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The Top 10 Active Jam Bands

PrevPreviousCannadelic Miami 2025–a Review
  • Bill Kurzenberger
  • June 4, 2025
  • 6:54 am

The Top 10 Active Jam Bands

In the final years of the 20th century approaching the dawn of the new millennium, a new genre emerged which came to be known as jam-band. The genus developed in the 1990s largely due to two travelling festivals which featured multiple seminal jam bands touring the amphitheater circuit together for the first time. First came The H.O.R.D.E. Festival (1992-98) featuring host band Blues Traveler, Phish, The Allman Brothers Band, Aquarium Rescue Unit, Widespread Panic, Galactic, Rusted Root and many more. Following the untimely demise of Jerry Garcia and the Grateful Dead in 1995 arose the Furthur Festival (1996-98), a multi-year wake and continuance of the GD’s legacy featuring that band’s off-shoots alongside veterans Hot Tuna and Arlo Guthrie, radio-friendly Bruce Hornsby and the Black Crowes, as well as several newcomers including moe.

Entering the 21st century in the aughts decade, jam-bands were suddenly all the rage as a plethora of vaguely Dead-influenced groups each propelled their careers with their own unique flavor, especially during Phish’s hiatuses. I fondly remember the jam-band heyday of the early 2000s in Columbus Ohio, when local jammers were temporarily promoted from mid-sized clubs to the Newport Music Hall for showcase nights designated Jam-Band Wednesdays and Fridays. Perhaps the 2000s were the pinnacle of the jam-band scene; though they may have plateaued, those groups that persisted on a national level through the following decades are worthy of recognition to this day.

What is a jam-band? Essentially they are eccentric groups which perform wide-varied setlists that are never repeated, consisting of original and traditional songs steeped in Americana, rock, blues, jazz fusion, psych, prog rock, and/or newgrass at lengths randomly varying from six minutes to sixty minutes apiece, with extended excursions into improvisational psychedelia at any given moment. From the smallest music club to ballrooms, arenas and

What is a jam-band? Essentially they are eccentric groups which perform wide-varied setlists that are never repeated, consisting of original and traditional songs steeped in Americana, rock, blues, jazz fusion, psych, prog rock, and/or newgrass at lengths randomly varying from six minutes to sixty minutes apiece, with extended excursions into improvisational psychedelia at any given moment.

amphitheaters around the United States, Europe and beyond, no musical genre has collectively extended psychedelic music and the free-spirited nomadry borne of the ‘hippie generation’ longer and further than the jam-band collective. The term may have become passé in recent decades, however the genre still maintains relevance even while sub-genres have emerged.

The primary qualifications for consideration on this Top 10 list are longevity, touring history, and impact on the world of music extending beyond regional fanbases and transcending manufactured pop stylings. For purposes of this list, only groups that are currently functional and actively performing will be considered, which notably excludes genre ancestors The Grateful Dead, Pink Floyd, Jefferson Airplane, The Allman Brothers Band and other forebearers without whom these jams would not be possible. An honorable mention is also deserved to earnest achievers of the next generation – including Eggy, Lettuce, Goose, and King Gizzard & the Lizard Wizard – who may well earn spots on this list as some of the elder groups inevitably age out over time.



#10:  Lotus

Years active: 1998 – present
Best-known studio release: Nomad (2004)
Best-known live release: Escaping Sargasso Sea (2007)
Total live performances: approx. / at least 648 *

Lotus is an innovative jamtronica band led by twin Miller brothers  Luke and Jesse, originally based at Indiana’s Goshen College before calling Philadelphia and Denver home over time. Guitarist Tim Palmieri of The (Psychedelic) Breakfast has been a shining star of Lotus as well in the post-pandemic years, along with reliable drummer Mike Greenfield. The group most recently reconvened after the sudden and heartbreaking loss of their percussionist Chuck Morris and his young son in a tragic boating accident two years ago.

Lotus is owed credit as an early adaptor of electronica as much as the Disco Biscuits, with uncurbed compositions that are intricate, inspiring and uplifting. According to guitarist/vocalist Jesse Miller, the band’s sound “comes from the roots of rock ‘n’ roll mixed with electronic beats that are popular today,” increasingly including prog rock and modular synth-based livetronica.

Preferring quality over quantity in their live performances, the group’s concert tour dates are limited and elusive. Meanwhile, Lotus continues hosting their annual dance-till-you-drop  Summerdance festival which returns to Nelson Ledges Quarry Park in northeast Ohio over Labor Day weekend.

 


#9:  The Disco Biscuits

Years active: 1995 – present
Best-known studio release: They Missed The Perfume (2001)
Best-known live release: The Wind at Four to Fly (2006)
Total live performances: approx. / at least 1,802 *

The Disco Biscuits are a trance fusion jam-band from the Philadelphia area. As with several bands on this list, they formed in college – in their case the University of Pennsylvania in 1995 – and performed at college bars around the area while honing their musical skills and gradually growing their fanbase on a national level.

Disco Biscuits were an early pioneer of electronica, and helped to cultivate emerging sub-genres jamtronica and livetronica in the late 1990s. Around that time keyboardist Aron Magner’s incorporated a Roland analog-modeling synth in his live keyboard rig to include arpeggiating looping techniques, in the interim decade between the decline of MIDI sampling and the rise of ‘laptop bands.’ Beatman Allen Aucoin features both traditional and electronic drums in his live kit with noticeable compression. Their frontmen bassist Marc Brownstein and guitarist Jon Gutwillig have a theatrical flair as both have written rock operas for local theater productions, occasionally also performed live by the Biscuits as well.

The group’s songs often feature complex arrangements with varying time signatures and a dominant major musical motif with steadfast singing, thematic guitar hooks and arcade-style synth attacks. As is common with this era of jam-bands, the Disco Biscuits also hosted their own eponymic music festival  for nearly twenty years; however Camp Bisco has yet to return in the post-pandemic era. Much like Lotus, the Disco Biscuits fly under the radar moreso than most established jammers. They are an “if you know you know” band; admittedly they are the only group on this Top 10 list that I have yet to see perform live.


#8:  Umphrey’s McGee

Years active: 1998 – present
Best-known studio release: Mantis (2009)
Best-known live release: Live at the Murat (2007)
Total live performances: approx. / at least 2,828 *

Umphrey’s McGee is a progressive group from the first phase of jam-bands that originated in the 1990s. Umphrey’s – as with many groups in the genre – pride themselves on boundless musical exploration, constantly rediscovering and pushing their limits. In the case of UM, their proclivities include frequent inclusion of progressive rock (“Hurt Bird Bath”), metal (“Sludge & Death”), electronica, and extended improvisational segments known as “Jimmy Stewarts,” the namesake of their 2007 double live album which are unique at every turn.

Based in South Bend, Indiana, the band is comprised of guitarist/vocalists Brendan Bayliss and Jake Cinninger, Joel Cummins on keyboards, bassist Ryan Stasik and percussionist Andy Farag, each who have been long-time members since 2000 or longer. Umphrey’s has persisted to frequently record new material – moreso than most bands represented here – releasing six new studio albums over the past decade including 2016’s Zonkey and their most recent release Asking For A Friend.

Their stock may be temporarily fading with the recent departure of long-time drummer Kris Myers, and cancellation of this year’s Summer Camp Music Festival which the band has hosted and organized for over twenty years. However Umphrey’s McGee seems intent on forging ahead with Scotty Zwang on drums, recently announcing that their Summer Camp fest will return in 2026 and performing steadily with their Cruising Altitude tour in progress.


 

Tedeschi Trucks Band live 2019 by C. Elliott

#7:  Tedeschi Trucks Band

Years active: 2010 – present
Best-known studio release: Revelator (2011)
Best-known live release: Layla Revisited (Live at LOCKN’ 2019)
Total live performances: approx. / at least 1,118 *

Tedeschi Trucks Band is a well-varied and formidable ensemble led by power couple Susan Tedeschi and Derek Trucks. Both accomplished blues guitarists and Grammy award winners with individual accolades, Susan and Derek wed in 2001 and toured as together as Derek Trucks & Susan Tedeschi’s Soul Stew Revival before forming the TTB in 2010. Trucks initially recruited a few of his bandmates from The Allman Brothers Band and his own side project including Mike Mattison, Kofi Burbridge and bassist brother Oteil Burbridge from ABB. Tedeschi brought to the table her sultry singing and songwriting skills, which became the launchpad for TTB’s repertoire paired with Trucks’ musical arrangements.

The band’s membership has changed over the years in the horn/woodwind and rhythm sections, proceeding without the Burbridge brothers after Oteil’s

Perhaps the 2000s were the pinnacle of the jam-band scene; though they may have plateaued, those groups that persisted on a national level through the following decades are worthy of recognition to this day.

departure and Kofi’s untimely passing in 2019. TTB’s live performances prominently feature Tedeschi and Mattison’s vocals backed by a full ten-plus-piece band, with instrumental leads provided by Derek and Susan’s fiery guitars, flutist Kebbie Williams and a full horn section.

Musically, their repertoire varies from southern rock and blues from their solo and joint releases to long free-form jazz excursions reminiscent of Sun Ra and Weather Report. At the 2019 LOCKN’ Festival in Virginia, Tedeschi Trucks Band faithfully recreated Derek and the Dominos’ vintage album Layla And Other Assorted Love Songs in its entirety, with the help of guitarists Trey Anastasio from Phish and original Dominos member Doyle Bramhall. Aside from their festival appearances, the genteel group’s live shows are often attended by an oldster crowd which largely remains seated throughout, a departure from the contagious revelry exhibited at most jam-band concerts.

moe. press photo by Paul Citone

#6:  moe.

Years active: 1990 – present
Best-known studio release: Wormwood (2003)
Best-known live release: Warts and All (2001–2008)
Total live performances: approx. / at least 2,348 *

moe. has a long tale to tell dating back to their founding in 1989 at the University of Buffalo. Led by bassist Rob Derhak and axemen Chuck Garvey & Al Schnier, their lineup includes new keyboardist/vocalist Nate Wilson and long-time drummers Vinnie Amico and Jim Loughlin. Founders Derhak and more recently Garvey both recovered from serious health issues and returned to the group after year-long pauses, continuing to serve as inspirations to the band and their fans.

moe.’s music varies from bouncy and uplifting ditties to fierce, brazen hard rock to protracted psychedelic forays. They have some commonalities with Umphrey’s McGee as both bands’ guitarists are prone to metallic shredding; in fact, Umphrey’s has covered songs by moe. The band first gained prominence in the jam scene in the late 90s, touring with the Furthur Festival in 1997 while notably pairing with Bob Weir and Bruce Hornsby at times during the festival tour. After performing at Woodstock ’99 they became a mainstay at Bonnaroo Music Festival in the 2000s, while often hosting their own fests in upstate New York in the form of moe.down.

Persevering through a few breaks over the past decade for personal recovery and the pandemic, moe. has resumed touring and performing ambitiously in recent years. After surprising their fans with three “Monkeys on Eggnog” secret shows in Stowe, Vermont to conclude 2024, the band started this year on a bright note with the resolute release of their fourteenth studio album Circle of Giants.

Gov't Mule live 2024 by C. Elliott

#5:  Gov’t Mule

Years active: 1994 – present
Best-known studio release: The Deep End, Volumes 1 & 2 (2001-2002)
Best-known live release: The Deepest End, Live In Concert (2003)
Total live performances: approx. / at least 2,482 *

Gov’t Mule was conceived in 1994 by Warren Haynes and Allen Woody as a side project of The Allman Brothers Band. Gov’t Mule owes much to ABB as the latter both established Warren’s career as a first-rate blues/rock guitarist and equally stifled him from being a lead vocalist; at the time, Gregg Allman often sang lead on Warren’s signature song “Soulshine” during Allman Bros. shows moreso than Haynes. The result was Government Mule – Gov’t Mule for short – initially a trio featuring Haynes, bassist Woody, and Matt Abts on drums, soon after featured special guests like Bernie Worrell, Chuck Leavell, Marc Ford and Jimmy Herring (Live with a Little Help From Our Friends circa 1999). Unlike the ABB, Mule provided Haynes with sufficient space to develop and feature his singer-songwriter chops.

The band was just catching steam after its initial studio releases when Allen Woody died unexpectedly in 2000. To commemorate his passing, Haynes recruited some of rock’s best-known bassists to join Gov’t Mule in the studio for The Deep End sessions as a tribute to Woody including John Entwistle, Jack Bruce, Jack Casady, Phil Lesh, Les Claypool, Bootsy Collins, Tony Levin, Billy Cox, Jason Newsted and  Flea, with some returning for The Deepest End, Live in Concert release that followed in 2003. Keyboardist/multi-instrumentalist Danny Louis permanently joined the band around the same time.

Warren Haynes soon gained MVP status in the jam-band world in the mid-2000s by touring endlessly with Gov’t Mule, the Allman Brothers Band, and The Dead. Haynes was simply unstoppable especially at that time, sometimes whisked from stage to stage via golf cart with guitar in hand at festivals like Bonnaroo while performing with four or more acts, and often taking time to perform acoustic and unamplified in the lively ‘Shakedown’ areas of parking lots at venues like Red Rocks Amphitheatre before his bands’ concerts.

While Mule’s repertoire prominently features swamp rock and southern blues – often borrowing musically from his days with the Allman Brothers – Warren also showcases his sentimental side with odes to quilting muses. Following Gov’t Mule’s most recent studio release Peace… Like a River in 2023, bassist Jorgen Carlsson left the group, with Kevin Scott filling in the low end. Since then, Haynes has increasingly cultivated his eponymous Warren Haynes Band, touring more often with his rejuvenated solo project than with Mule over the past couple years.


#4:  Widespread Panic

Years active: 1986 – present
Best-known studio release: Bombs & Butterflies (1997)
Best-known live release: Live in the Classic City (2002)   
Total live performances: approx. 3,174 – 3,245 *

 

Widespread Panic has the distinction of playing more documented live concerts than any other jam-band. Since their inception in 1986 the band has performed live well over 3,000 times, eclipsing closest runner-up Umphrey’s McGee by a few hundred shows.

Your mileage may vary with Widespread Panic, as their fame and status in the top jam-band tier typically depends on your proximity to the group’s home state of Georgia. As was the case with their southern rock predecessors the Allman Brothers Band and Lynyrd Skynyrd, their following is stronger south of the Mason-Dixon Line. While attending the 2003 Bonnaroo Music Festival in Manchester Tennessee, I was surprised that it was Widespread moreso than The Dead, James Brown, Neil Young, or The Flaming Lips garnering the most support amongst the crowd, who lovingly relished grizzled chief John Bell’s singing like Gregg Allman or Jerry Garcia before him.

At the same time it is guitarist Jimmy Herring who is the musical star of Panic, which is rounded out by  Dave Schools, JoJo Hermann, Domingo Ortiz and most recently Duane Trucks brother of Derek. Herring – a southern rock veteran from the Aquarium Rescue Unit, ABB, and Jazz is Dead – continues to dazzle fans with his fretboard wizardry while recently battling cancer. Restraining their live performances accordingly, Widespread has soldiered on with the release of Snake Oil King on the band’s own record label.


 

The String Cheese Incident

#3:  The String Cheese Incident

Years active: 1993 – present
Best-known studio release: One Step Closer (2005)
Best-known live release: Carnival ’99 (2000)
Total live performances: approx. / at least 1,870 *

The String Cheese Incident is a dynamic Colorado-based group which has been a mainstay in the jam-band realm for thirty years and counting. Initially a bluegrass band bankrolling on ski resort performances and private gigs around the Denver/Boulder area and Colorado Rockies, the group quickly invested in their own record label named SCI Fidelity which soon became a launchpad for their national exposure.

While taking flight in the 2000s, SCI gradually shifted from bluegrass to its emerging offshoot genre newgrass to pure jam-band rock, as their lineup expanded accordingly.  The group is fronted by greybeard guitarist/vocalist Bill Nershi and wizard Michael Kang on mandolin, violin & increasingly electric guitar. Completing the lineup are color guard Kyle Hollingsworth on organ/piano/keys, bassist Keith Moseley, Michael Travis and Jason Hann on drums & percussion.

As String Cheese Incident’s membership has grown with their jam-band proclivities, their frontmen Kang and Nershi have plugged in with electric guitars as the material calls for it. Excepting their bleak and introspective 2003 album Untying the Not, the group’s original songs are typically carefree, celebratory and major-driven. When performing live for their rabid, dedicated fans, String Cheese pulls from many genres well beyond their favored newgrass from New Orleans funk to reggae-driven island vibes to exotic Egyptian flavors, placing SCI firmly in the top two jam-bands actively touring beyond residencies.


 

Dead & Company 2017 press photo

Dead & Company 2017 press photo by Danny Clinch

#2:  Dead & Company

Years active: 2015 – present
Best-known studio release: None
Best-known live release: 9/18/2021 Wrigley Field, Chicago, IL
Total live performances: approx. / at least 284 *

Dead and Company is both the most qualified and the least qualified band on this list. The group emerged in fall 2015 immediately following that summer’s Grateful Dead Fare Thee Well limited concert series celebrating the GD’s 50th anniversary (the final shows to feature the “core four” members Bob Weir, Mickey Hart, Bill Kreutzmann, and the recently departed Phil Lesh).

On the plus side, Dead & Company has carried the torch of the Grateful Dead’s beloved music long after we expected to see any of the original bandmates performing together.  As Weir, Hart, and Kreutzmann constituted half of the GD’s final lineup, Dead & Company has been best suited to continue that legacy following their previous lineage and incarnations: The Other Ones, The Dead, and Furthur. All members are accomplished veterans of the jam-band and rock world, including John Mayer, Oteil Burbridge from the Allman Brothers Band & Aquarium Rescue Unit, Jeff Chimenti and Jay Lane who have served decades with Weir’s projects Ratdog and the Wolf Bros.

On the other hand, Dead & Co. has yet to record or release any new music in their first decade in existence. Their live repertoire consists of the same originals once written and performed by the Grateful Dead along with pre-existing covers, only occasionally including a Bob Dylan number or other classic rock song from outside the Dead’s vast songlist. While they could easily include fine songs from Bob Weir’s countrified album Blue Mountain co-written by Josh Ritter, or pen new songs with Oteil or daresay Mayer, Dead & Company has chosen to remain confined to the Dead’s framework while often slowing the songs’ tempos noticeably. Objectively speaking, everything about Dead & Co. is derivative of the Grateful Dead, for better or worse.

The end result (largely for better) has been a decade of nostalgic Dead & Company concert tours well attended by new and old Deadheads, who are largely elated to see the GD’s material performed live by a few of its original members long after it was expected to be physically possible. After eight years of frequent touring Dead & Co. concluded its “final tour” in San Francisco in July 2023, with Kreutzmann retiring from the band earlier that year. Proceeding uncertainly with Hart and Lane on drums, the group’s live performances have since consisted solely of their 2024–2025 residency at the Sphere in Las Vegas – an astonishing concert experience in its own right – until the recent announcement of a three-day run at San Francisco’s Golden Gate Park in August to commemorate the Grateful Dead’s 60th anniversary.

Dead & Company is like your favorite food that has been in the refrigerator just a little too long. Whether or not you are inclined to consume it depends on your predisposed hunger for it, and your choice of objectivity or subjectivity whether or not it passes the smell test. Through several decades of seeing Bobby, Mickey and friends perform the Dead’s music live, there is a wistful and balanced sense that these moments are fleeting, sustaining Deadheads’ motivation to see them perform together just one more time. As long as they are able to carry it forth, so many of us will remain to hear their tune and close our eyes to see.


 

Phish

#1:  Phish

Years active: 1983 – 2000; 2002 – 2004; 2009 – present
Best-known studio release: Hoist (1994)
Best-known live release: A Live One (1995)
Total live performances: approx.  1,895 – 1,917  *   **   ***

No other group could claim the top spot of the Top 10 Jam Bands list except for Phish. The Vermont-based quartet has a long, storied history dating back to 1983, making them the oldest and most deserving band at the top of this list. They are also the only group represented here to maintain the same lineup for nearly the duration of their existence, with their membership consisting of Trey Anastasio, Page McConnell, Mike Gordon and Jon Fishman for almost forty years.

In several ways Phish adapted the Grateful Dead’s anti-establishment mentality of being their own boss via persistent touring, releasing new material on their own terms, and growing their fanbase naturally over the decades without dependence on mainstream exposure. After years on the college circuit Phish reached the amphitheater circuit organically in the mid-1990s, crisscrossing the country simultaneously with the Dead in the GD’s final years. In the wake of Jerry Garcia’s death in 1995 the phoursome unintentionally picked up the jam-band torch, driven by the influx of wayfaring Deadheads with no intent to succeed the Grateful Dead. Phish quickly established themselves as the genre’s preeminent group in the three decades since, while providing a sort of blueprint mimeoed by the next generation of apprentices such as Goose.

Phish’s eclectic musical stylings have gravitated over the eras in rough chronological order to include complex prog rock, cool jazz arrangements, bluegrass, funk and eventually standard rock progressions to be easily extended live at great length. Depending on the decade the song was written in, from Junta to Evolve  the group’s lyrics have burgeoned from Anastasio’s fantastical ‘Gamehendge’ college thesis to nonsensical to debaucherous to sentimental to jubilant, particularly the latter during Trey & company’s protracted ‘love and light’ era.

The band’s concert performances are the stuff of legend; prior reviews have described their zany live experiences at venues from Cleveland’s Blossom Music Center to The Sphere in Las Vegas. To summarize: Phish concerts remain unpredictable, joyous and redoubtable with fleeting flashes of brilliance never to come again, as most events aren’t planned. At any given moment during any song, by way of musical conversation the band may suddenly veer into extended improvisational forays known as Type II jams which can last for thirty or forty minutes – sometimes even an hour – before returning to a recognizable song or progression.

While several derivative groups have hopes to succeed Phish at the top of the jam-band vertex, the Phabulous Phour remain the genre’s equivocal torchbearers as long as they keep ‘sharing in the groove.’ As William Shakespeare once authored, “uneasy lies the head that wears a crown.”


 

Sources for live performances and setlists:

*  Setlist.fm

**  Phish.net/setlists  (Phish & side projects)

***  Zzyzx Phishtistics  (Phish)

Archive.org Live Music Archive

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