Jam Chart for shows in the city of Mansfield, MA (56 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1993-07-24 | Mansfield, MA | 10:29 | This is a sick, sick puppy. All kinds of improvisation combined with a generally mean-spirited sentiment. | |
| 1993-07-24 | Mansfield, MA | 9:20 | The 2nd jam begins with a rocking, percussive tone, then cycles down to dream-like, easy going melodic play that sounds akin to "Blue Bayou." The energy then ramps up, with "Crossroads"-like playing as it returns to "Mike's" proper. | |
| 1993-07-24 | Mansfield, MA | 7:04 | The jam is brought down to near-silence before kicking back in with a bluesy section and returning to traditional "Weekapaug" to close. | |
| 1994-07-08 | Mansfield, MA | 12:27 | Great jam featuring "Manteca" teasing and super Trey. After the band disassembles their sound, soaring play is once again restored as Trey whips through a series of nasty licks. Arguably a > into "Yerushalayim Shel Zahav" in lieu of whistling. | |
| 1994-07-08 | Mansfield, MA | 8:59 | A little chaotic, but some really great Mike action on this one. > to an excellent "Stash." | |
| 1994-07-08 | Mansfield, MA | 12:16 | This is the version on A Live One. Although the jam doesn't go too far out there, there is a repetitious section beginning at 7m that ratchets-up the tension considerably. The ending section is drawn out, furthering this effect. "This is what I play for any professional musician interested in hearing Phish improv because it is that perfect." --Drew Hitz, professional tubist and Mbird.org Board member. | |
| 1994-07-08 | Mansfield, MA | 12:54 | "YEM" -> "Frankenstein" -> "YEM." | |
| 1994-07-08 | Mansfield, MA | 4:45 | -> in from "YEM." "Frankenstein" is sandwiched in the "YEM" jam. | |
| 1994-07-08 | Mansfield, MA | 7:09 | -> in from "Frankenstein" which is sandwiched in this "YEM." "Frankenstein" tease from Mike in the B&D. | |
| 1994-07-09 | Mansfield, MA | 12:16 | Another strong version that weaves back and forth between "Antelope" and little brief departures. | |
| 1994-07-09 | Mansfield, MA | 14:57 | A chaotic, frenzied and twisted version. Plenty of improvisational jamming, yelling and screaming throughout, even a brief Trey major mode solo right before the scream-filled ending. | |
| 1995-06-30 | Mansfield, MA | 17:38 | After a quick, typical 1st jam, the 2nd begins in a driving, rhythmic manner. Downshifting a few of times, the rhythmic pulse remains, but the jamming gets increasingly abstract. By 14:00, a spacey envelope has overtaken, and remains in place until a > to "Contact." | |
| 1995-06-30 | Mansfield, MA | 12:47 | Good varied play prior to the funky breakdown section, where Mike and Page again jump out in front, before Trey re-takes the con. | |
| 1995-07-01 | Mansfield, MA | 9:17 | Straightforward, but stretched out with great playing by all, especially Trey. | |
| 1995-07-01 | Mansfield, MA | 9:21 | Trey plays the original guitar intro, and the instrumental section is richly melodic. | |
| 1995-07-01 | Mansfield, MA | 9:30 | Highly unusual jam with Mike on the electric drill and Fishman on vacuum. | |
| 1995-07-01 | Mansfield, MA | 17:31 | Venomous, percussive and deranged "SOAM" that gets further and further away from the ranch as it progresses. Despite it's length, the jam here doesn't have multipe movements, sections that vary, etc. It's just sort of continuous chaos. | |
| 1995-07-01 | Mansfield, MA | 13:29 | > in from "Wilson." Trey wastes no time easing into this one. More like a scene from the Clint Eastwood movie "High Plains Drifter": Paint the town red and Burn It Down! | |
| 1995-07-01 | Mansfield, MA | 18:36 | Dissonant and extremely tension filled jam. Seems to be concluding, but then at about 14:10, the jam morphs into a gnarly, experimental jazz-like foray. Unfinished with a > "Stange Design." | |
| 1995-07-01 | Mansfield, MA | 14:19 | Great interplay between Page and Trey leads builds steadily and bursts into a soaring Trey solo and powerful peak. | |
| 1999-07-12 | Mansfield, MA | 11:52 | The jam breaks into a nice rocking major mode groove from 8:00 - 10:00 before returning to "Twist." | |
| 1999-07-13 | Mansfield, MA | 14:34 | Following the final refrain, the band immediately shifts into minor mode and a moderately dark groove. Shifts back to major mode for a more upbeat ending and -> to "Roses." | |
| 1999-07-13 | Mansfield, MA | 15:24 | Excellent version which ebbs and flows, swells and recedes, with Trey seemingly drawing heavily from a "Blue Bayou"-like melody (11:30). Mike alights upon a grooving bass line, which induces relaxed soloing, before Trey abruptly peels away and the jam assumes a darker sentiment. > to "Carini." | |
| 1999-07-13 | Mansfield, MA | 21:18 | A funky, low-key, groove-based jam emerges around 8:40 on the heels of "Wolfman's" proper, and continues, growing ambient and spacey after 15:40. > to "Piper." | |
| 2000-09-11 | Mansfield, MA | 13:07 | Typically upbeat, rhythm-oriented jam, but Page's solo is extended, with the band almost breaking into a groove, and there are several nice stop/start moments. Covers a lot of ground without ever moving beyond the "Ya Mar" format. | |
| 2000-09-11 | Mansfield, MA | 10:19 | A solid, extended version. | |
| 2000-09-11 | Mansfield, MA | 23:16 | Ferocious initial jamming leads to a repetitive and funky exploration with a Mike/Fish-led groove similar to "Sand." | |
| 2000-09-11 | Mansfield, MA | 8:37 | Segues out of "Piper." Ends with a really cool little Mike-led jamlet (which doesn't have too much to do with "WTU?," honestly) and > into "YEM". | |
| 2000-09-12 | Mansfield, MA | 7:45 | A rare set closing version, the band immediately gets into a brooding, droning, trance-inducing stomp, with Page adding some shimmering, cosmic layers on the high end. The band starts toying with a more arrhythmic idea, and maintain the evil energy and the strange bop even during the post "BLAT BOOM" riffing. | |
| 2000-09-12 | Mansfield, MA | 26:04 | A very rhythmic Fish and Mike led groove springs out of the customarily intense "Type I" section. Trey adds some spacey effects before bringing it back to close, followed by some transition space and a > to "Heavy Things." | |
| 2000-09-12 | Mansfield, MA | 7:11 | Don't be fooled by the duration. Despite its brevity, the band sets a quick tempo, but largely dark groove, and Mike is the champ on this one. Trey's playing is classic Y2K style, sitting nicely atop Mike's out-front bass lines. | |
| 2004-08-10 | Mansfield, MA | 16:16 | Almost immediately breaks away from "Bag" proper into an upbeat, fierce jam that has a hazy summertime vibe to it. After settling, the jam grows increasingly upbeat and energized. Really an excellent version. | |
| 2004-08-10 | Mansfield, MA | 20:55 | A quiet, brooding jam emerges with strong improvisational elements. After about 13:00, the jam morphs into a rolling, celebratory and euphoric phase. Although Trey repeats a theme over and over and over again, it's mesmerizing and wondrous. This first-set-closing version may not be for you, but it's MUST HEAR all the same. | |
| 2004-08-10 | Mansfield, MA | 11:35 | An improvisational version breaks free of the standard at 5:00, launching into varied rocking and funky jamming, with Trey yelling "Go!" repeatedly in the background at one point. After returning home, this version also includes an unusual slowed down ending. | |
| 2004-08-11 | Mansfield, MA | 9:10 | Most excellent version with incredible Page action on the B-3 during "Suzy" and great Fish. The band then extends the jam following the final verse with a -> to "DwD." | |
| 2004-08-11 | Mansfield, MA | 15:51 | -> in from "Suzy." The jams gets well removed from "DwD" into quiet and dark exploration with great Page and Mike. | |
| 2004-08-11 | Mansfield, MA | 11:39 | Very different version with no real peak and no "Rocco" section. Instead the jam fades after 9:30 into a really nice little melodic groove that > "2001." | |
| 2004-08-11 | Mansfield, MA | 10:57 | One of the best played standard versions of 2.0. | |
| 2009-06-06 | Mansfield, MA | 9:10 | Mike figures prominently in the jam as Trey brings the volume way down early. Rousing finish to the jam. | |
| 2011-06-07 | Mansfield, MA | 16:22 | Determined to make up for some serious flubs in the 5/31/11 version, Trey in this instance introduces some very cool and very different staccato playing during the jam section. | |
| 2011-06-07 | Mansfield, MA | 16:46 | Another excellent version with an extended jam that at various times is rhythmic, melodic, spacious, and powerful. Segue to "Mango Song" continues to draw praise from fans. | |
| 2014-07-01 | Mansfield, MA | 10:50 | A really nice break to major mode with good Page/Trey interplay smoothly works back to typically tension-filled "Stash." | |
| 2014-07-01 | Mansfield, MA | 18:34 | A thunderous, powerful, exploratory and very improvisational jam breaks almost from the get go. After landing in uncharacteristically darker terrain, the jam finds brighter ground, ventures further astray, and finally winds its way back to the land of "Hood." | |
| 2016-07-08 | Mansfield, MA | 13:47 | Early technical issues, a Brian Brown introduction, and a guitar switch do nothing to deter the band from taking "Cities" on a journey across the globe. Some strong but typical jamming leads to more instruments switching and the jam evolves / devolves into highly percussive near free-form jazz. | |
| 2016-07-08 | Mansfield, MA | 19:16 | Amusing vocal challenges and a slight return to atonal phrasing by Trey at first. Then this excellent jam courses through hard charging rock, start-stop "woo"-infused play, and funky, "Manteca"-like action. Serious sonic exploration as each player deploys an instrumental weapon of choice, before finally giving way to cathartic space and the rise of the "Wolfman." | |
| 2022-07-14 | Mansfield, MA | 12:05 | Opening the first Set 2 of the tour, this jam is full of bliss and great playing from Trey. Early on, there's interplay with Trey and Page playing cat-and-mouse. Around the 10:00 minute mark, a neat melody is found. Trey starts telegraphing while the jam is still going, and it eventually -> "Plasma". | |
| 2022-07-14 | Mansfield, MA | 11:41 | > from "CDT," another exceptional "Plasma," arguably the best recent (2014) addition to the band's massive canon. Trey and Fish play as one, but, if interested in bypassing the (indeed euphoric) peak to lock in on "peak" Phish musicianship, listen four times as a means to follow each musician and his unique contributions. If nothing else, more evidence that Trey loves "Plasma" just as much as we do. | |
| 2022-07-14 | Mansfield, MA | 9:47 | -> from an excellent Plasma, Weekapaug makes another "Mike-less" surprise appearance here sans bass intro. Play beginning typically upbeat with strong Mike leads and Page moving quickly from clav to piano, then distinguishing itself as Trey turns on the "touch tone" effects and Page eventually responds with his synths. Fish and Mike keep the Groove anchored until taking a rare turn through a brief yet lush ska section before -> to Saw it Again. | |
| 2022-07-14 | Mansfield, MA | 6:18 | Outro includes a brief but meaningful departure from the typical and seems to hint at "Fuego" before a deranged but pretty smooth -> to "Caspian". | |
| 2024-07-19 | Mansfield, MA | 9:37 | Second song of Summer '24, Trey demonstrates his commitment to reimagining older material. Atypical, the take seems born from that sonic batter mixed at the Baker's Dozen, the band, in lieu of a typical set-closing rocker, moving from the song, proper, into quieter, contemplative, "jazzy" musings - a welcome change of pace that, while a just dessert, sets the table for a tour full of surprises. | |
| 2024-07-19 | Mansfield, MA | 13:55 | The jam early on seems to draw from the ambivalence of the final lyrics as the band opens up a respectful space for each other. Fishman's insistent cymbal keeps some sense of direction as the conversation grows more fluid and brightens along Trey's melodic lead and Page's grand piano work. Mike hints at darkness and Trey responds with brief pedal play that quickly returns to cleaner tone and gives way to a tension free return to a thematic finish. | |
| 2024-07-19 | Mansfield, MA | 19:01 | The initial spelunk-funk of "Ghost's" outset jam breaks quickly for contemplative major key exploration, before escalating toward more rock- oriented pastures. The band plants their flag here and digs in when suddenly, a portal rips through space-time, catalyzing a dance with ""4.0's"" famous Dissonant Robots, before concluding with a >""Light"". | |
| 2024-07-19 | Mansfield, MA | 14:54 | > from "Beneath a Sea of Stars Part 1". Often imitated, never quite duplicated. "Melt" appeared four times in Summer 2024, with three of those (including this one) being the Set 2 closer. Each followed the same basic principle: utter deconstruction. How fine a line could the band walk while still keeping things slightly together? They did it best with the first try of the summer, mainly due to Fish's determined play that gives a backbone to the deconstruction happening all around him. | |
| 2024-07-20 | Mansfield, MA | 15:07 | Gallops out of the gates on the back of Mike's bouncing play and Trey's familiar riffs before transitioning into twinkling psychedelia that moves through diverse spaces becoming more melodic, never quite peaking, and eases through dissonance that deconstructs into "Monsters". | |
| 2024-07-20 | Mansfield, MA | 12:24 | > from "2001," this electric version, quite similar to several "compact" jams of late (check out the song's JC), strikes that fine, Phishy line between melody and cacophony. Perhaps most notable, here, is Treyâs excellent, sustained, soloing. | |
| 2024-07-21 | Mansfield, MA | 16:52 | > from "Tweezer". The full "Scents" treatment with intro. The play is patient and slowly builds towards a celebratory jam. The jam takes a turn and is highlighted by some fantastic play from Fish. The tempo slows considerably and eventually > into "Twist". |
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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