Category: Reviews

  • Hayley in the Water ‘Spread Rumours’ Tour is a Must-See

    When musicians collaborate, you can expect a few things – a merging of styles, unique covers, and the strengths of each to shine even brighter. With Hayley Jane joining up with Annie in the Water to kick off a 10 show Hayley in the Water February tour, there is a stellar degree of mutualism already on display throughout their first three shows in Saranac Lake, Schenectady and Utica over February 5-8.

    Hayley in the Water

    An acoustic set from Hayley Jane, with Annie in the Water joining for a few songs, kicked off each night, setting the tone for a thorough night of music and a taste of what these artists are capable individually, as well as when they join together. The second set, a full performance of Fleetwood Mac’s seminal 1977 album Rumours, was simply magical. Not only is the album chock full of classic rock gems, to the point where you are taken back by how many great songs are on one album, but Hayley Jane’s vocals and the well rehearsed sound of Annie in the Water truly brought the album to life. Hit after hit, including the underrated opening track “Second Hand News,” found all musicians in lockstep with each other, adding genuine, organic energy to classics including “Dreams,” “Don’t Stop,” “Go Your Own Way,” “The Chain” and “I Don’t Want to Know.” Hayley Jane shone bright on “Gold Dust Woman” and “Songbird,” channeling Stevie Nicks in a way few can. Listen to their performance of “Dreams” from Saranac Lake’s Waterhole.

    Annie in the Water continued the night with a set of originals, including the fan favorite “Hey I’m on my Way,” plus “Sativa,” “In the Sand” and “Crispy” (with a dose of 4 Non Blondes “What’s Going On?”), the latter of which brought Hayley Jane back to the stage. Add in Rage Against the Machine’s “Bulls on Parade” and Talking Heads “Burnin’ Down the House” (after a fire alarm went off briefly in Utica) and you’ve got an impressive range from a band that not only has the audience enjoying ever minute of it, but the band is clearly having a blast too.

    This is a phenomenal series of shows and one with great potential, surely a ‘catch it while you can’ tour. Don’t sleep on Hayley Jane and Annie in the Water performing Rumours – two incredible forces in the Northeast music scene rarely join together to create a memorable performance such as this.

    Feb. 12 – Buffalo Iron Works – Buffalo, NY

    Feb. 13 – Flour City Station – Rochester, NY

    Feb. 15 – Stowe Cider – Stowe, VT

    Feb. 19 – Stone Church – Brattleboro, VT

    Feb. 20 – Arch Street Tavern – Hartford, CT

    Feb. 21 – Electric Haze – Worcester, MA

    Feb. 22 – Higher Ground – Burlington, VT

    Annie in the Water Setlists:

    Feb. 7 – Frog Alley Brewing – Schenectady, NY

    Hey I’m on My Way, Pleasure in Sin, In the Sand/Freestyle, Crispy (w/Hayley Jane), Sativa (w/Hayley Jane), Time to Play—>Bulls on Parade

    Feb. 8 – Jewish Community Center – Utica, NY

    Change My Mind, Carry the Music, Burning Down the House, River, Crispy (w/Hayley Jane), Fire on the Mountain (w/Bill Foose), Sativa

  • Hearing Aide: Back From Nothing ‘Someone Say Something’

    Hailing from Westchester is a four-piece indie rock group called Back From Nothing. And they are bursting onto the scene with their brand new album Someone Say Something.

    The first track, “Rabbit Hole,” kicks off the album with an anticipating guitar and drum build that blossoms into a nostalgic punk-rock sound. Looking to accommodate the rock-driven sound are the raw vocals that tie the whole package together. As the track progresses, it opens up into an electrifying guitar solo that brings the energy to an all time high, ultimately leading to you shredding on your air guitar. The end of “Rabbit Hole” smoothly blends into the beginning of the next track to keep the party going with “Zombie Man,” a lighter song but one that still matches the energy of Someone Say Something.

    Digging deeper into the album, you’ll find “New Logic” that is dominated by the drums and is the ultimate head-bobber on this album. This track was written, recorded, and mixed in the band’s home studio. They later went on to make a music video for the track that really showcases how fun and interactive their shows are. It’s a total “in your face” track that takes influence from indie rock bands ranging back to the ’90s.

    Someone Say Something is the band’s album that refines their sound as a whole, and pioneers a new sound that combines punk and indie together in an even mix. If you ever went to Vans Warped Tour, this band is the one that would be jumping around on stage and playing a captivating show. Back From Nothing has proven themselves to be a great fit for performances ranging from festivals to packed house shows, and they are thrilled to show the world their new music.

    Follow Back From Nothing on their social media pages for new music and updates!

    Key Tracks: Rabbit Hole, New Logic, Zombie Man, Good Thing Going

    Watch the music video for “New Logic”

  • Spafford Slays The Brooklyn Bowl With Stellar Lights and Covers

    Arizona’s improvisational jam rock quartet Spafford kicked off a three night run on Friday night at the Brooklyn Bowl. They delivered high energy tunes to the sold out crowd immediately upon taking the stage- and never looked back. The band also brought a high tech light rig that elevated visuals throughout the show. They were supported by, and are currently on tour with, Connecticut’s Eggy.

    Known for blending rock, funk, jazz, reggae, ska and electro-pop, Spafford’s members include Brian Moss (guitar), Jordan Fairless (bass), Andrew Johnson (keyboards), and Nick Tkachyk (drums).

    Eggy’s line up consists of Michael Goodman (bass), Jake Brownstein (guitar), Dani Battat (keyboards) and Alex Bailey (drums).

    Brian Moss

    Eggy kicked off the festivities to sizable crowd, as their Connecticut fan base was out in full force. They installed an “Eggy” sign on Battat’s keyboard stand, and dove into their flawless set of jam rock that often reminded this reviewer of Moe. Towards the end, they paid homage to Blind Melon by covering “No Rain,” which was a hit with the crowd. Andrew Johnson from Spafford the keyboard space with Battat for this cover, and the synergy was quite notable. Eggy’s impressive execution felt more like a main course, despite being tonight’s appetizer.

    Johnson sits in with Eggy for Blind Melon’s “No Rain”

    Spafford quickly made haste by taking the stage and unleashing a monster “Shakedown Street” cover by the band who started the jam rock genre, The Grateful Dead. Their exquisite light rig heightened the already powerful house lights at the Brooklyn Bowl, much to the delight of NYC Metro region crowd. They were so massive, in fact, that they took up a sizable chunk of the stage’s real estate.

    The second set included more of Spafford’s signature improvisational rock, funk and electro fusion. Moss’s guitar work was on another level tonight, and was often seen exchanging smiles and jubilant glances with Fairless, Johnson, and Tkachyk. They also dispatched another notable cover of “Peaches”, by 90’s alt-rock band, The Presidents of the United States. The show wrapped up with the high energy “The Reprise” as an encore, sending the crowd home thirsty for more.

    Spafford wrapped up their soon to be legendary three night run Sunday night at the Brooklyn Bowl with a special Acoustic only performance. Visit their tour page for details on future performance dates.


    Set One: Shakedown Street, Mind’s Unchained, Hollywood > The Remedy, Plans

    Set Two: America, Doghouse > Part II > Musette, My Road (My Road), Peaches, Galisteo Way 

    Encore: The Reprise

    Setlist courtesy of Spaffnerds.com


  • Iron & Wine and Calexico Join Forces at Webster Hall

    Back in June 2019, Sam Beam (a.k.a. Iron & Wine) joined forces with folk/Americana group Calexico for the full length LP, Years to Burn. This would mark the second time the two bands collaborated, the first being EP In the Reins from 2005. The bands musical styles perfectly complement one another, resulting in luscious harmonies and arrangements.

    John Convertino of Calexico at Webster Hall – Photo: Joseph Buscarello

    Before the show started, stage hands marched a seemingly endless amount of instruments on stage. Nine acoustic guitars moved in alone, followed by accordions, upright basses, electric guitars and horns. I have experienced seeing both of these bands individually and this collection of instruments is not surprising. Sam Beam typically brings a dozen or more musicians out for an Iron & Wine show and Calexico has such a full Americana sound with dense horns and strings. None of these attributes were lost in bringing the two bands together.

    Sam Beam of Iron & Wine at Webster Hall – Photo: Joseph Buscarello

    The set drew heavily from the two collaborative projects, but they also performed covers of each other’s songs and other bands. This first one was a cover of “Glimpse,” a track off Calexico’s 1996 debut Spoke. Sam introduced the song by saying “this song was the first Calexico song I ever heard.” The other Calexico cover was “Flores y Tamales” from 2018s The Thread That Keeps Us. While there were no Iron & Wine covers at Webster Hall, they were playing songs like “Boy With A Coin” and “Naked As We Came” at other stops. Full setlist below.

    Joey Burns of Calexico at Webster Hall – Photo: Joseph Buscarello

    The show ended with two more collaborative tracks, but with opening band Half Waif joining them on stage to provide additional vocals. Had you not known that this show was a collaboration between two separate groups, you would think this was a band that has been writing and performing together their whole career. Their musical styles are already complementary and there is a clear friendship that adds a ton of energy to the stage.

    Iron & Wine at Webster Hall – Photo: Joseph Buscarello

    Setlist: Father Mountain, Prison on Route 41, Follow the Water, In the Reins, Glimpse (Calexico cover), Sixteen Maybe Less, The Bitter Suite, Bring on the Dancing Horses (Echo and the Bunnymen cover), Flores y Tamales (Calexico cover), [Solos], Red Dust, I Lost It (Lucinda Williams cover), Midnight Sun, Burn That Broken Bed, What Heaven’s Left.

  • Voodoo Dead Wake The Cap at 14th Annual NolaFunk Mardi Gras Ball

    The 14th Annual NolaFunk Mardi Gras Ball was headlined by Voodoo Dead at The Capitol Theatre on February 6. The impressive supergroup consists of Steve Kimock, Dead & Company’s Jeff Chimenti, moe.’s Al Schnier, Wally Ingram, John Morgan Kimock, and The Meters’ George Porter Jr.

    The night was kicked off by Breakdown Brass, a large band of horns from Brooklyn. It was their first time playing The Capitol Theatre. The large group of horns managed to sound really clear and not all on top of each other, full of intricate rhythms and dance worthy grooves. Breakdown Brass even played “Mary Jane” & “It Wasn’t Me” by Shaggy. 

    Voodoo Dead, the super group… You’ve got some heavy hitters like Chimenti from Dead & Company, Al Schnier from moe., and the gosh darn bassist for the funkiest funk that ever funk’d The Meter’s very own George Porter Jr. His bluesy, rugged vocals really shined on “Sugaree.” The funk could definitely be heard, added with taste, not to stray too far from the composition of the tunes. He went on to describe how the song “Look-Ka Py Py” came to be written… one day a broken piston on a long car ride inspired this song.

    The band went on to play “I Walk on Guilded Splinters” a nod to New Orleans, honoring the great Dr. John. “Eyes of the World” and “After Midnight” featured intricate jams and amazing vocals by Porter. They closed up the night with a heart warming “Turn on Your Love Light.”

    The band has announced a tour that features shows in Ardmore, PA, three shows in Japan, and will headline the 2020 Skull & Roses Festival in April out in Ventura, CA, a festival celebrating The Grateful Dead.


    Setlist: Shakedown Street, Sugaree, Look-Ka Py Py (The Meters cover), Ophelia, I Walk on Guilded Splinters (Dr.John cover), Eyes of The World, Drums, Space, After Midnight, Eleanor Rigby (The Beatles cover, instrumental), Turn on Your Love Light.

  • In Focus: Almost Queen, More Than A Tribute.

    Almost Queen – The Capitol Theatre

    “It started out because of the love of Queen, and today it’s still going because of the love of Queen,” is how Randy Gregg characterizes his New York City based tribute band, Almost Queen. Now in their 16th year, Almost Queen is selling out shows across the U.S., including the The Capitol Theatre in Port Chester, N.Y. where we caught the band performing.  

    Joseph Russo (as Freddie Mercury)

    Paying homage to one of the UK’s most iconic bands are Joseph Russo (as Freddie Mercury), Steve Leonard (as Brian May), John Cappadona (as Roger Taylor), and Randy Gregg (John Deacon). I spoke with Gregg a few days before the Capitol show to gather some insight into a “tribute” based rock and roll band.

     “Almost Queen is first and foremost, a proper band,” he proclaims. “I see a lot of tribute bands out there and they do a great job, but I see that they focus, (are) so focused on trying to emanate and trying to do this, that they have lost the sight of your first reason: to be a band and play. We play. If we weren’t doing Queen music and we were doing the Rolling Stones, we’d kill that too because these four guys are first and foremost, a band.”

    Almost Queen – The Capitol Theatre

    “Back fifteen; sixteen years ago, I don’t even know if there were any Queen tribute bands around.” Randy recounts. “It was like a dare you even try to attempt playing Queen music. We did a lot of rehearsal in that first year. Our goal was to perform the songs you hear on the radio, studio versions is what we wanted to shoot for. ”

    Randy Gregg (as John Deacon)

    It started out because of the love of Queen, and today it still going because of the love of Queen

    Randy Gregg, Almost Queen
    Almost Queen – The Capitol Theatre

    “We wanted to get as close to Queen as possible,” Gregg shares. “ We knew that we never could be what that band was. But we wanted to get into the ballpark. That’s why we call the band Almost Queen. ‘Cause there is no way we could be Queen and that’s just the end of it. So from day one we had an excuse that if you don’t feel we were that good, it’s called Almost Queen.”

    John Cappadona (as Roger Taylor)

    With 15 studio, seven EPs, two soundtracks and other recordings to draw from, determining what Queen songs to play on any given night can be a challenge. Gregg incorporates a technique based on where the band is performing. “If it’s the first time going into a venue, here’s the hit’s list. ‘Cause there is an expectation. You don’t want to hit them with anything out of the ordinary right away. Then boom, we did great, we are coming back for that next gig and here are these couple of songs we are going to take out and put these couple of songs in. Give it a different flavor. Third time back, lets put in a couple more, deeper cuts. I have set lists saved on my computer for years. If we’re playing (a) venue for the eighth time, in eight years, I will pull out eight different set lists. I never wanted to have it were we get a revue that says Almost Queen was great, but same set list. It’s always about keeping it fresh.”

    Almost Queen – The Capitol Theatre

    With 16 years performing as Almost Queen under their belt, I asked about the preparation before a show.  “It’s a pretty cool vibe backstage. One or two people could be cranking some tunes in the back. It’s a lively vibe; it’s an exciting vibe. We know what we are going to be doing in a half hour. It’s pretty chill but it’s pretty exciting. We are just doing our normal routine, getting dressed, stretching out, warming up vocals, having a beer, putting on makeup everything that’s involved with a rock and roll show. The excitement builds per minute as that goes on. “

    Steve Leonard (as Brian May)

    Being a tribute band, what happens as you walk on stage for that first number? Is there a loss of person and a transformation? A transformation into Queen? “It is very close to that,” Gregg reveals. “When the lights go out, the place becomes hysterical as the intro comes on. That moment of walking out on stage when that intro comes on, it’s like a real deal rock show. That is the vibe that you get when you walk out into it. Within that time of the intro, you are absorbing this energy coming from the crowd, this excitement, here it is, you feel it all. Then, at that first start of the note, all of our minds go right to the music.”

    Almost Queen – The Capitol Theatre

    The energy level at The Capitol Theatre was peaking the dials. The band played for almost two hours, with people singing and dancing throughout the night. Mid show, lead singer Joseph Russo engaged the audience in an impromptu a cappella vocal round, making everyone a member of the band.  The love for Queen was in abundance, emanating from the stage and being returned exponentially by those in the house.  

    Almost Queen – The Capitol Theatre

    Taking the night to another level, the proceeds from the Almost Queen merch table are donated (as they are with every show) to The Mercury Phoenix Trust, which was founded by Brian May, Roger Taylor and Jim Beach in memory of Freddie Mercury, who died from HIV/AIDS in 1991.  The goal of MPT is to fund the work of global charities fighting aids worldwide. “We are very proud to donate our merch,” Randy noted with a gratifying tone to his voice.

    Almost Queen – The Capitol Theatre

    What started as love for a band, that has snowballed into sell out shows, and promotes compassion for one’s fellow man to boot, has me thinking that maybe the band should change its name from Almost to Absolutely Queen.

    Those were the days of our lives, yeah
    The bad things in life were so few
    Those days are all gone now but one thing’s still true
    When I look and I find, I still love you
    I still love you


    These are the days of our lives
    Brian May / Freddie Mercury / John Deacon / Roger Taylor
  • The Wood Brothers Feel at Home in Rochester

    Rochester is a strong music city, based mostly on its flourishing local scene. Touring acts aren’t as kind to this city between cities. But every once in a while a band comes through, latches on, and rides the tide to local hero-dom. The Wood Brothers are such a band.

    First opening for the poster-child of Rochester hero bands, Tedeschi Trucks Band. Then breaking through as a club pass band at the Rochester International Jazz Fest. They quickly returned as a main stage headliner, and headlined at the Lilac Festival soon after that. Wednesday night they were back at the Kodak Center for a rare wintertime visit. Tedeschi Trucks, Jazz Fest, Lilac Fest, Kodak… hitting all the Rochester sweet spots, it’s no wonder they’ve found a place in the city’s hearts.

    On top of that, they welcomed Rochester-native, Kat Wright, to open their whole tour. Excited to be back in her hometown, she recalled Rochester memories, got shout outs from friends, family and fans in the crowd, and dedicated a song to a friend celebrating her birthday. Her usual eight-strong Indomitable Soul Band was stripped down to her, Bob Wagner on guitar and Josh Weinstein on bass. They rearranged some older tunes for the occasion, threw in a cover of Bonnie Raitt’s “Love Me Like a Man,” and introduced a few new ones, like the sultry slow burning “Let Me In” and the bluegrass-infused reggae of “Can’t Explain.”

    The Wood Brothers had some new songs in their arsenal as well, coming with a stellar new album in tow. They opened with the first track, “Alabaster,” with “Little Bit Sweet” and the West-African inflected “Don’t Think About My Death” not too far behind. Though for the most part they stuck to the tried and true classics, digging through their songbook generously, presenting the full spectrum of their wares.

    The seated crowd was soon on its feet, filling the aisles, dancing and singing along. The best dance moves as always though, belonged to bassist Chris Wood. His fancy footwork only outmatched by his fancy fretwork, both on display during a rumbling bass and drums segment during “Who the Devil.”

    Midway through their set, during the old-school format portion of the evening with Jano Rix out front on his ‘shitar,’ the band injected the excellent Rochester local scene into their set. They invited Aaron Lipp on banjo and Wright on vocals for a rollicking rendition of the Wood Brothers oldie “One More Day.” The set peaked at the penultimate “Happiness Jones” with its funky grooving soul on full display.

    Oliver Wood made sure to seal the deal on the mutual feelings between band and crowd before calling it a night, “We love Rochester!” One thing seems certain, it won’t be long before the two meet again.


    Setlist: Alabaster, American Heartache, Atlas, Little Bit Sweet, Shoofly Pie, Don’t Think About My Death, Luckiest Man, Mary Anna, Little Bit Broken, Postcards from Hell, Pray Enough, Who the Devil, Loaded, One More Day*, I Got Loaded, Happiness Jones, Snake Eyes.

    Encore: Chevrolet (Ed & Lonnie Young).

    * with Aaron Lipp on Banjo and Kat Wright on vocals.


  • The Lawn Boys Celebrate Phish With Sweet Jams at Sera Phi

    The Lawn Boys celebrated Phish at Sera Phi in Greenpoint on Saturday night, and said goodbye to local artist Alex Anastas with a dream set list of Phish songs crafted by Anastas himself. The band consists of Darren Rodney (guitar), Andrew Mega (drums), Bruce Raskin (bass), and David Kaufman (keyboards), and primarily plays Phish covers.

    Sera Phi is also known as the Sera Phi Social Club, which lived up to its name as the crowd was exceptionally friendly. The row of couches in the back created a great ambiance and the vibrating floor echoed the crowd’s enjoyment through movement. The walls were filled with projections of partially inverted images of Phish throughout the evening, courtesy of videographer Aylon Ben-Ami.

    Alex Anastas

    The show began on a high note, with the band announcing the departure of Anastas to Australia, and stating that the proceeds from the event would benefit those impacted by the Australian bush fires. The first set contained many heavy hitters. “Bathtub Gin” included notable jam solos by Rodney, who was firing on all cylinders. Also, “Maze” > “David Bowie” felt like the real thing, as this band effectively channeled Phish. Anastas took the stage and sang during “Dirt” and “Waste.”

    After a delicious DJ set that included re-mixes of Pink Floyd, Joe Russo’s Almost Dead and the Talking Heads, the boys returned for another monster set. “Down With Disease” was the prevalent theme, as the band jammed into and out of this song several times. During “Glide,” the lyrics were changed to “We’re glad glad glad that Al’s alive.” The encore was equally exciting and well executed, with versions of “Harry Hood” and “Chalkdust Torture” that made the crowd long for the real thing.

    Overall, the Lawn Boys’ skills were quite impressive, and paired well with the social crowd at Sera Phi. They are a talented cover band who portrays Phish with vigor and delighted the crowd throughout the night.

    Setlist:

    Set One: Curtain With > AC / DC Bag, Bathtub Gin -> Ghost* > (funk jam) > Tweezer > Maze , Dirt, Waste^, Bouncing Around the Room,  David Bowie > Highway to Hell 

    Set Two: Down With Disease > Crosseyed and Painless > Down With Disease, Glide, Heavy Things, YEM, Tube > Tweezer Reprise

    Encore: Chalkdust Torture, Harry Hood

    Notes: *DWD teases; ^Darren acoustic, Al on vocals

  • Greensky Bluegrass Crack Jokes, Cover Paul Simon and The Band at The Egg

    A sold out crowd welcomed Greensky Bluegrass back to the Capital District for another round of energetic and psychedelic jamgrass from the standard bearers of the genre at The Egg. Opening the show was Ghost Light, featuring local favorite Holly Bowling on keys, who gave the audience a short yet stellar opening 45-minute set. 

    greensky bluegrass egg

    Greensky have made Albany an annual winter tour stop, returning to The Egg and a capacity and ever-enthusiastic crowd. Following “Dustbowl Overtures,” with it’s line, “It’s a New York Minute, under a New Mexico sky,” eliciting cheers from the audience, mandolinist Paul Hoffman welcomed the crowd to the show, referring to the venue as the ‘punniest venue in the country.’ With that, dobroist Anders Beck joined in with egg jokes that carried on throughout the night. First set highlights included “I’d Probably Kill You” -> ‘Nellie Kane,” as well as “Broken Highways” and “Courage for the Road,” where Beck was a heavy presence via the dobro and shone as the set came to a close.

    With Set 2 came more jokes that continued as soon as the band hit the stage. Beck returned prepared and informed the crowd, “I’ve probably got a dozen, just to lay it out there.” A long “Take Cover” kicked off a set full of surprises, plus lots of banter with the crowd. The back and forth was so natural and the crowd so focused, Hoffman said it felt like “playing on a radio station, but you’re all here.” For “Casual Wednesday,” Beck laid his down dobro and took off into the crowd to greet the audience and hype up the sound and light teams on this casual Wednesday, making a Buddy Guy-style lap around the venue, before returning to the stage. 

    greensky bluegrass egg

    A cover of The Band’s “Atlantic City” segued perfectly into “Just Listening,” which was followed by “Mother and Child Reunion,” which contained a deep reference to eggs, their debut of the 1972 Paul Simon single. After the song, Hoffman expressed that playing that song at The Egg was a career highlight. “Furious Exuberance” > “Kerosene” would close the set with Pink Floyd-esque spaciness that paired perfectly with the evening’s light show that hovered between early ’70s psychedelia and late ’70s disco. 

    Ghost Light setlist via Phantasytour

    Set 1: Don’t Come Apart Just Yet, My Dear> Bullseye Blues> Cold Blooded* > Don’t Come Apart Just Yet, My Dear

    *with Diamond Eyes jam

    Greensky Bluegrass at The Egg, setlist via Phantasytour

    Set 1: Lose My Way, Dustbowl Overtures, Better Off, Hot Dogs (On Parade), I’d Probably Kill You, Nellie Kane, What You Need, Broken Highways, Courage for the Road

    Set 2: Take Cover, Collateral Damage, Do It Alone, A Letter to Seymour, Casual Wednesday, New Rize Hill, Atlantic City> Just Listening, Mother and Child Reunion*, Exuberance> Kerosene

    Encore: Drink Up and Go Home

    *first time played

  • Goose Continues Sold Out NYC Run in Brooklyn; Covers Radiohead and Moody Blues

    Fresh off a sold out show at Manhattan’s Bowery Ballroom, Goose completed a multi-night, multi-venue, multi-borough NYC run last night in Brooklyn at the Music Hall of Williamsburg. While the hype surrounding Goose has been a topic all its own, last night’s show was an exclamation point, an emphatic declaration that Goose is real and they’re here to stay. Having seen a whopping three Goose shows now, which makes me either a wiley veteran or highly unqualified to make this statement (depends who you ask), last night will go down as one of the special ones. So let’s make no further comparisons about who this Connecticut quartet sounds like or reminds you of … This. Is. Goose. 

    goose brooklyn

    With soaring improvisational solos, irresistible hooks, and infinite peaks, Goose absolutely crushed another packed room, this one already vibing hard thanks to the seductive beats of DJ Doey Joey. Taking the stage to Notorious B.I.G.’s “Where Brooklyn At,” Goose opened with the slap-bass funk intro of “Yeti,” a statement song if ever there was one, and Trevor Weekz (bass) kicked the three-hour party off in high gear. Peter Anspach was first out of the box with face-melting guitar solos, with Rick Mitaronda not far behind before they joined forces with two part harmonies in “Time to Flee,” a jam that culminated in the white light reflections of the centrally located disco ball. “Western Sun” rang in with a Southern twang and a country-ish rock tone that served to highlight Goose’s impressive range. “All I Need” was another peak-after-peak-after-peak neverending jam that has become synonymous with Goose’s signature sound. How do you follow that? Well, If a Radiohead cover is in your wheelhouse, then you bust out “Weird Fishes,” just because you can. WOW. A “Doc Brown” dedication to Peter’s eight year old nephew preceded the thunderous set-closer, “So Ready.” BOOM!

    Check out fan video of “Weird Fishes”

    DJ Doey Joey kept the beats going through the setbreak as the crowd never stopped grooving – yours truly included! Riding the first set high and Joey’s infectious vibe, the crowd was primed for a raging second set and Goose delivered one for the record books. “Arrow” brought the party back, complete with the first of what would be sporadic confetti cannons that seemed to amuse the Goose as much as the Gaggle. A first ever cover of the Moody Blues’ “Nights in White Satin” emerged from the “Arrow” jam, more evidence of both Goose’s dynamic range and the fun they have on stage. Trevor Weekz brought the funk back for “Creatures,” before a 2001 pop cover of Kylie Minogue’s “Can’t Get You Outta My Head.” Talk about not taking yourself too seriously; Goose’s fun quotient is unparalleled right now.

    goose brooklyn

    “Hot Tea,” with perhaps the most compelling and addictive hook in their growing catalog, and my favorite song, taboot, was white hot. Brooklyn came to party and this hands up, arms waving, confetti blasting, disco ball doing its ‘disco ball thing’ jam was a peak moment (okay, maybe more like 15). A “Jive I” > “Jive Lee” combo closed the set, with heavy effects from guitarist Mitaronda, and “Turned Clouds” in the encore slot wrapped it all up a few moments before 1:00 am. 

    goose brooklyn

    Goose heads west, touring with Pigeons Playing Ping, for their next show February 5 in Phoenix, AZ.

    Locally, Rick, Peter, and Trevor will be playing as Birds of a Feather with Alex Petropolous and Jeremy Schon (PPPP) on March 21 at Brooklyn Comes Alive. Goose will also open for Pigeons on Friday April 24 at The Capitol Theatre in Port Chester, NY.

    Goose – Music Hall of Williamsburg, Brooklyn, NY – 1/25/20

    Set 1: Yeti, Time to Flee, A Western Sun, All I Need {1}, Weird Fishes {2}, Doc Brown {3}, So Ready

    Set 2: Arrow > Nights in White Satin {4} > Creatures > Can’t Get You Outta My Head {5} > Hot Tea, Jive I > Jive Lee

    Encore: Turned Clouds

    Coach’s Notes:
    {1} Slow & melodic version of All I Need
    {2} Radio Head
    {3} Wiz Kid dedicated the song to his nephew
    {4} Moody Blues, FTP
    {5} Kylie Minogue
    This was a sold out show
    Set 1 Start: 9:27pm – Set 1 End Time: 10:47pm
    Set 2 Start: 11:15pm Set 2 End: 12:52am
    Next Show: 2.5.20 • Phoenix, AZ • The Marquee Theater