Every Phish tour has a few nights that fans end up talking about for years, and this summer’s two shows in Savannah, Georgia are already in that conversation. The band has now released both performances as a digital box set, Phish: Live in Savannah 2026, capturing their first ever appearances in the city at the Enmarket Arena on July 14th and 15th. The set is available on all major streaming services and on LivePhish.com, where the version sold directly through the site adds an exclusive bonus soundcheck recording from the first night. The recordings were captured to multitrack and mixed and mastered by longtime Phish collaborator Jon Altschiller, with additional engineering by Danielle Warman.

Night One: A Record Breaking Melt

The first night, a Tuesday at the new 9,500 capacity arena, opened with “David Bowie,” the first time in more than sixteen years that the Junta classic has started a show. It set a loose, adventurous tone that the band never abandoned. “Gumbo” stretched to sixteen minutes, the longest jam on a Jon Fishman song since 2003, and Trey Anastasio called out Page McConnell as the song joined the long running “play it, Leo” tradition. Mike Gordon flubbed a lyric on the bluegrass cover “The Old Home Place,” smiled, and got cheered by the crowd for it.

The first set ended with “Horn,” a song played 180 times since 1990 that the band took further than it ever had, a fourteen minute jam that is now the longest version on record and pushed the song well into open improvisation. Then came the main event. The second set’s “Split Open and Melt” ran just shy of thirty two minutes, the longest version in the song’s thirty seven year history, and it was left unfinished before flowing into “Sand,” with “It’s Ice,” “About to Run,” “Piper,” and “Walls of the Cave” to follow. It was the third straight Phish show with a jam over thirty minutes, a first for the band. The encore paired “The Squirming Coil” with “Fire,” the band’s first Jimi Hendrix cover in 132 shows, with its lyrics altered for the night.

Night Two: A Wedge That Wouldn’t End

The second night answered the first with a different kind of ambition. After “Dinner and a Movie” returned following an eighty two show absence, the longest gap for that song in the band’s history, “Vultures” opened up for thirteen minutes, a new record for that song, with Gordon’s bass runs and Anastasio’s soloing leading the way. It moved into “Taste” and then into “The Wedge,” which grew into a twenty nine minute jam that set another record. Before this night, only one of the thirteen previous Jam Chart versions had passed ten minutes. Anastasio began by developing a melody while Fishman rode the song’s rolling rhythm, and the jam’s cohesiveness kept suggesting segues and teases that never quite arrived. It finally resolved into “Pebbles and Marbles,” which drew a cheer from the crowd, and the first set closed with “Divided Sky,” “Halley’s Comet,” and “Drift While You’re Sleeping.”

The second set opened with “Sightless Escape,” which grew past twenty minutes, and flowed through “A Song I Heard the Ocean Sing,” “Crosseyed and Painless,” “Farmhouse,” “Scents and Subtle Sounds,” and “Ghost,” with “Crosseyed” moving from a conventional jam into a deeper section driven by Anastasio’s guitar and Fishman’s drumming. The night closed with a Page led encore of “Rock and Roll,” the Velvet Underground cover. Together, the two shows deliver more extended improvisation than most entire tours, which is exactly what a live archival release like this is for.