued tone seems to momentarily wind down at 5:15 before launching into another round of synth-groove and builds to a rocking finale capped by strong Trey leads.|
|2019-02-22||Set Your Soul Free||Riviera Maya, Quintana Roo, Mexico||25:53||Massive Set 2 opener. Pivots into a gritty and nasty jam at Mike's urging, which gets very heavy (and a tad flubby) as Trey takes control. A gnarled groove emerges, with Page laying on the electric piano extra thick, and then Trey pivots into major-key territory. The jam grows warm and pleasant as Mike moves into the lead, Page throwing in a carnivalesque ambiance, then Trey starts firing off some crunchy solos and we enter the wonderful land of hard rocking. A few "woos" are goosed, then Page hits on some ascending not unlike "Tweezer Reprise" and the jam peaks in wonderful fashion. > into an equally outstanding "Mercury".|
|2019-02-22||Mercury||Riviera Maya, Quintana Roo, Mexico||22:05||Great Version. > from a huge "SYSF," play breaks free around 10:00, Trey's tone warm, rife with melody, floating atop waves of Page's now signature keys. With a series of licks Trey pushes play forward, the jam builds in energy, before a huge blast of sustain peels apart (with Page now on his piano) into one of "Mercury's" finer moments. Play rocks, with the band alighting upon a sudden, and infectious groove. Pretty cool. > "Slave."|
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