By Josh Herwitt //
Goose //
Santa Barbara Bowl – Santa Barbara, CA
September 29th, 2023 //
What is it about jam bands that makes them so polarizing? Is it their penchant for improvisation, their long-running songs or their loyal, dedicated fans?
From the Grateful Dead and The Allman Brothers to Phish, Widespread Panic and many more, a lot of folks I come into contact with either love ’em or hate ’em. Regardless of where you stand on the matter though, the reality is that they have been part of the music ecosystem dating back to the early 60’s and continue to be more than six decades later.
With that in mind, there should be little debate to assert that Phish have stood squarely at the top of the jam-band mountain for the past 30-plus years. The Burlington foursome that formed in the early 80’s at the University of Vermont has taken the torch from the Dead and in their own way kept that fire burning bright, building a unique community of diehards often known for traveling far distances to see them rock out at least three hours each night.
But there’s a new kid on the block now, and even though they might call themselves an “American indie-groove band from Connecticut,” it’s no secret that Goose like to “jam” when they step onstage. Phish’s music, after all, has always been rooted in grooves, and in that regard, it feels like the five-piece named after an Anatidae waterfowl rather than an aquatic animal is certainly paying homage to Trey Anastasio, Jon Fishman, Mike Gordon and Page McConnell with that sort of description for their sonic creations.
For those following closely, the million-dollar question — figuratively and literally — in the jam scene of late has been if Goose are next in line to eventually succeed the almighty Phish. The two groups have already formed a friendly bond, with Anastasio sitting in with Goose last year for the second of two sold-out gigs at Radio City Music Hall that featured a more unexpected cameo appearance by Father John Misty, too.
Yet, it was less than six months after those shows in NYC that Rick Mitarotonda (guitar, vocals), Trevor Weeks (bass, poetry), Ben Atkind (drums), Peter Anspach (keyboards, guitar, vocals) and Jeff Arevalo (percussion, drums, vocals) were touring with Anastasio and his solo project on an eight-date run that offered them even more exposure to Phish’s fan (or should we say “phan”) base.
Every member of Goose, similar to Phish, is an excellent musician. Mitarotonda’s virtuosity and emotive solos are assuredly reminiscent of Anastasio’s at times, and you wouldn’t know that Anspach, a guitarist first and foremost, only started playing keyboards when he signed on as the fourth member of Goose in 2017. The formal training that Mitarotonda, Atkind and Arevalo each received while they were at Berklee College of Music in Boston is quite evident when you watch them perform, but for a band showcasing as much musicianship as Goose, their vocal capabilities are equally impressive. It’s something Mitarotonda has worked very hard at according to Anspach, whom he shares the role of lead vocalist with, and what could ultimately help separate Goose from the pack when you consider that singing hasn’t always been a priority for some musicians in the jam world.
Of course, Goose’s pursuit to not only be an outstanding outfit in the live space but also one that takes the album-making process just as seriously is another side to the quintet that’s refreshing and can’t be overlooked. After 2016’s Moon Cabin sans Anspach and subsequently 2021’s Shenanigans Nite Club, they made such clear when they hired an outside producer for the first time, and their decision to elect D. James Goodwin, who has worked with Bob Weir as well as established indie acts like Kevin Morby and Whitney, proved to be a good (no pun intended) choice for the release of Dripfield in 2022. Goose have made songwriting a priority early on in their ascent, but a smart marketing strategy that saw them gross more than $100,000 during the COVID-19 pandemic by livestreaming eight concerts from a barn in their home state has propelled them rather quickly into the mainstream. In fact, few jam bands have earned the opportunity to perform on late-night television like Goose have.
You could tell by the turnout Goose received at their Santa Barbara Bowl debut — a day before making an inaugural appearance at Ohana Fest and a day after headlining The Wiltern in LA for the first time — they have come a long way in less than a decade. Though the 4,562-seat amphitheater wasn’t sold out, it was mostly full from the GA floor up to the A, B and C sections, a promising sign for any young band on the rise, with chants of “Gooooose” ringing out as the sun set over the Pacific Ocean.
Like any top-notch jam band, Goose craft a unique setlist every time they take the stage with an arsenal of covers at the ready and this outing would be no different. Much of the first set was carried by live cuts of material that has yet to be officially laid down in a recording studio, but Bruce Hornsby & the Range’s “The Way It Is” and Echo & the Bunnymen’s “The Killing Moon” that kicked off the evening’s second set provided everyone at the Bowl with a couple of familiar reference points. Nevertheless, the accessibility and hooks that Dripfield offers listeners are what sets Goose apart from other jam-oriented artists, and as its tracks — “Arrow” and “Hot Tea” plus “So Ready” (an alternate version of “Slow Ready” featuring some auto-tune from Mitarotonda) were what we were treated to in this case — take on their own size and shape under the bright lights, they’re destined to fill a room no matter how big or small it is. So with a European tour lined up next month and a couple of more arena performances before 2023 concludes, there’s no telling how high these guys will be flying by this time next year.
Setlist:
Set 1
Earthling or Alien?
Mr. Action
Time to Flee (with “Honeybee” teases)
The Way It Is (Bruce Hornsby & the Range cover)
Seekers on the Ridge pt. I (>)
Seekers on the Ridge pt. II
So Ready
Set 2
The Killing Moon (Echo & the Bunnymen cover) (>)
Arrow
Same Old Shenanigans
Everything Must Go
Encore:
Hot Tea
After seeing what the live music industry endured the last two years due to the COVID-19 pandemic, 2022 was certainly a step in the right direction. For many artists and bands, this year marked the first since 2019 that they had the opportunity to step onstage — and that was a victory in and of itself.
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