|2015-07-21||NMINML||Bend, OR||10:08||Debut. The song sounds fully formed from the start. Nice > into "Weekapaug Groove."|
|2015-07-25||NMINML||Inglewood, CA||12:29||Trey makes a dive into minor-key Fall '97-esque territory, then the jam takes on a menacing vibe not unlike "Psycho Killer" before a > into "Carini."|
|2015-08-21||NMINML||Watkins Glen, NY||11:45||Doubles down on the Mann version with two separate rock-oriented jams, occasionally hinting at the climax of "CYHMK." Returns to the "NMINML" ending twice, then dissolves into an ambient fog and -> neatly into "Slave."|
|2015-12-31||NMINML||New York, NY||21:02||Awesome NYE prank version. The jam begins in a mellow zone with sprinkles of bliss. After a sparse, ambient section, Fish kicks things back into a solid groove, before "Drive-In Jam"-like effects and sounds overtake. Must-hear Phish. Note: a few minutes were probably pre-recorded as part of the NYE "gag".|
|2016-09-02||NMINML||Commerce City, CO||15:32||Fiery pre-choral jamming oozes into a prolonged and focused jam zone throbbing with psychedelic intensity (an approach not yet taken through this point in the song's history). Trey in particular is exuding a verve and tenacity wholly controlled, yet chaotic sonically.|
|2017-07-14||NMINML||Chicago, IL||15:03||Super version, which opens noticeably slower than 2016's fiery renditions. Trey augments his tone and solos with spirit, but the soul of this version arrives near the 8:00 mark, when Page moves to his synthesizer and leads the band through a spectral passage of "postmodern," improvisational sound. Liquid bass and stylized Trey work atop Fish's minimalist beat, with Page working different sonic shifts that would sound at home in a mature "IAWITW" jam. Chanting and more focused guitar return this reading to the song's coda before a bit of space informs a > into "Fuego."|
|2017-09-01||NMINML||Commerce City, CO||23:46||Awash in 2017's signature synth and Trey's latest effects, an example, here, of space down to a science. As Page explores his keyboards, Trey sheds the guitar and uses a new device to create a hushed, astral plane. Back on guitar, Trey guides the musicians, who together shape a celebratory peak.|
|2017-12-28||NMINML||New York, NY||24:10||Quality NYE version. Drops down to minor key out of the verses as Trey switches on a gloopy effect and Page matches him on the synths, with Fish keeping the snappy "NMINML" beat. The jam grows more warm and upbeat, thanks to some really nifty electric piano work from Page and Mike stoking the mood, then melts away into gossamer-thin ambiance, albeit still pushed forward by Fish's insistent drumming. The tempo picks back up as Trey fires away with squealing notes and Page hammers the ivories, and they triumphantly return to the "NMINML" theme before the jam dies away and they make a neat effects-laden > into "Twist".|
|2018-08-12||NMINML||Columbia, MD||13:27||Propulsive, "percussive" play propels the jam early, before Trey shapes his tone to solo more directly. Trey then lays back and Page controls the narrative, with super Mike and Fish coloring a groove which lets the children boogie. Trey takes a second solo, his feel-good play dissolving into some of Page's synthetic "space". > "Twist".|
|2018-08-31||NMINML||Commerce City, CO||12:26||Tight, structured play breaks to, in a way, display 2018's sound in a nifty ten- (or something) minute package. Effects-driven Trey; swirling Page; utterly tripped-out Mike; and fun Fish swap sounds before Trey steers the jam through a passage of "noise rock" into the now customary "fresh" take on the closing vocal refrain.|
|2018-10-27||NMINML||Rosemont, IL||25:22||A brief but captivating groove takes hold from 9-11 minutes and another section of soothing, delicate play follows shortly after. The jam gradually gains energy and peaks with sustained blasts of guitar around 18:00 and then makes a left turn into a twisted, synth-aided march, ending -> "Steam".|
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