|Impressive debut. The band quickly clicks to create a chill groove, with Trey working a warm tone to solo atop steady bass, scattershot drumming, and excellent Page-propelled atmospherics. This, then, into extended trilling, which Trey distorts before breaking to assume a clean, bright line, which builds - to break - back into the jam's pulsing, Floyd-like vibe. Excellent.
|Del Valle, TX
|Effects-laden grime coasts on the tail end of a type I jam. Mike leads a charge to D, which goes ignored at first, but this lays the bedrock for a patient and breathtakingly happy shift towards bliss territory roughly halfway through the jam as Page and then Trey finally follow. A hose jam builds from the ether thanks to whale call and a foundational groove from Mike, eventually reaching a sustained peak with multiple releases of tension in a shower of joy over Everything that is Right with the universe. A final chorus and then dissonant noise paves the way for a > "Disease".
|A multi-passage monstrosity grows its sea legs out of the Delaware River as the band walks this "Everything's Right" around the corner and back. Up top, dark minor-mode jamming is propelled thanks to Page' synth and stellar bass work from Mike; this eventually paves the path to a happy and fluid bliss jam. A second key change first heads for grimy Leslie-driven plinko, until Trey steps up with whale call and a second prominent bliss peak unfolds thanks to Fish's dynamic improvisation. An abrupt return to the final chorus winds down to close out the tune and, in turn, the set.
|Retains an understated intensity throughout and after 7:30 takes on a graceful, ethereal feel, coalescing at 9:30 with a truly beautiful sequence of soaring guitar and deep impact bass. Around 11:30, a Page-led groove is introduced which brings things to a close with a slick -> "Cities".
|A part of a set-long "Mike's Groove." No time is wasted before the bands jumps into a pulsing, driving jam. All four members seem to function as a single unit. Around 8:00, Mike and Trey lock in on a riff together that takes the jam to a new level. By the 10:10 mark, the jam slips back to more familiar "ER" territory. > into "Set Your Soul Free."
|The band walks on stage and opens with a line drive double to deep left center field. The classic fall '18 whale call bliss sound pops up halfway through jam. One-dimensional, but the dimension is intense. The triumphant and cathartic peak swells and overwhelms, eventually stumbling back to the bridge refrain.
|New York, NY
|Subtle, magisterial, and grand, the jam, bright as DMT (if, in actuality, colored with "WTU?" DNA), slowly builds, gently rising more than gaining intensity, the band riding Trey's wave of sound which crests to swell to become play notably restrained and pretty. This, then, into a perfect > for "Plasma."
|A hidden gem in a stand-alone festival set. Buried 9 minutes in is an abrupt but welcome left turn to blissier grooves, and multiple pleasant and sizable peaks unfold on the back of Mike's rolling bass. At 11:20, a thematic tone poem introduced by Trey builds up to a sustain-drenched peak.
|A "Call to the Post" tease from Trey before the song begins indicates he's ready and raring to go. Swirling synth play from Page and heavy effects from Trey highlight this cool jam; Mike and Fish lay down a slick groove to let their bandmates shine. There's a menacing end to the jam before it > into "Down With Disease."
|Cancun, Quintana Roo, Mexico
|Towards the beginning of the jam, Trey sustains a note, which Page takes as a cue to introduce soaring harmonic counterpoint, including a hint to a major mode shift; this wrangles back to the "Everything's Right" theme. 11:30 sees Trey and Mike introduce a new chord vamp, and this yields a patient and smooth segue into major key bliss jamming by 13:45. Page builds with Fish's, and Trey goes whale call while building off of Mike's harmonic counterpoint. A pleasant feedback- and piano-dominated peak builds, climaxes, morphs, and finally reaches a graceful conclusion at 17:45.
|Fish starts toying with his "YEAH" sample during Trey's crooning at the end of the song proper to let him know he's ready to jam (the sample also makes an appearance or two later on). This is the band fully leaning into one of their most reliable "jam vehicles" and sounding like one organism. There are multiple parts that make the listening wonder, "Who's playing what?" Page rocks his synth to give this jam that quintessential 2021 sound, he and Mike have some excellent interplay around 14:00 before Trey takes everyone back into the chorus.
|Trey and Mike lead the band into a muscular groove out of the usual "Everything's Right" jam, which gets darker and nastier as Page goes to his synths and Fish switches up the beat. Trey finds a new key and the jam gets weird and alien-sounding in that Summer 2021 way we all know and love, with Page on piano keeping things somewhat grounded, then Fish snaps into a brand new groove and they build to a neat peak. The jam then collapses into an atonal free-jazz zone, Fish really enjoying himself, before the band goes back to "Everything's Right" proper.
|Commerce City, CO
|A tale of two jams - the surprisingly downbeat late-night groove in the first half distinguished by Trey's effects and Page's captivating piano and synths playing, and a more typically Phish-y uplifting heavy-duty rockout in the second half. Really great jamlet at the end, too, with Trey playing some galloping chords and Mike doing some fine work. A really wonderful jam.
|A long-winded journey through vignettes of constantly shifting happy and dark textures. Various peaks dominated by lush synth textures and whale call, all driven by the motor of Fish's cymbal work. Back half of the jam is dominated by a rhythmic pattern that would feel right at home in an extended "Chalk Dust Torture" as it does here.
|As with most "ERs", the band wastes no time in finding a groove. Trey leads and the rest of the band follows. By the 10:00 minute mark, the band is in lockstep which leads to soaring play from Trey which is received with raucous cheers. Heavier play enters the fray later as Mike and Trey engage in interplay. A slow funk groove closes things out.
|Opening the second set for the first time in ten plays, this version hearkens back to the heavy-hitting 2021 "ERs." The band is fully locked-in, navigating the jam as one entity. Trey eventually winds back to the "Na na na, yeah" lyrics of the song before it > "Soul Planet."
|Saratoga Springs, NY
|> from "Golden Age." The first "Everything's Right" with a guest featured is must-hear. From the beginning of the song, Derek Trucks adds a layer to the song that makes it feel fuller and more whole. Around 10:00, Trey and Derek lock in after having traded licks back and forth and within a couple minutes, the jam takes on (as one might expect) a distinctly Allman Brothers' Band feel. This is most certainly a unique take on "ER."
Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $2 million to support music education for children – hundreds of grants in all 50 states, with more on the way.