Jam Chart for shows in the city of Hampton, VA (63 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1995-11-25 | Hampton, VA | 8:03 | Set II opener. Stretched-out, multi-faceted psychedelic jam that includes "Mind Left Body"-like jamming from 2:47 - 3:21. Jam has an eerie, quiet, mid section, then regains power. Extremely dissonant. Transition to "Kung." | |
| 1995-11-25 | Hampton, VA | 11:30 | Following "Kung", which is performed like a hymn, "Mike's Song" takes the long journey home: A typically fierce version bending to break into an incredible "Rotation Jam" (like @SomethingsPhishy points out: If you didn't know better, it's tough, on tape, to realize the band swaps gear) which, ultimately, finds the four on Page's rig - this, before a seamless -> back into "Mike's." Fall Phish at its finest. | |
| 1995-11-25 | Hampton, VA | 13:23 | -> "Mike's". Debut finds the bandmates swapping gear before settling to play upon Page's rig before returning to "Mike's Song". | |
| 1995-11-25 | Hampton, VA | 5:15 | -> from the first "Rotation Jam," the musicians return to their instruments to complete the first segment of a momentous "Mike's Groove." | |
| 1997-11-21 | Hampton, VA | 16:58 | A dark and stormy groove with Fall '97's unique sound. Funk is the predominant style initially but the jam becomes more ambient and throbbing towards the end and taps into that same enveloping power found in the next night's "Halley's" jam. | |
| 1997-11-21 | Hampton, VA | 9:59 | Jam is well played but typical - then there is a long digital delay loop fade out instead of the usual closing chords. | |
| 1997-11-21 | Hampton, VA | 25:42 | > in from "Ghost." The band dexterously weaves together layers of hard rock, funk, and delicate, ambient space almost imperceptibly, as the transitions are so fluid. Difficult to break into easily defined sections or movements, it's more like a dynamically evolving life form. -> to "Slave To The Traffic Light." Simply must-hear. | |
| 1997-11-21 | Hampton, VA | 12:30 | -> in from a monster "Bag." '94 and '97: Great years for Phish and for "Slave." But the styles (for both) are very different. This "Slave," like many '97s, has a feeling of gradual building, rather than skyrocketing from valley to peak. | |
| 1997-11-22 | Hampton, VA | 16:32 | Single jam format, but there's a lot going on in this funk filled fan favorite. Patient but clearly directed, the band works the basic groove over and over, adding texture and accent, swelling and shrinking the energy. Around 12:00, the focus shifts to quieter musing and exploration, before finially slipping neatly into "Hydrogen." | |
| 1997-11-22 | Hampton, VA | 13:34 | A fan favorite show opens with a strong "Mike's Groove." "Weekapaug" begins with strong "Type I" jamming through 6:50, when it shifts to '97-style funk mode with a slightly dark tone. The funk ends with a "stop" and returns to "Weekapaug" in very good form. | |
| 1997-11-22 | Hampton, VA | 18:00 | This patient "Hood" has an extended and very gradual build. The peaking section in the final few minutes is quite glorious. | |
| 1997-11-22 | Hampton, VA | 24:13 | Starting off in a funky, mellow groove, the jam gradually grows legs and momentum with excellent contributions from all four. At about 18:00, the jam downshifts to a more quiet, pensive sentiment with occasional flashes of powerful bass and percussion. A must-hear classic. | |
| 1997-11-22 | Hampton, VA | 11:31 | Popular, widely circulated funky version. "BEK" teases. | |
| 1998-11-20 | Hampton, VA | 14:06 | "Type I" intense jam that builds to a serious peak with great interplay by all four. Cycles down with no closing. > to "Piper." | |
| 1998-11-21 | Hampton, VA | 9:51 | Super Page solo followed by ever-so-delicate-and-nimble Trey. Fish rocks the build-up with some serious drumming. | |
| 1998-11-21 | Hampton, VA | 15:21 | The straightforward jam is galacticly beautiful. | |
| 1999-12-17 | Hampton, VA | 10:47 | Decent jam that veers briefly away from the standard form. | |
| 1999-12-17 | Hampton, VA | 5:05 | A spacey, quiet jam with building energy and effects from Page spans the gap between "The Moma Dance" and "Bug." | |
| 1999-12-17 | Hampton, VA | 17:22 | Rooted in the improvisational millennial groove of '99, although perhaps more repetitive and even plodding at times, Fishman largely leads the jam until about 8 mins in, when Trey adds some space vamp. At 10 mins in, Mike changes course, and the jam takes on a menacing, heavy tone, continuing to build in intensity until a looped-out groove arises, and slow rolls its way to a thunderous conclusion. Not as wonderfully weird as 12/4/99, or as funky and fun as the 12/31 performance, but still an incredible three versions to end the century. | |
| 1999-12-18 | Hampton, VA | 22:47 | Very inspired jam segment! (No B&D.) | |
| 1999-12-18 | Hampton, VA | 17:34 | An average "2001" becomes great when a Frampton "Do You Feel Like We Do" jam takes over. Bob Mayonnaise on the keyboards ladies and gentlemen. | |
| 1999-12-18 | Hampton, VA | 16:20 | Ambient roar. | |
| 2003-01-02 | Hampton, VA | 14:18 | Leaving "CDT" behind, a multi-section, very upbeat and spirited jam takes hold which then grows quiet and contemplative before returning to "CDT" for a full power finish. | |
| 2003-01-02 | Hampton, VA | 16:25 | The jam starts in customary manner, then shifts to funk mode while sticking to "Gin," breaks into a funky and rocking groove, and finally returns to "Gin" in an extended and celebratory manner. | |
| 2003-01-02 | Hampton, VA | 11:25 | Good version, where the jam's rhythm is straightforward, but Trey and Page explore a little more territory and have excellent interplay. | |
| 2003-01-02 | Hampton, VA | 20:58 | Debut. Jam gradually settles down from high powered "46 Days"-style in to a subtle, Trey and Page led foray. Picking up rhythm and energy, there are "CYHMK" teases as the jam builds in intensity. Settles down at the ending with no return to "46 Days" proper. | |
| 2003-01-03 | Hampton, VA | 13:41 | This debut version set a high standard for the jamming potential of the song and exemplifies the uplifting and rocking playing heard in all subsequent performances. | |
| 2003-01-03 | Hampton, VA | 14:52 | Super solid version with a gradual transition out the funk phase that develops into a kick-ass celebratory blow out. | |
| 2003-01-03 | Hampton, VA | 7:04 | This version has a cool little jam, that is laid back and spacey. Trey provides some engaging noodling after the five minute mark. | |
| 2003-01-03 | Hampton, VA | 8:18 | In the encore slot, this excellent "Contact" features an extended, rocking and funky jam. | |
| 2003-01-04 | Hampton, VA | 9:25 | Outstanding version combines exceptional Trey soloing, strong Page/Trey back-and-forth, and excellent dynamics modulation driven by Fish and Mike. This one will make you weep with joy. | |
| 2003-01-04 | Hampton, VA | 12:05 | A really excellent Page section. Trey starts out tame, but by the end his guitar sounds like a jet engine or rocket ship cycling up for lift off. | |
| 2003-01-04 | Hampton, VA | 11:17 | Very improvisational version which makes a big move away from the standard at 3:45 and takes on an increasingly dark tone. Whether it's "Type I" or "Type II" is really irrellevant. It's a great and different version, well worth checking out, and includes an unusual transition to "What's The Use." | |
| 2004-08-09 | Hampton, VA | 19:00 | Breaks free and clear of "CDT" into a serene, very melodic, Trey and Page led foray. Starts to build in energy and pulse, then abruptly veers back to "CDT" at about 18:00. Must-hear, especially for any 2.0 doubters. | |
| 2004-08-09 | Hampton, VA | 21:06 | A thrilling, intense, Must-Hear version, right on the heels of one of the best versions of "Chalk Dust Torture" ever. No comparison with previous eras, this is uniquely 2.0-style jamming. -> to "Runaway Jim." | |
| 2004-08-09 | Hampton, VA | 17:34 | Aggressive, in-your-face "Type I" version. | |
| 2004-08-09 | Hampton, VA | 12:29 | A nice shift to major mode early on, then Trey, Page and Fish depart to extreme dissonance land. Not the prettiest, but it ain't straightforward. | |
| 2009-03-06 | Hampton, VA | 6:05 | Debut. | |
| 2009-03-07 | Hampton, VA | 8:43 | First "BOTT" of 3.0 sets a good precedent, although it would be surpassed by a number of subsequent versions (see below). Really, the band is playing "BOTT" better in 3.0 than previously, with the notable exception of 2/28/03. | |
| 2009-03-07 | Hampton, VA | 9:09 | Spacey, effects-laden jam with Page on synthesizer instead of piano. | |
| 2009-03-07 | Hampton, VA | 12:21 | Departs from standard "R&R" at about 8:30, in a delicate, melodic foray that sets up nicely for segue to "Limb By Limb." | |
| 2009-03-08 | Hampton, VA | 6:29 | Debut. Straightforward. | |
| 2009-03-08 | Hampton, VA | 22:17 | An unusually melodic, intricate and mesmerizing jam develops. While also improvisational, it's the grace and beauty of this version that distinguishes it as perhaps the highlight of the run of shows beginning the 3.0 era. | |
| 2009-03-08 | Hampton, VA | 8:53 | Some downright filthy and nasty "Type I" playing by Mike and Trey (2:50 - 5:45) settles, then breaks at 6:00 into some serene major mode playing before growing dissonant, spacey and -> to "2001." | |
| 2013-10-18 | Hampton, VA | 11:42 | At 7:10, the jam breaks into a nice groove that turns 3.0-style ambient and subtle and > to "Free." | |
| 2013-10-18 | Hampton, VA | 9:18 | The jam builds to a peak, seemingly to conclude, then settles briefly before rebuilding to a second peak. | |
| 2013-10-18 | Hampton, VA | 16:06 | Fantastic, multi-section version in which Page is clearly the superstar, on the B-3 and teaming with Mike early, jumping to piano for some melodic "HOSE" with Trey, and downshifting to great funk action with Mike. | |
| 2013-10-19 | Hampton, VA | 10:53 | Features a surprising rhythm-based section with Trey joining in on drums and Mike playing his fight bell with drumsticks. Worth hearing for this journey "outside the box" alone. | |
| 2013-10-20 | Hampton, VA | 9:28 | The boys do a nice job of driving this "Train" up and over a serious peak, taking several blissful minutes in so doing. | |
| 2013-10-20 | Hampton, VA | 23:07 | Exceptional, diverse "type II" action, ending in a mellow, spacey haze. | |
| 2013-10-20 | Hampton, VA | 17:14 | > in from "Tweezer" as the second half in a pair of phenomenal jams. The usual funk-rock elements are present, but the jam gets taken to another level when it bleeds into an intense, psychedelic ambience. Fishman on Marimba Lumina. > to "Piper." | |
| 2013-10-20 | Hampton, VA | 8:10 | A breakdown truly worthy of the mothership. Mike yet again inspires greatness and Trey answers with some Echoplex love. Tip your bass player. | |
| 2018-10-19 | Hampton, VA | 9:24 | Solid, straightforward version with varied jamming and a nice, Trey-led peaking section. Mike and Fish are noticeably strong. | |
| 2018-10-19 | Hampton, VA | 23:21 | Aggressively experimental "anti-bliss" jamming begins with angular grooves and then takes a rare deep dive into the abyss with plentiful space effects and "Shipwreck" quotes. Resurfaces > "Twist". | |
| 2018-10-20 | Hampton, VA | 10:06 | A nice, Page and Trey-led mini jam occurs during the first instrumental bridge. In the main jam segment, soothing, straightforward, and relaxed playing rapidly gives way to an inspired crescendo, with great Page and Fish. | |
| 2018-10-20 | Hampton, VA | 9:12 | Here we find "46 Days" at its most punishing in a jam that gets downright grisly as the tension mounts past 5:30 and builds to the first seismic peak. Not to be outdone, in the post-lyrics section Fish thrashes his kit for a bone-crunching finale. | |
| 2018-10-20 | Hampton, VA | 18:40 | Punchy from the start, this version cooks for several minutes before a major-key improvisation occurs, in which Trey hoses everyone down mellifluously. The jam then segues smoothly into a spacey, divinely-melodic interlude, and a patient, steady build transpires, eventually reaching a spectacular peak. The improv then dramatically melts down, but instead of concluding, the jam surprisingly shoots skyward to a second powerful-but-fleeting peak, before "Dirt" abruptly begins. | |
| 2018-10-21 | Hampton, VA | 8:49 | The entire band is locked in from the start on this version. While it may never stretch outside the confines of the song proper, the jam features tight playing all around. | |
| 2018-10-21 | Hampton, VA | 19:54 | A creeping late-night stroll accented by a descending progression and mysterious Trey soloing then smoothly transitions to bliss and ignites at minute 17 for a joyous, trill-filled peak before slamming back into "Simple" to end. | |
| 2018-10-21 | Hampton, VA | 9:18 | Mike and Page lead a funky, exploratory back-end jam. The energy builds when Trey jumps in, adding to the mix. Nice to hear this camel have a walk about. | |
| 2018-10-21 | Hampton, VA | 14:08 | The substantial post-lyrics jam visits places both light and dark and eventually settles into a jazzy minor zone with a vibe similar to "Timber Ho" and, in the last minute, "David Bowie", as it gathers steam and seems poised to explode but makes a good -> to "Rise/Come Together" instead. | |
| 2018-10-21 | Hampton, VA | 16:18 | The jam peels away from typical playing at around 5:45, shifting to some soft, warm grooving. Picking up energy, the familiar "bliss" jam feels imminent, but instead, the playing shifts to some darker, spacey, Mike-led punchy rock. The intensity builds to a peak, before grinding down. | |
| 2018-10-21 | Hampton, VA | 12:57 | Following a quality piano solo, Trey grabs the marsupial by the scruff of the neck, and proceeds to give it a serious workout. Like many versions from the early '90s, Trey explores a number of musical ideas and variation, all within the context of "Possum." Strong, straightforward jamming here. |
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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