|1998-04-02||Uniondale, NY||9:19||Debut has a crescendo-oriented jam that starts off relaxed and picks up punch.|
|1998-04-04||Providence, RI||15:18||Elongated and groovy version suggests several possible future jamming directions while never straying too far from "Birds" itself.|
|1998-07-02||Freetown Christiania, Copenhagen, Denmark||6:38||Although straightforward, this version features a soaring solo by Trey.|
|1998-07-15||Portland, OR||7:27||Slightly extended jam with the beginnings of some exploration beyond the standard.|
|1998-10-15||San Francisco, CA||8:27||Fiery and intense version features some excellent work by Page.|
|1998-11-11||Grand Rapids, MI||8:54||Machine Gun Trey is back at it in this powerhouse, albeit "Type I" version.|
|1998-11-13||Cleveland, OH||9:50||Stretching the boundaries of "Type I" jamming, this version is dark and ominous.|
|1998-11-27||Worcester, MA||8:36||An excellent straightforward version. Trey sounds like he's on a mission.|
|1999-07-08||Virginia Beach, VA||18:31||At first a wide-ranging and quality "BOAF" jam, this version then moves beyond, breaking into a "Days Between" jam, and an excellent and extended "If I Only Had A Brain" jam with strange lyrics from Mike and Trey. One of the best "Birds."|
|1999-07-10||Camden, NJ||14:06||At about 7:25, breaks from the mold into an up-tempo jam that recalls the excellent "CDT" jam from earlier in this show. Version then morphs into a punchy, funky groove which transitions, unfinished, into "When The Circus Comes."|
|1999-07-23||Columbus, OH||25:23||An upbeat and snappy groove develops beyond "BOAF", which then bounces between spacey and pumped-up forays. The band was apparently playing along to a wild thunder and lightning storm occurring at the time.|
|1999-07-25||Noblesville, IN||19:08||An excellent, upbeat and uplifting jam develops beyond "Birds" proper. The jam then gets dark and brooding before -> into "Walk Away."|
|1999-09-26||New Orleans, LA||11:50||"Call To The Post" tease early in the jam. Although it stays mostly within typical "Birds" territory, this version begins in a more subdued manner, only gradually picking up energy before a blistering closing.|
|1999-12-17||Hampton, VA||10:47||Decent jam that veers briefly away from the standard form.|
|2000-06-29||Holmdel, NJ||13:40||"A Love Supreme" tease. Around 7:50, the jam migrates away from "Birds" into a deep and somewhat dark groove-based jam. Unfinished with solid -> to "Catapult."|
|2000-07-12||Noblesville, IN||10:09||Sure it's all "Type I," but this is a very well played, straight out rocking version.|
|2003-07-21||Noblesville, IN||11:11||Leaves standard "Birds" behind at about 5:20 and breaks into an up-tempo, upbeat jam that also has moments of a darker sentiment. There's a brief return to "Birds" proper, before Page leads a quiet section that > into "Mike's Song."|
|2003-08-02||Limestone, ME||13:54||Some debate whether or not this jam goes beyond "Type I." Fishman keeps the rhythm in check throughout, but Trey explores a lot of directions in this quality jam.|
|2003-12-30||Miami, FL||10:17||Unusual and very good version that is bookended "L.A. Woman." "Birds" itself has a lengthy "L.A. Woman" tease, a crescendo semi-finish, and then segues back to "L.A. Woman."|
|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. Must-hear.|
|2009-08-14||Hartford, CT||9:32||Similar to 11/13/98 in that this version mostly stays "in bounds," but likewise pushes the envelope. A quality version.|
|2009-11-25||Philadelphia, PA||12:49||Very well played through 7:40 when the jam gets out there with some nice work by Page and Mike. Eventually returns to "Birds" proper. A very exploratory version for 3.0.|
|2012-06-15||Atlantic City, NJ||14:37||Following a good straightforward "Birds" jam, this one moves beyond "BOAF" proper into an upbeat, pulsing jam. From there, it shifts again into 3.0-style ambient space, before regaining some rhythm and -> to "BOTT."|
|2013-07-30||Stateline, NV||7:45||Very well played, mostly straightforward jam that has a nice settled section before rebuilding to a fiery conclusion.|
|2016-07-16||George, WA||7:25||Combining reverb-heavy sounds with a very different take on the familiar theme, this jam sways from passage to passage with increasing intensity, until peaking with solid Page and Trey. Straightforward structurally, this unique rendering of the "BOAF" jam is classic Phish, reinventing older material.|
|2016-10-30||Las Vegas, NV||15:05||Supercharged -> from "DwD" sparks breezy, airy playing, which breaks down around the 5:00 mark. Page is great, and the jam never loses momentum as Trey modifies his tone and the band fluidly floats through a few different tempos before, ultimately, alighting upon a suspended plane of marked beauty and sustained grace.|
|2019-06-19||Cuyahoga Falls, OH||23:30||Fan favorite from 2019. Immediately moves into a warm and soothing zone with Page's electric piano leading the way, then briefly picks up steam and lets Trey cook before sliding into a grimy synth-laden groove that Fish drives with some thunderous drumming. A nice semi-tropical jam emerges and gives way to a woo/sample-off, and then the band rebuilds the jam and pushes for a super peak. The nifty little post-peak groove they tack onto the end is just icing on the cake.|
|2021-08-11||Hershey, PA||18:48||Much like the also-superb 7/9/16 "DWD", mainly stays within the envelope of the usual "BOAF" jam at first, but finds some interesting avenues within thanks to Trey's handy effects pedals. Moves into major key with Page switching to electric piano and Trey playing some repeating notes, then Fish kicks into high gear and Trey briefly switches to chords before tearing off some gnarly solos. Moves into a stranger 2.0-esque zone with Trey building up a wall of sound with his effects, Fish really urging him on, then cools down and heads back to "BOAF" proper (a thing that happened a lot this year). Strong version from one of the Summer's strongest shows.|
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.