Jam Chart for shows in the city of Bethel, NY (36 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 2011-05-27 | Bethel, NY | 7:04 | Following a super -> from "Wolfman's Brother", Trey wastes no time choosing his line, and powers the band through an incredibly strong and spirited version. | |
| 2011-05-27 | Bethel, NY | 12:48 | A real hybrid that combines suave major mode playing with the expected minor rock. | |
| 2011-05-27 | Bethel, NY | 9:14 | Great version with building energy and nice back and forth between Page and Trey. | |
| 2011-05-27 | Bethel, NY | 9:03 | Staccato jamming gives way to a "Type II" slowed down, effects-laden outro and > into "Waves". | |
| 2011-05-27 | Bethel, NY | 13:51 | Fantastic playing by Trey in the jam proper. Beautiful, lush and serene outro jam. In many ways the polar opposite of the haunting outro from "IT." Transitions to a solid "Prince Caspian." | |
| 2011-05-27 | Bethel, NY | 7:33 | > in from a great version of "Waves." Although shorter, this version suggests the band's willingness to take the jam segment in new and different directions, with subtle and cohesive playing. > to "C&P." | |
| 2011-05-28 | Bethel, NY | 8:58 | Nice little extended outro with a good Trey-led peak. | |
| 2011-05-28 | Bethel, NY | 12:03 | Percussion driven, exploratory version that manages to cover a lot of ground in a relatively short time. | |
| 2011-05-28 | Bethel, NY | 11:47 | "Gin" -> "Manteca" > "Gin." The "Gin" sections, although largely straightforward, include improvisational playing by Trey. "Manteca" includes "Golden Age" jamming, with fans thus dubbing this version the "GoldenGinTeca." | |
| 2011-05-28 | Bethel, NY | 1:44 | -> in from "Gin." The jamming just before and during this "Manteca" includes teases of "Golden Age," causing fans to dub this version the "GoldenGinTeca." > back to "Gin." | |
| 2011-05-28 | Bethel, NY | 0:59 | > in from "Manteca" to end this fine version. | |
| 2011-05-28 | Bethel, NY | 12:10 | The band incorporates a lot of "DEG" teasing/jamming into the standard format. The mood shifts back and forth from bright to dark several times, with "DEG"-like playing at various times throughout, before returning to "BDTNL." A very cool version. | |
| 2011-05-28 | Bethel, NY | 7:35 | An energetic, funky jam emerges at around 5:30 after some chanting on "House." This is a fun, well-played version. | |
| 2011-05-28 | Bethel, NY | 12:38 | This "Hood" has a really nice jam that sounds similar to "Faht" at times. Returns to "Hood" to close. | |
| 2022-07-22 | Bethel, NY | 6:38 | While there are scores of clever ways to approach this surprise show opener, it's simple enough to say that those with a stub in hand were on hand for some of the summer's best music. Forget that those who simply love the song heard precision play; Trey, post some of his coolest rhythm guitar (it's such a great song), tacks on an utterly atypical jam segment, but one that, like charming a snake, feels mesmerizing, organic, and pure. And the crowd is there to help stick the landing. What a terrific moment. (See 8.6.22 for more fun play.) | |
| 2022-07-22 | Bethel, NY | 14:18 | > from a jammed out "Golgi Apparatus", the band plays what was at the time the longest version of "Sample" to date. Some slinky work by Page kicks this jam off and the rest of the band follows suit. The jam eventually winds its way back to the song proper, as was custom in Summer '22. | |
| 2022-07-22 | Bethel, NY | 9:23 | In a summer full of surprise jamming tunes, the return of the "Gumbo" jam is surely one of the most welcome for fans of the song's output from '97-'03. This longest version since that heyday touches on familiar staccato funk and upbeat calypso before ending with a rough-and-tumble -> to "Saw it Again". | |
| 2022-07-22 | Bethel, NY | 8:37 | Before there was "Plasma," Phish explored similar sonic terrain via "Timber," a soulful cover with dark undertones, rich and dynamic Fish, a tune affording space for Trey to deliver some of his most devilish licks. No surprise, then, that following one of 22's most inventive opening sequences, the "science" here so applies, a version arguably featuring the best "Timber" full-band improvisation since... Well, who cares: Just tune in for some of the Finest in the Nation. | |
| 2022-07-22 | Bethel, NY | 24:17 | The ongoing "YEM" revolution of '21-22 continues in the idyllic setting of Bethel Woods. After a competent if not perfect composed section, the band delivers a potent Type 1 romp in the post-tramps jam. This then gives way to a lively, if brief Drums and Bass section with Mike slathering edgy distortion all over the place. A brief vocal jam ensues, followed by Trey picking up his guitar and building a 60s soul-esque groove out of the VJ ether. This builds to an uplifting, spirited jam with multiple Trey-led peaks. | |
| 2022-07-23 | Bethel, NY | 7:33 | There's Utica. There's Mann. Since 09, however, one can easily argue this is the band's best performance of a song that, when examining its history -- like "The Wedge," or, to a lesser degree, "Esther"-- shifts shapes through a number of manifestations and, as such, deserves extra consideration. Or not. Simply enjoy an excellent rendition that, true to any form, features on-point Fish and incredible Trey. | |
| 2022-07-23 | Bethel, NY | 13:05 | After a strong Trey led first jam, rather than the expected ending, we get 6 or so minutes of extended jamming kicked off by a "Moo" sample from Fishman and delay runs from Trey. Never straying too far, but enhanced with synthy flourishes from Page, the jam becomes moodier and darker before taking on a relaxed and dreamy vibe that brightens to a conclusion and > to FEFY. | |
| 2022-07-23 | Bethel, NY | 16:45 | Leaving "Crosseyed" behind after 6:00, this version gallops into a beautifully layered jam on the back of some great work from Fish which runs through 14:00 when it tilts back towards home with sludgy electro effects until > "Miss You". | |
| 2022-07-23 | Bethel, NY | 21:01 | "Fourth quarter" magic. No two ways about it. A brief straightforward jam follows the song proper, followed by a brief "Crosseyed" tease/jam. The band then proceeds to dive perilously deep into wide-open space. Musical pivots abound everywhere without hesitation. The band members challenge each other both rhythmically and harmonically to deliver a jam that is high energy, dark, complex, and dissonant at times while never becoming disjointed. Imagine the 8/6/21 "Simple" crossed with some of the deepest moments of a Summer '95 "Tweezer" jam. Magnificently intense music, must-hear. " | |
| 2022-07-23 | Bethel, NY | 12:57 | The celebratory yin to the set's preceding yang in the form of a wickedly dense "SYSF", this jam starts off pretty mellow and gets slightly more askew with a descending pattern at 7:00 and shortly thereafter starts the climb to the mountaintop and later erupts with an exaltation of "Still Waiting" at the summit. | |
| 2022-07-23 | Bethel, NY | 5:58 | Google: "Trey Anastasio and Chris Cottrell" and you'll find a very real post from Trey expressing just how much he loved Chris, and the love they shared for Hendrix. Best friends, they regularly played Jimi on the stereo, standing in front of the speakers together with Chris leaning into Trey's face yelling: 'Stain!!! Listen to that sustain!' Chris, frequently backstage, would cheer as Trey walked on, saying: "Stain! Sustaaaiiiin!" It'd be nice to think that Trey, back at Bethel, channeled not just his inner-Jimi, but Chris, as well, when, improbably, closing an impossibly cool encore, he lays the "Star Spangled Banner," just rife with sustain, atop the others who continue to run through "Fire." Amazing. | |
| 2024-08-09 | Bethel, NY | 14:17 | Trey augments his tone just so- a great nod to the song's roots- and wonderfully solos. There's a super, however subtle shift, following the 5:00 mark, and the jam assumes a different register. Blasts of sustain and more great Trey (nifty melodic and thematic variation) builds to bliss tinged with that "Allman's" twist which culminates in a fire conclusion offset by the song's vocal refrain. | |
| 2024-08-09 | Bethel, NY | 17:27 | Atoning for a somewhat ugly composed section, Trey slashes his way through a jam ignited by near full-band "Fuego" teasing, the four then yielding to a cool idea come 8:45, which builds to scattershot, yet engaging and musical improvisation, Trey finally finding a fun, atonal line before turning all "Crosseyed and Painless," which, bettered by Page on his piano, leads to raucous improv, all of this building to inform a fun, playful, 'What the hell was that?' conclusion. Maybe so? Why not. | |
| 2024-08-09 | Bethel, NY | 24:10 | Like a labyrinthine Hall of Mirrors, this "Tweezer" shifts through several moods and themes in impressionistic fashion. Fishman's cerebral, yet grounded grooving keeps the ship afloat as the band modulates between locked-in funk, abrasive dissonance, nearly rudderless psychedelia and finally a super catchy, Allman Brothers-inflected country rock section that turns anthemic. This then resolves back to the "Tweezer" theme and > a powerful "Pillow Jets". | |
| 2024-08-09 | Bethel, NY | 13:17 | > from "Tweezer". If you didnât know any better, you might think the beginning of this jam was out of "Melt" and not "Pillow Jets". Out of the muck, Trey leads the band into an upbeat, driving jam that oozes energy. Trey weaves his way back to a smooth segue -> "Tweezer". | |
| 2024-08-09 | Bethel, NY | 15:20 | Led by Trey's relentless invention and energy, this version is all gas and absolutely no breaks. Fiery group play abstracts at will, downshifting and upshifting without ever sacrificing cohesion, coalescing into a breakneck psychedelic rock clinic with Trey's guitar practically shooting off sparks. A brief return to the "Tweezer" theme (albeit in a different key) provides a fitting reprieve, before finally cooling off for "Shine a Light". | |
| 2024-08-09 | Bethel, NY | 11:46 | Don't let the timing deceive you, as this "Chalk Dust" is packed to the brim with ideas and energy. Trey and Mike's inspired, high-energy interplay lead the band through multiple modulations, a "Yankee Doodle" tease, and finally a burn-down-the-house peak, closing up shop on a killer set 2. | |
| 2024-08-10 | Bethel, NY | 17:56 | Breaks out of traditional "DWD" space almost immediately for a swirling, psychedelic zone, featuring excellent dynamic play from Mike. With a steady rhythmic attack providing a platform, play grows more and more densely layered, with tonal shifts popping up like wormholes along the way. The train rides on undeterred, before executing an excellent ->"Waves". | |
| 2024-08-10 | Bethel, NY | 17:24 | Centerpiece of a strong, cohesive set. > from "Twist," the band directly exits the song and throws just about everything, except Billy Strings (whose sound from the recent Michigan sit-ins looms) at the wall, creating, in fact, not so much a wall of sound, but a light/dark, bright and breezy psychedelic tapestry. Truly great version. And evidence, perhaps, why "just" Phish is more. > to "BASOS." | |
| 2024-08-11 | Bethel, NY | 9:23 | Trey screws around early, setting a great (if strange) tone, and an excellent, somewhat demented jam develops. Naturally, Mike features heavily. Some of the most off-beat Phish - the sort of improv one could listen to for days - does, in time, sync up, building to an upbeat, if familiar, conclusion. | |
| 2024-08-11 | Bethel, NY | 18:28 | After toying a bit with beat and meter, play calms at 6:30, and Trey, atop Fish, runs through a nice solo, informed by a (welcome) melody you've heard before. A few minutes later play nearly stills, with Mike and Page emerging to inform much by way of synthy sound. Trey latches on, and in time the jam, pushed by Fish, breaks to become a full-band celebratory affair - music, perhaps at its best, when Page jumps to his concert grand. | |
| 2024-08-11 | Bethel, NY | 21:21 | Another big "Bag" following NYE 23's masterpiece, though in lieu of tracking a multi-beast, Trey follows his instincts and summer's touring sound. Halfway through the version Trey discovers a great theme and we're off on another, special, voyage (somewhat reminiscent of MSG's sound), the jam then moving through a number of highly charged and disparate improvisational passages. |
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.
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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