Jam Chart for shows in the city of San Francisco, CA (95 entries)

Date Song City Timing Notes
1991-10-18 Runaway Jim San Francisco, CA 7:24 The Great American Music Hall provides the stage for one of the greatest examples of an emerging Phish staple, the affectionately labeled: "Runaway Foam". First, Fish is awesome. Second, Trey makes a number of subtle and savvy moves that lay the foundation - or at least functions as illustration - for "Jim's" inevitable groundbreaking potential.
1991-10-18 Brother San Francisco, CA 5:45 Once this one kicks into overdrive, it's really excellent with chaos and screaming guitar sounds.
1992-04-17 Reba San Francisco, CA 14:06 Progressive and dynamic, this "Reba" features excellent full-band play. While great in a vacuum, the notable rhythmic shifts, accentuated by marked and exploratory syncopation, provide a crystal ball glimpse into the improvisational future of this most Phishy of songs.
1992-04-17 Bowie San Francisco, CA 11:12 Nice jam that gets out there, then -> to "Catapult" and -> back to "Bowie" in the trill section.
1992-04-17 Catapult San Francisco, CA 1:01 -> in from "David Bowie." Performance debut of "Catapult" occurs in the trill section of "DB." -> back to "Bowie."
1992-04-17 Bowie San Francisco, CA 0:23 -> in from "Catapult" to end this solid "Bowie."
1992-04-17 Brother San Francisco, CA 5:42 Page's brother appeared on stage in a bathtub for this second set opener. Sick Trey. Everyone excels in this version, but especially Fish. (timing is estimated because tape begins about 45 seconds into the song).
1992-04-17 YEM San Francisco, CA 18:31 Ninja Custodians VJ.
1992-04-17 Tweezer San Francisco, CA 10:30 Among the better pre-1993 Tweezers.
1993-03-26 SOAMelt San Francisco, CA 8:26 Great version - sounds like a neck-and-neck horse race between Fish and Trey trying to keep pace with each other.
1993-03-26 Tweezer San Francisco, CA 12:17 Very drawn-out, extended ending.
1993-03-27 Reba San Francisco, CA 13:28 Attentive version with Trey totally on point, his playing rife with melodic content and truly inspired, as if tapping into some sort of otherworldly intent. A wonderful build with some impressive Mike thrown in.
1993-03-27 Mike's San Francisco, CA 8:56 Solid but typical play in the 1st jam leads to good improvisation in the 2nd jam. Beginning with sounds similar to the as yet unhatched "Simple," the jam returns to typical "Mike's" jamming, then breaks into Mike-led, rhythmic and exploratory play, before coming home to wrap up.
1993-03-27 Weekapaug San Francisco, CA 12:20 "On Broadway" teasing/jamming leads to an improvisational breakdown section with good variation in the intensity. At 8:15, the jam breaks into an inspired "Type II" section which concludes with an explosive return to "Weekapaug."
1994-05-26 SOAMelt San Francisco, CA 11:28 Lots of screaming at various points is a good indicator that this somewhat wacky, blistering version packs some heat.
1994-05-26 Fluffhead San Francisco, CA 14:26 Although no perfect live performance may exist in this Universe, this superlative version is one of a very small handful that comes close. All the treacherous sections - The Chase, Who Do? We Do!, Bundle of Joy - these sections are nearly flawless. Like most '94 versions, this one is intense and hard rocking, yet performed with remarkable precision. Page's solo in Clod is super, while Mike's and Fish's dynamic play throughout is on full display in a high energy Arrival.
1994-05-27 Bowie San Francisco, CA 12:44 Even though most of the jam is technically "Type I," this is an intense, thriller. Don't overlook.
1994-05-27 Hood San Francisco, CA 12:51 Mike gets into this really great groove starting at about 8:00 that everyone else plays off. Even as Fish, Trey and Page bring the heat, Mike keeps the licks of this groove rolling. And the ending section is just smoking hot.
1994-05-27 Reba San Francisco, CA 12:44 Sweet jam featuring truly dynamic modulation and really awesome playing from Trey. The sort of version you could listen to all day. (Or at least Four times. Focusing upon each musician, independently.) Trey alights upon a great theme - accented by cool playing from Fish - before the jam swings through a build both measured and melodic to, in time, become explosive.
1994-05-27 Simple San Francisco, CA 3:48 Crazy debut version, out of "Mike's Song," naturally.
1994-05-27 Possum San Francisco, CA 11:50 Extended hi-hat intro with the crowd shaking macaroni boxes and "Flintstones Theme" tease. Fish: "Shake your macaroni!"
1998-10-15 Ghost San Francisco, CA 16:20 Almost 30 years to the day (10/17/68) after the debut of the Steve McQueen film Bullitt, Phish provides a new score for the car chase scene. [Show opening bubbly and bouncing groove goes uptown and Trey and Page rock the house, then serene play nicely cools things off before a -> to "Water In The Sky."]
1998-10-15 Wolfman's San Francisco, CA 12:46 Great funk section with some "Manteca"-like jamming early on. Never really opens up out of funk mode although it settles as if ending, then rebuilds with no return to "Wolfman's."
1998-10-15 Gumbo San Francisco, CA 9:01 An unusual "Gumbo" as the jam stays relatively close to the "Gumbo" theme other than an umptempo, melodic groove that they lock onto in the beginning.
1998-10-15 Reba San Francisco, CA 18:21 The jam proceeds typically, with strong soloing from Trey and great Page. Around the 14:00 mark Trey calls an audible, and a dark, bizarre, and somewhat ominous jam develops. This descends into an atonal morass, before concluding with Trey > into "Character Zero."
1998-10-15 Caspian San Francisco, CA 11:18 > in from "Velvet Sea." Intense, high octane version that has some swirling, high octave playing by Trey that would become common in versions from '99 and '00. > to "Frankie Says."
1998-10-15 BOAF San Francisco, CA 8:27 Fiery and intense version features some excellent work by Page.
1998-10-15 Hood San Francisco, CA 16:53 The jam has a very gentle, ambient quality, and the build and peak sections veer away from the norm, at moments almost sounding like something other than "Hood."
2011-08-12 Tweezer San Francisco, CA 11:14 Very well-played, with an excellent peak, and Page grooving on the clavinet as the jam goes spacey.
2012-08-17 DwD San Francisco, CA 15:44 Good multi-part jam with great Mike in the early, pulsing section, then more good Mike and Trey in a mostly upbeat, major mode section that has a pensive quality. Unfinished with a > to "BOAF."
2012-08-18 SOAMelt San Francisco, CA 11:28 Sloppy flubs in the composed and closing sections aside, the jam here is dark, chaotic, and loaded with tension and eerie effects. They haven't played a comparable, non-extended, tension-meister "SOAM" like this since '94/'95.
2012-08-19 BOTT San Francisco, CA 8:51 Although similar to the '10 and '11 versions here, there's some nice dynamic modulation that makes this jam interesting and just a little different.
2012-08-19 Roggae San Francisco, CA 8:28 Really a beautifully played and moving version from a great show.
2012-08-19 Bowie San Francisco, CA 11:05 Despite some obvious flubs in the composed section, the jam is very good with buckets of tension and dissonance and strong Fish-directed rhythmic accenting.
2012-08-19 C&P San Francisco, CA 16:26 After a rousing climax, for the first time in years, they take "Crosseyed" out for a walk, seamlessly downshifting, but still locked in. Trey and Gordon lead the melodic charge, creating gorgeous passages before dwindling down. Fish picks it back up before Trey starts a monster "Light". Mike teases "The Cave" by Mumford and Sons. "Crosseyed" is reprised after the great "Light" -> "Sally".
2012-08-19 Light San Francisco, CA 14:48 Outstanding version. Tight throughout with a tension and release that easily rivals great moments in Phish's past. Never sloppy, this version is a pure rager.
2012-08-19 Sneakin' Sally San Francisco, CA 10:51 -> in from "Light." Fish and Mike lay down a great base, and Page and Trey play off this in a spirited upbeat jam. The intensity grows before a segue (->) to a reprise of "Crosseyed And Painless."
2012-08-19 C&P San Francisco, CA 2:44 A short reprise of "Crosseyed" segues out of a hot "Sally" jam and dissolves into "Theme".
2012-08-19 Theme San Francisco, CA 7:44 "Theme" is one of those songs where the jam can be repetitive and pointless, or it can be inspired, rousing and melodic. Nice to see Trey opt for the latter in this 3.0 standout version.
2013-08-02 Roggae San Francisco, CA 9:06 Another great "Roggae" from SF, with strong melodic and instrumental variation. Just wish they would play this more often.
2013-08-02 DwD San Francisco, CA 14:11 Quality exploratory version that succinctly covers a range of interesting territory before > to a compact, solid "Caspian."
2013-08-02 Caspian San Francisco, CA 5:50 This compact, quality version proves again that good melodic variation in a shorter version can trump the late '90s style 11 - 12 minute arena rockers. And when Trey holds a single note for 68 seconds, it allows the others to shine.
2013-08-02 Farmhouse San Francisco, CA 7:25 Arguably the finest straightforward version to date, this wonderful version is replete with all sorts of good stuff, including fantastic playing by Mike, great Page and Trey counterpoint, and a lush groove with a peaceful and upbeat sense.
2013-08-02 Seven Below San Francisco, CA 13:45 A few flubs in the intro don't detract from this very energetic version from the first post-7/31/13 show, which incorporates three different calls for "woos" around some plinko-esque jamming and a good old-fashioned raveup at the end. Winds back into the regular -7 ending, then > into Theme.
2013-08-02 Theme San Francisco, CA 8:17 By mixing up the melody of the jam more than in the past, the band is creating more interesting versions in less time. Nice!
2013-08-02 STFTFP San Francisco, CA 8:09 A very strong "Type I" jam in "STFTFP," followed by an unusual, mildly disconcerting outro jam, which itself pairs oddly with low-key "Woo" responses from the audience.
2013-08-03 Maze San Francisco, CA 9:19 A spirited Page section is followed by some rapid-fire playing by Trey in this quality 3.0 version.
2013-08-03 JJLC San Francisco, CA 8:34 All around, a rock solid version played with great intensity by all, including Page's vocals between verses.
2013-08-03 R&R San Francisco, CA 16:06 Bad Ass Mike kicks off this dynamic, multi-section jam with some really sick bass work. From there, it ranges far and wide before settling into quieter, but active playing which then > to "Steam."
2013-08-03 Steam San Francisco, CA 9:09 Excellent Trey solo and an extended, funky ending jam.
2013-08-03 Slave San Francisco, CA 10:35 Really nice Mike/Page early, then Trey joins, and begins using combinations of short duration notes as the jam builds up.
2013-08-04 Divided San Francisco, CA 16:20 Fish is the star here, adding just the right forcefullness to the percussion as the jam intensity grows.
2013-08-04 Foam San Francisco, CA 8:02 Despite a couple of minor glitches in the composed section, all the good ingredients come together for a short, quality jam.
2013-08-04 Ya Mar San Francisco, CA 6:15 Thankfully, after a 10 year "hiatus," the band finally does something interesting with "Ya Mar," in this case, improvising a short little audience call-and-response ("Woo!") during Trey's solo.
2013-08-04 Taste San Francisco, CA 8:20 Fish stands tall here, although musicianship is strong across the board in this quality version.
2013-08-04 Energy San Francisco, CA 10:41 This version opens the second set, where the song is most commonly found. The jam stays mostly in the bounds of the song until it turns on a dime to a Fish-led jam, accented by excellent play from the rest of the band. > an excellent "Runaway Jim".
2013-08-04 Runaway Jim San Francisco, CA 16:25 Excellent, multi-section "Jim." The jam begins with a dark tone, shifts to some great, percussive rocking midway through, then explores more bleak territory before reaching interplanetary space and > to "Carini."
2014-10-27 Seven Below San Francisco, CA 10:04 This concise version does not stray far from the basic framework, but Page and Trey play off each other before building to a rousing climax. After the climax, this jam settles back into the Seven Below theme.
2014-10-27 2001 San Francisco, CA 6:44 An Echoplex masterpiece. The second jam will blow your mind. Page annihilates the clav and you can kiss gravity goodbye.
2014-10-28 KDF San Francisco, CA 13:22 The jam begins at a less frenetic pace than usual, before Trey's delay work and minor chording lead the jam into uncharted territory. At the 9 minute mark, the jam goes fully "Type II," and then turns ambient before > to "Mountains In The Mist."
2014-10-28 Twist San Francisco, CA 14:30 Excellent jam which veers away at 8:00 into a beautiful but contemplative Page and Trey-led foray of deep introspection. Wish they would jam like this more often!
2014-10-28 Hood San Francisco, CA 17:26 Strong jam starts in "Hood" mode, shifts to rocking minor mode at 7:25, settles briefly at 9:25 before becoming percussive and groovy, and jumps back to "Hood" proper at 11:52 with great "Type I" interplay, ending with an extended spacey phase-out.
2014-10-29 Moma San Francisco, CA 7:30 "We Are the Champions" sandwich to celebrate the hometown San Francisco Giants' World Series win from moments earlier.
2016-07-18 Ya Mar San Francisco, CA 9:07 Replete with references to Oh Kee Pahs and Leo's/Fish's grandpa, this version is ripe with tropical sensations and staccato-like playing. A nice easy-going summer type jam, while the instrumental switch/marimba lumina section, a staple in 2016, recalls the humor-filled version from 7/10/97.
2016-07-18 Possum San Francisco, CA 9:07 Like other recent strong versions, Trey's warm soloing shapes and colors a great groove. However here, Trey also works a series of licks into excellent and somewhat cacophonous full-band improvisation, which results in the wonderful, boxed-in feel of a "Guyute" jam.
2016-07-18 Golden Age San Francisco, CA 12:41 After leaving the song's structure, a darkish groove quickly develops with great direction and intensity until a > to "Twist".
2016-07-18 Sneakin' Sally San Francisco, CA 17:56 The special nature of this "Sally" unfolds after the vocal jam, and rather than peaking at its conclusion, the jam continues to build, with full-band play informing a perfect blend of rhythm and harmony. Excellent musicianship modulates in intensity, before pulsing, high energy rock cycles up to a euphoric peak.
2016-07-18 LxL San Francisco, CA 7:58 Trey's playing is deft and versatile, but his move to atonality and atypical scales, very unusual for "LxL," is unpleasant to some ears. Nonetheless Fish is the real star, holding all things together with seeming ease. The music gels for a normalized conclusion in spite of Trey's descent into dissonance.
2016-07-18 Antelope San Francisco, CA 9:26 Great percussion propels this bright, busy "Antelope," before Trey takes over, scattering some unexpected notes and nicely playing off Page. Skipping and dynamic riffing, coupled with nice tension, propels this solid version to a terrific show-ending peak.
2016-07-19 Maze San Francisco, CA 8:34 Trey returns to his roots and takes the leading role in this high energy version. First, he plays along noticeably during Page's solo, adding extra tension. Then during his solo, Trey manages to whip it up several notches more than has been customary these past few years. More like this one, please.
2016-07-19 DwD San Francisco, CA 15:57 Leaving the standard behind, the jam quickly gains a warm and encouraging sense. Gradually, this feel-good sense is overtaken by driven, rock-oriented play with a threatening feel. Heavy bass action, wailing guitar sounds and effects work to increase the sense of foreboding.
2016-07-19 Fuego San Francisco, CA 11:12 Dives into late-night relaxed sparseness, with Trey and Page adding some occasional dissonant color. Trey even touches on "Manteca" a bit, a sign of things to come. > into a fabulous "Ghost".
2016-07-19 Ghost San Francisco, CA 11:15 Drops from an empty cob-webbed attic through a revolving Echoplex multiverse trap-door into a merry go round of incandescence. [Trey dials in his gnarliest, grittiest "2.0"-era tone, and employs his favorite "3.0"-era toy to multiplex ghoulish echoes over the early parts of this "Ghost" jam, as Fish pushes the pace into a trance-like state. Trey's trills and Fish's fills take hold and bump things up a step and the jam slides seamlessly into major mode bliss, where Page's piano shines brightly and Mike's fluid bass lines just won't quit.]
2016-07-19 No Quarter San Francisco, CA 6:55 In addition to strong playing, this version distinguishes through the use of dynamics. The jam section starts off as a quiet and calm respite, before patiently climbing to a ferocious and breathtaking peak.
2016-07-20 Bowie San Francisco, CA 13:30 A fun, improvisational intro section harkens to the days of old, and Mike really shines in the jam. There's also a major mode shift in the jam, which while familiar at this point, nonetheless differentiates this version to some degree.
2018-07-24 46 Days San Francisco, CA 11:09 Although it keeps to the "46 Days" format, this show-opening version offers a surprising amount of atypical play, mostly from Trey who utilizes new tones to color the jam.
2018-07-24 ASIHTOS San Francisco, CA 14:36 This siren song kicks off with Page on Rhodes and Trey on fast Leslie following Fishman to a quieter, warbly dynamic. Trey eventually goes whale call as the jam moves to bliss pastures in G, eventually moving to a patient build up to a mellow peak. Polyrhythm from Fishman and synth/wurlitzer work from Page ensue as the jam decrescendos. Eventually the jam winds to arhythmic space, until Fishman cues the band back for one final chorus.
2018-07-24 Mercury San Francisco, CA 16:25 2018's summer offers three strong versions (see 8/11 and 8/31), but the first, > from an extraordinary "ASIHTOS," before > into a classic "Carini," might prove to be the most interesting. While Trey still struggles early, the improvisation post-vocals marks a departure from solid 2017, and earlier, play. Less groove-oriented, the musicians create, as if for the purpose of allowing others to inhabit, distinct pockets of "space." Patient, pretty, and marked by an airy fluidity, the jam splinters into spheres of sound, while never fully losing its shape, before Trey's inspired, protracted, and truly cosmic soloing, dominates the conclusion.
2018-07-24 Carini San Francisco, CA 14:39 Quickly moves from the song proper into a Mike-driven snappy groove with Trey adding some Echoplex-y color and Fish playing around with the rhythm at times. Switches up on a dime into a energetic "Golden Age"-reminiscent beat, Page adding a calypso vibe and Trey adding sparse but lovely accompaniment, then morphs into triumphant hose. Dies away after a massive peak and > into "Maze".
2018-07-25 Runaway Jim San Francisco, CA 7:58 > from "NICU", this fun, cerebral version, evokes early, compact "Jim's". Colored with 2018's melodic textures and graceful pacing, Page's play is impassioned, while Trey bends notes and shapes notable blasts of sustain, before building the jam to a packed, trill-filled conclusion.
2018-07-25 Ocelot San Francisco, CA 10:20 Another quality Summer 2018 version, diving into murky waters thanks to Mike's fine work and Trey going to work with his effects, with a more explosive and just as satisfying peak as Tahoe's.
2018-07-25 Set Your Soul Free San Francisco, CA 23:33 Out of the gates, Page teases switching to D bliss and Mike tries to follow. Trey stays in a minor mode until 8:45, where he finally joins the bliss through whale call as Page switches to synth pads. Here, the jam coasts on calm waves of effects-laden happiness; at 14:00, Trey plays a pattern that builds to a whale call peak accompanied by chordal work on piano from Page and a ride cymbal-driven shuffle from Fishman. Before truly peaking Trey switches back to the fast rotary mode on his Leslie, and Mike leads the charge towards a Clavinet-dominated plinko jam. The jam winds down to a quiet and introspective effects dominated space led by bass swirls from Mike > "Twist".
2018-07-25 Possum San Francisco, CA 10:51 Another strong showing, with the band again (see 7/18/16 and 9/3/17) departing from patterned, formulaic play. Trey elects to experiment, and strikes any number of interesting notes - in lieu of swapping solos with Page - before leading the band into, and through, a dark, dissonant foray; this culminates in a strong, protracted, build and release.
2021-10-16 46 Days San Francisco, CA 11:29 Around the 5:00 mark the jam enters a more dynamic space, allowing for flourishes by all four in a strong collective effort. Mellows out in the final minutes for a very pleasant ending and -> "Slave".
2021-10-16 Slave San Francisco, CA 9:40 A mostly smooth -> in from "46 Days". The first Set 1 version of "STTTL" in over five years is a gem. This jam peaks and peaks again, and just when you think it's peaked for the final time, it peaks once more.
2021-10-16 Simple San Francisco, CA 12:02 A kaleidoscopic outro of interweaving delay riffs then shifts at 7:00 to a pumped-up syncopated groove, drawing similarities to "Simple's" 1996 heyday.
2021-10-16 Gin San Francisco, CA 18:13 While the jam becomes more serene and contemplative, Fish keeps things moving at a decent clip with a snappy beat, eventually leading to a more rocking conclusion bolstered by swelling synths.
2021-10-16 Frankie Says San Francisco, CA 17:02 Kicking off the back half of a monstrous set 2 and busting out after a 196 show gap, what seems like a quick breather instead grows sea legs and takes a walk. Roughly 3:30 in, Mike and Page drive the jam to open flowery pastures, as Fish propels with cowbells and Trey searches for jam grooves. The groove washes out to sea and coasts on gentle waves upon Fish's ride, slowly building momentum to a characteristic melodic theme of fall '21. At the 8:30 mark the jam takes heavier rhythmic cues and a dance party throw down starts building. "Manteca" tease at 9:35. Thick effect-laden Trey and the cymbal-snare dance of Fish propel the back half of this jam to a start-stop "woo" passage. "Bathtub Gin" teases at 13:00 and 15:15.
2021-10-16 Moma San Francisco, CA 11:32 The first "Moma" to serve as set-closer fills the role admirably with an atypically hard-driving, intense outro over shouts of "Monkey Man" from Fish.
2021-10-16 Carini San Francisco, CA 18:41 This massive version shows up in the Encore, and anyone who decided to leave early truly missed out. Trey's nimble playing and Page flourishing on the piano kick this jam off. By 11:15, it turns into an effects-fest, with Fish laying down a cool texture for the exploration. The band eventually works its way back to the song proper to, officially, close the show out.
2021-10-17 BOTT San Francisco, CA 9:39 All four musicians contribute to one of the finest versions in the nation. Featuring far more than "extra mustard," although there's that, too, Trey's typically great 21 play leads to a passage of extended improvisation, a deeply textured jam that plays off a false peak to inform an incendiary conclusion.
2021-10-17 Steam San Francisco, CA 13:01 A big fat "DEG" tease around 6:00 sends this jam into a deep thrumming zone, where it remains until a brief major-key ascent in the waning moments.
2021-10-17 Set Your Soul Free San Francisco, CA 26:02 The first of two massive jams from a four (!) song second set, which drops into a relaxed late-night groove before turning towards a hearty upbeat jam with some sprightly work from both Trey and Page, enters a darker growling space thanks to Trey's effects and some very strong playing from Mike, and then devolves into strangeness before returning back to "SYSF" proper.
2021-10-17 Wingsuit San Francisco, CA 11:10 After an introspective opening sets the mood, this version builds and flows like a torrid stream with great Page/Trey teaming, then resolves passionately and > into "CDT".
2021-10-17 CDT San Francisco, CA 22:50 Soars into blissful upbeat territory right out of the gate, then winds its way down into darker territory at Page's urging, Fish pushing the pace with considerable aplomb. Fish switches up the beat and a more danceable jam emerges, then Trey flips on the "anthemic" switch and builds to a nice peak, and before you know it we're back to "CDT" to close out the set. Superb version.
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.


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