Category: Show Reviews

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.

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.

“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 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

January 28, 2020
Moon Hooch Administer Cave Music to Packed Bowery Ballroom

Nearly a decade ago, the members of Moon Hooch were busking in the NYC subways, filling the tunnels with their raw and energetic saxophones and percussions. But try not to think of a few musicians, off to the side, with crowds of people just buzzing past minding their own business. Instead, Mike Wilbur, Wenzl McGowen and James Muschler would turn entire subway platforms into tribal dance floors with their beat-infused jazz music. It was not long before the MTA banned them from smaller subway stations and they were bringing their “cave music” above ground to TV shows and sold out music venues.

Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

The trio of Moon Hooch made their way to Bowery Ballroom this past Thursday, for the second stop on their lengthy world tour. The line to get in extended around the corner before doors opened and the Brooklyn-based band was treated to a warm reception from a room packed with fans and close friends. They hit the stage earlier than the posted set time and kicked into high gear right from the start. At times, more than half the dance floor was turned into a dancing mosh pit; if it wasn’t for the cables plugging their instruments in, I’m sure Mike and Wenzl would have dove right in.

Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

Even though the group has graduated from the subways to the stage, their sound and live setup remains true to their origins. A modest drum kit sat center stage with an army of saxophones standing at attention off to the side. A makeshift DJ set-up, several props and smaller wind instruments that would appear later in the show all sat on a table.

Mike Wilbur of Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

A large open area was left to allow for the immensely energetic performance. The music did not skip a beat while the two saxophonists bounced and danced from one side of the stage to the other. Constant swapping of instruments and the use of horn props all led to a very dense and eclectic sound. At one point, a traffic cone was attached to Wenzl’s tenor sax, turning it into a deep-bass horn extending over the heads of the fans in the front row.

Wenzl McGowen of Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

It does not seem likely that a subway busking performance would have a well planned setlist, and that was also the case for this show. All of the songs were performed as live basement jams, but with a “telepathic” connection between the trio. For almost two hours, the band played nearly non-stop, constantly mixing and improvising the songs that make up their catalog. The madhouse that ensued would not let up until security was forcing people to the exits.

Moon Hooch at Bowery Ballroom – Photo: Joseph Buscarello

The band just self-released their 4th LP, Life On Other Planets, earlier this month right before kicking off the tour. Unlike their last three records, the band decided to forgo obsessively producing and mastering tracks and instead attempted to reproduce the raw and unpredictable sound of their live shows. Almost all of the tracks were single-take recordings featuring extensive build ups, driving percussions and ear-ringing, funky sax riffs. The result is a largely successful and unique record. After seeing the show for myself, one could assume the new LP is a live album taken from one of their shows.

Moon Hooch have dates all across the US through February, then they hit Europe for March and April. Support for these shows comes from Sungazer, The Tangled Roots, The Main Squeeze and Paris Monster. Check out the full list of dates here.

January 28, 2020
In Focus: Bella’s Bartok and West End Blend at The Hollow

A packed Hollow Bar & Kitchen welcomed Bella’s Bartok and West End Blend back to the Capital Region for an intense night of dancing and revelry. The two bands, from western Mass and Connecticut, respectively, have built up sizable followings around the state and when converging together in Albany on Friday, a welcoming crowd got down with them from the first note to the last. West End Blend’s funk did more than warm up the crowd, and set the tone for the night with “Smile.” Bella’s Bartok followed shortly after with a set full of klezmer-infused, high energy numbers, with inflated eye balls bouncing around the crowd and a daring band member who crowd surfed to the bar (for a shot) and back to the stage with the support of their fans.

Following these two glorious sets of music to shake the week off, the bands spoke to NYS Music about why New York is such an important part of their careers and how they have grown as a result of touring across the state.

Drummer Sam Horan of West End Blend: “I feel like playing around the New York scene, that’s not New York City, it’s just been really good to us, and we’ve seen a lot of progress and steady progression which keeps us fueled to come back. This show, specifically, was a surprise because our last show was, it was good, but tonight really felt like a turning point for the market. We have a really great audience in Saranac Lake, and we throw our festival ‘The Blender’ in Saranac Lake, and that’s its own thing, but for Albany tonight it really felt like a turning point for us, with an early opening set, and it was a full room. It was a really good, reassuring thing for us to see a full room, starting pretty early, so that’s kind of the thing the New York scene has just been really good to us, and that’s what keeps us coming back.”

Likewise, Asher Putnam, lead singer of Bella’s Bartok shared: “We’ve been playing upstate New York and the Hudson River Valley since 2009-2010 when we were just a street band, and we’ve always enjoyed ourselves. We’re out of western Massachusetts, the Great Barrington area, so it’s a hop, skip, and a jump, and it’s really nice to see people coming up to the show who’ve been seeing us for 7-8 years, singing along to the old songs and hearing the new tunes. From Saranac Lake to Albany, and sometimes to NYC even, the Capital Region and Upstate is where we find our people.”

Catch West End Blend on Saturday February 8 at The Waterhole in Saranac Lake, and Bella’s Bartok the night before at The Waterhole on Friday, February 7. Bella’s then returns to the state on Saturday, March 7 at the Knitting Factory in Brooklyn, and then again on Thursday, March 19 at Funk ‘n Waffles in Syracuse.

Check out the photo gallery below!

January 27, 2020
Goose Opens Winter Tour; Debuts New Song At Sold Out Bowery Ballroom
Goose began their winter tour in earnest at New York’s Bowery Ballroom on January 24, 2020, their first U.S. show of 2020 since opening for Dead & Company at Playing in the Sand in Mexico earlier this week. Since their Halloween show at the Mercury Lounge this past year, Goose has been on a meteoric rise with no indication of a slowdown, anywhere in sight.

As curious fans flock en masse to check out the buzz, El Goose keep adding to its gaggle — the jamband version of the Pied Piper of Hamelin, luring fans to sold out show after sold out show with their magical pipe. The buzz keeps getting louder. The rooms keep getting bigger. Goose keeps on truckin’, kicking ass and taking names along the way.

Photo by Jamie Huenefeld

Opening with “Drive,” dense crowded room got into an easy groove. Trevor Weeks (bass) getting deep and dirty as Rick Mitaronda (guitar, vocals) let some early solos fly. Though it’s hard to peel your gaze from guitarists Rick and Peter Anspach, the rhythm section of Trevor and Ben Atkind (drums) is what dictates the furious, addictive pace of this Connecticut-based quartet.

The band explored some energetic Type II jams before segueing into a cover of Wes Montgomery’s “Switchin’.” Peter took the mic with a big smile for his first vocals of the night with “Lead the Way” before Rockabilly original “Elizabeth.” The crowd really got rocking with Bill Wither’s “Lovely Day,” a tasty slice of funk and soul that was easily the first set highlight as judged by the movement and sway of the room. Goose really shines brightest at this nexus of funk and jamband space, where Rick’s soaring solos are accentuated by the funk oozing from Peter’s keys and the groovy backbone of Trevor’s 5-string bass. “Honeybee” closed the set, but not before your grateful reviewer amassed 5,958 steps of dancing.

Photo by Jamie Huenefeld

After an exciting intermission fueled by the sounds of phenom DJ Chris Tart, the second set got shot out of cannon with “Into the Myst” > “Flowdown,” a very Phishy tune somewhere at the crossroads of Uncle Pen meets Sparkle, met with the roaring approval of a roomful of Goose’s newest fans.

As step counts never lie (8,219), the slightly more energetic second set was off to the races, a shared sense of community and euphoria pervading the now sweaty room. “Bob O. John,” an original debut met with another of the night’s loudest roars, was sandwiched by “Echo of a Rose.” Considering that every song was new to most people in the sold out hall, that applause really spoke volumes about the quality of this debut song that opened with a reggae beat, before eventually finding its way to a signature Goosian-shred.

“Slow Ready” won over any remaining doubters before “Tumble” took us all on a communal victory lap. “Shama Lama Ding Dong,” the encore cover of fictional band Otis Day & The Knights from National Lampoon’s Animal House (1978), wrapped up the raucous party in frat house style.

Photo by Jamie Huenefeld

While Goose has a sound very much their own, it’s noteworthy to recognize the influence of, not only the different genres, but also their jamband predecessors whose sound is sprinkled within in their playing. It is these tip-of-your tongue moments of recognition that help to make the new feel immediately secure and comfortable, like your best old sweater, but suddenly fresh and updated. Comparisons overheard last night ran the gamut from Grateful Dead and Phish to My Morning Jacket, Wilco, and even STS9.

It’s so much fun to see and hear so many new fans take flight, as most of the room raised their hands and shouted when asked who was seeing their first Goose show. “That’s pretty good,” said Peter. The Pied Piper, indeed, but no magic pipe necessary. Just four dudes with a lot of talent and even more humility making really good music.

The band takes a selfie with the crowd to cap off a great performance
Photo by Jamie Huenefeld

The tour continues Saturday in Brooklyn at the Music Hall of Williamsburg before Goose heads west for an extended winter tour.

Photo by Jamie Huenefeld

Goose, Bowery Ballroom, NYC – January 24, 2020

Set One: Drive > Switchin’ {1}, Lead The Way, Elizabeth, Lovely Day {2}, Honeybee

Set Two: Into The Myst > FloDown > Echo of a Rose > Bob O. John {3} > Echo of a Rose {4}, Slow Ready, Tumble

Encore: Shama Lama Ding Dong {5}

Coach’s Notes: {1} Wes Montgomery. {2} Bill Withers. {3} FTP. – Original tune. {4} OG vocal ending. They sang “Echo of a Rose” for the outro. {5} Otis Day & The Knights. This was a sold out show. Set 1 Start: 9:18pm – Set 1 End: 10:28pm. Set 2 Start: 10:55pm – Set 2 End: 12:21am. Sound Check: Arrow, Lovely Day, Honey Bee. 14,177 steps danced.
January 26, 2020
Temples Deliver Career Spanning Set at Webster Hall

UK psych rockers, Temples, released their third LP, Hot Motion, back in September 2019, and the tour hit Webster Hall this past Tuesday, January 21. This was technically a make-up date from November, since the band previously expanded and reorganized the tour.

Temples at Webster Hall – Photo: Joseph Buscarello

Support came from Canadian based singer Art d’Ecco. The glam-punk rocker commanded the stage with a dominating presence and delivered upbeat, Bowie-tinged punk rock grooves.

Art d’Ecco at Webster Hall – Photo: Joseph Buscarello

Temples’ new LP sees them refining their distinctive indie psych-rock sound, culminating in a very consistent addition to their catalog. This consistency was put on full display with the first three songs of the night: “The Howl” from Hot Motion, followed by hit “Certainty” from 2017’s Volcano, then a deep cut from their debut Sun Structures, “A Question Isn’t Answered.” This career-spanning intro highlighted the band’s ability to stay true to their sound while still making three very distinct songs.

Art d’Ecco at Webster Hall – Photo: Joseph Buscarello

Temples are another one of those bands that attracts a dedicated following. Webster Hall was packed with fans singing and dancing along to every song, and the band was more than happy to feed off that energy. They effortlessly breezed through their songs, ending the main set with fan favorite, and hit “Shelter Song” from Sun Structures.

Art d’Ecco at Webster Hall – Photo: Joseph Buscarello

Temples at Webster Hall – Photo: Joseph Buscarello

Temples continue their tour of North America into February, followed by dates in France and Australia from March to April. Art d’Ecco will continue to open for Temples on the North America trek.

Setlist: The Howl, Certainty, A Question Isn’t Answered, You’re Either On Something, Colours to Life, Holy Horses, The Golden Throne, On the Saviour, Hot Motion, The Beam, Context, Keep in the Dark, Atomise, Shelter Song.

Encore: Sun Structures, Mesmerise.

January 24, 2020
Sony Hall Becomes Doomed

Last Friday, at midnight, Umphrey’s McGee fans raced over from Hell’s Kitchen after the band’s first night at the Beacon theater ended. As they descended into the underground club-room of Sony Hall, they waited for the bassist, Ryan Stasik, to make his way down to Times Square and bring out his late night masterpiece of a band, Doom Flamingo

This band has really been making a splash in the last year, charging headfirst into late night rallying fans’ hearts with a heavy 80’s-synth powerhouse of fury that keeps everyone coming back for more. They began the night with an original fan favorite “F-16” and quickly went into one of their incredible covers, David Bowie’s “Afraid of Americans.” This group really creates their own versions of the covers they choose, always picking an unexpected song.

Singer, and general badass, Kanika Moore sported what can only be described as a Doom Ballerina outfit. She also carries an incredible set of pipes and was really belting out her lyrics into the crowd. Their single set ran on deep into the morning until their triumphant finish, another single>cover showdown of their own “Runaway” and their amazing cover of Chris Isaak’s “Wicked Game.”

You can catch Doom Flamingo a few times this winter down in their home area of the Carolinas before they head to Sweetwater 420 fest, and to New Orleans for a post-Jazz Fest late night set. You’ll also be able to see them at a few festivals this summer like Summer Camp and Floydfest. And don’t be surprised to find that a few other festivals are “Doomed” before long. If you have any chance to see them this year, or ever, you are strongly suggested to do so.

Set: Replicant, F-16, Afraid of Americans, Somebody, Telepathy w/ Jam, Delorean, Blade Theme, Harvest Moon, Need To Feed, Love on Hold,

Encore: Wicked Game, Runaway

Photos by Zatchmo Lives Media, Follow on Facebook and Instagram

January 24, 2020
In Focus: Umphrey’s Closes out Three Nights in NYC

On Sunday, Umphrey’s McGee closed out a three-night NYC weekend on their winter tour with an intimate show at Brooklyn Bowl. The jam veterans treated loyal fans to two sets filled with covers, rare originals and new music. The Sunday closer was a change of venue, but the intimate atmosphere of Brooklyn Bowl proved to be the key ingredient in a night where the entire band felt comfortable and dialed in to the show and their fans.

The first set began with “Looks” and continued with “The Fussy Dutchman” which included a “YYZ” tease that continued the themed tribute to Rush and the late Neil Peart for the entire weekend run. The first set concluded with a “Miss Tinkle’s Overture” that segued into the band’s original take on LCD Soundsystem’s “Tribulations,” debuted for the first time during the recent New Year’s run, before returning back to “Miss Tinkle’s Overture,” closing out a fantastic first set.

After a short set break, the band came back with the rare opener “Front Porch,” rewarding a die-hard fan who has been chasing that track for a few tours. The 30+ minute opening track was the highlight of the night, showing off the prowess of the veteran rockers. The set continued with fan favorites “40’s Theme,” “Gulf Stream,” and “The Floor.” But it was the debut performance of “Suxity,” a brand-new song, that closed out an amazing show and was proof that 2020 will be a good one for Umphrey’s Mcgee.

Set 1: Looks, The Fussy Dutchman, Maybe Someday > Got Your Milk (Right Here) > Walletsworth, Domino Theory, Miss Tinkle’s Overture -> Tribulations > Miss Tinkle’s Overture

Set 2: Front Porch > Resolution > Front Porch, 40’s Theme, Miami Virtue -> Out Of Order > Gulf Stream, The Floor

Encore: Phil’s Farm > Suxity > Phil’s Farm

January 23, 2020
In Focus: Mike Gordon kicks off Winter Tour at State Theatre of Ithaca
On the cusp of a winter storm, blanketing the Northeast, Ithaca was bustling with energy ahead of the start of Mike Gordon tour at State Theatre on Friday, January 17. Mike took time during the show to reference Phish’s February 1991 show at the State Theatre, recalling the show as “the night we gave the van away,” when the band gave away Fishman’s family minivan to an audience member. Nearly 30 years later, Mike suggested that this time he said he was giving away a Hummer limo. He did not and the show continued.

Throughout the night, Mike weaved Little Feat’s “Sailin’ Shoes” between songs, as well used “I Am Random,” “Pendulum” and “Victim” to sandwich additional songs in between, including a debut cover of Aimee Mann’s “Save Me,” inside “Pendulum.” Two Phish staples stood out as highlights in the second set – a percussion heavy “Cities” and a slow and groovy “Funky Bitch” for an encore. Mike Gordon heads into the Midwest this week as the tour heads to Seattle for the final show on February 1.

Set 1: Victim, Say Something > Victim > Victim 3D, Steps, Borrowing Rain [1], Sailin’ Shoes > Jumping, Sughn Never Sets.

Set 2: Pendulum > Save Me [2] > Pendulum, Acid Man, I Am Random > Sailin’ Shoes > I Am Random, Cities > Crazy Sometimes > Sailin’ Shoes > Crazy Sometimes

Encore: Funky Bitch[1] Debut.
[2] Mike Gordon debut.
January 22, 2020
NYC Winter Jazz Marathon Takes Over Brooklyn and the Bowl

The NYC Winter Jazz Fest rolled on with the Jazz Fest Marathon, which included 6 venues in Brooklyn with a myriad of jazz verticals. One ticket was accepted at any location, allowing fans to customize their music experience. This review will focus on coverage from the legendary Brooklyn Bowl, located on the waterfront in Williamsburg.

Kendra Morris

Singer-songwriter Kendra Morris and her four-piece band kicked off the festivities with their “soul meets indie” jazz sound. Most of their material was originals written by Morris, and soul-fully executed by her adept band. Her beautiful voice electrified the crowd when she belted out the classic Pink Floyd tune “Shine On You Crazy Diamond.”

Felix Pastorius and Hipster Assassins

Felix Pastorius, son of jazz legend Jaco Pastorius, and Hipster Assassins, his experimental bass-driven jazz band, was up next. Their eclectic mix of a guitar, bass, drums and saxophone raised the bar of modern jazz. Their free flowing sound yielded a creative and fresh take on the classic jazz tune, “Butter Biscuit.”

Kung Fu

Following Pastorius was Kung Fu, the Connecticut-based jazz group led by guitarist Tim Palmieri, who delivered non-stop funk for the people. Their intense set included a nice groove and contagious stage energy between the band members. Palmieri’s performance was nothing short of legendary, diving on his knees and playing off the energy of the crowd. The band hit a high note during the cover of the jazz classic “Birdland.”

DJ Logic

The evening wrapped up with a late night performance by DJ Logic and friends, supported by Billy Martin and Shanir Blumenkranz. This set was filled with beats and scratching, care of DJ Logic. The organic percussion of Martin and the various string instruments played by Blumenkranz created a perfect harmony with the digital elements.

Tim Palmieri of Kung Fu

Overall, the NYC Winter Jazz Fest Marathon was a delightful way to enjoy a number of bands under one or more roofs, depending on the tastes of the listener. Head on over to their website for more information about future Jazz Fests.

January 21, 2020
Umphrey’s Mcgee Kick Off 2020 With an Electric Show at The Beacon Theatre
It was cold in the Beacon and the lights were low. Spirits were high, as masses of Umphrey’s McGee fans piled into the Beacon Theatre, shaking off those winter blues with some good ol’ fashioned rock n roll.

Photo by Zach Culver

Umphrey’s started off their tour, playing their first show of 2020 in NYC at The Beacon Theatre. They returned Friday night, then played Saturday at Brooklyn Bowl. Friday night featured an afterparty with Doom Flamingo at Sony Hall. Saturday’s after Party was also held at Sony Hall and featured Supernatural Beings with Jake as a special guest.

They wasted no time and played a first first set starting with Unsung Hero > Jajunk > Ocean Billy. The first set escalated quickly and stayed at an eclectic high with a triumphant finish with special guest Kanika Moore of Doom Flamingo sitting in on vocals on Anthem by Rush!

Photo by Zach Culver

Second set opened up with an intro by Stasik of a champion of Jam On fantasy football quickly followed by Suxity> Jajunk, Breaker, Wappy Sprayberry (featuring a Jumping Jack Flash jam)! The second set was of to a hell of a start and seemed to escalate through the end, ending the second set with It Doesn’t Matter.

The encore proved to be well worth the wait, The Weight Around actually followed by The Silent Type which featured a Crazy Train jam.
What a way to start the year for Umphrey’s Mcgee.

Photo by Zach Culver

Set 1: Unsung Hero > JaJunk > Ocean Billy, Speak Up, Wizard Burial Ground> Deeper > Den > Wizard Burial Ground, Anthem.

Set 2: Suxity > JaJunk, Breaker, Wappy Sprayberry> Mulche’s Odyssey, Half Delayed > It Doesn’t Matter.

Encore: The Weight Around > The Silent Type.

Photos by Zach Culver of Zatchmo Lives Media
January 19, 2020