Phish’s Trey Anastasio has announced the release of The Beacon Jams which will commemorate the artist’s legendary eight-show virtual residency at New York City’s legendary Beacon Theatre in the Covid-riddled fall of 2020. These iconic shows will now be encapsulated in the form of an 18-track, 145-minute new anthology that will be available digitally on Friday, November 25. Proceeds will benefit The Divided Sky Foundation, an initiative launched by Anastasio to finance a residential recovery program in Ludlow, VT, which is set to open next year.
Photo Credit: Danny Clinch
Performed at an empty Beacon Theatre and livestreamed around the world over the course of eight Fridays, The Beacon Jams saw Trey teaming with a range of collaborators to boldly reimagine music spanning his three-decade career. It includes performances from Trey Anastasio Band cohorts like Cyro Baptista (percussion), James Casey (saxophone, vocals), Natalie Cressman (trombone, vocals), Jennifer Hartswick (trumpet, vocals), Russ Lawton (drums), Ray Paczkowski (keyboards), and, in his final performances with the group, the late Tony Markellis (bass).
Also featured are frequent collaborators Jeff Tanski (keyboards), Celisse Henderson (vocals), and Jo Lampert (vocals), as well as the debut of The Rescue Squad (Katie Kresek – violin, Maxim Moston – violin, Rachel Golub – viola, Anja Wood – cello).
In addition to great music and different interpretations of Phish and TAB songs, the Beacon residency also saw Anastasio interacting with fans via Twitch between songs for a completely unique live music experience in a time where pandemic restrictions made such things close to impossible. “What made it feel successful to me was that we weren’t trying to recreate a live concert,” Anastasio says. “What I was hoping was that it would be a fresh form of entertainment – turning lemons into lemonade. I feel like that turned out to be the case.”
photo by Jake Silco
Tracklist: Corona, A Wave of Hope, What’s The Use, And Flew Away, The Moma Dance, The Silver Light, Pebbles and Marbles, Bouncing Around the Room, Carini, I Never Left Home, Money Love and Change, Last Tube, Quantegy, You Enjoy Myself, Goodbye Head, Tube, Slave to the Traffic Light, First Tube
On Saturday, November 19, Goose and Trey Anastasio Band concluded their eight-show fall tour of the Northeast. The arena tour began in Portland, ME on November 9th, followed by performances in Lowell, MA, Uncasville, CT (at the Mohegan Sun Casino where Goose played their first arena show in February 2021), Glens Falls, Moon, PA, Fairfax, VA, and Syracuse. Endearingly referred to as “TABoose” over the past few months, the bands co-headlined the tour and sold out each of the nights, with each night of the run consisting of two 90+ minute sets of music opening with Goose and concluding the night with TAB, with various sit-ins throughout each of the bands’ performances.
Throughout the tour, both Peter Anspatch from Goose and Anastasio have expressed to the audience how grateful they were for the fall run and how much fun they have been having working, rehearsing, and chatting while on tour. Palpably so, fans have stated how much they’ve seen the tour has rubbed off on both the young indie-groove band and the veterans of the jam band scene.
Just after 7:30pm sharp, Goose took the stage, greeted with booming applause. The Connecticut-based five-piece began their set with “Flodown.” Referred to by fans as the “Flopener,” the jam’s introductory train-beat from drummer, Ben Atkind kicked the crowd into a barn dance style frenzy while guitarist, Rick Mitarotonda and keyboardist Anspach being to play around with space and chaos to pump the room’s energy to 11. As Goose’s skill and performance have evolved over the years, their older songs continue to grow and expand in composition. An example of this can be seen in the beginning of the “Flowdown” from the 2021 album, Shenanigans Nite Club. However the twisty angelic tones of the band’s 2022 Dripfield album could be heard in this performance tonight.
Goose continued the set with “Pancakes,” whose mysterious drum-beat and feedback are combined with fun audience participation clapping along with Peter Anspach. The punchy jam originating from Peter’s previous band, Great Blue, was filled with wailing overdrive from Rick while Anspach exercised his piano and organ playing skills. Rumblings from bassist Trevor Weekz provided subtle foreshadowing to the evil peaks and valleys at the end of the jam until the band’s speedy timing and turnaround at the end of the song.
To cool down the hot and bothered audience from the “Pancakes” jam, Goose provided a breezy rendition of their song “Turned Clouds,” a first time play on the tour. While the song’s back-end jam always provides fun vibes, the crowd was met with an extra flair from Trevor’s slap bass which built up intense tension and release to send the “Turned Clouds” sky high.
Next, the crowd at Santander Arena saw “Dripfield,” summoned by the usual entrancing synth from Peter, digital drumbeat kicked in by percussionist Jeff Arevalo, and mystifying beams of purple and green light from Andrew Goedde. The song’s eight-note trade-off between Rick and Peter on guitar pumped the energy through the crowd until the toms from Ben’s kit kicked in and sent the drip into an extremely primal sounding jam. Rick channeled the energy through his hollow body PRS sending commanding growls over the controlled chaos composed by the Connecticut quintet.
After this stunning performance, Peter took a moment to thank the fans, the 77-person crew working to get everything in place for the shows, and of course Trey for all the fun they have been having on the tour. With that, Peter welcomed Trey on to the stage and the group began the Vasudo original, “Rockdale.” Rick and Trey harmonized the opening notes of “Rockdale” in a style reminiscent of the Allman Brothers style. As the main jam began to take form both Rick and Trey dove into low frequency distortions creating a comfortable valley for the two to later shoot off. Rick began to wail as Trey filled the space with expression before the two wove through each other’s soloing in complimentary form. The rest of the band held down intense space and rhythm with Trevor Weeks holding it down on bass, Jeff and Ben shredding high hats and snares, and Anspach on organ.
With the energy up, the honking and hollering fans were then treated to a bustout of “Elmeg the Wise,” which this author would describe as peak Goose. The enchanting hymn, written by Mitarotonda, describes a being on a path searching for wisdom and inspiration. As the song punched into the jam, the band’s enchantment of the crowd quickly lit up.
To cap off the set, the band welcomed the TAB horns players, James Casey, Natalie Cressman, and Jennifer Hartswick to the stage shortly before Rick tore into the opening notes to the fan favorite, “Hot Tea.” In its studio debut on Dripfield, the classic jam was paired with horns for the first time. With seasoned trumpet, trombone, and saxophone players on stage, the crowd was in for a raging tea party and received nothing short of it.
Goose Setlist:: Flodown[1], Pancakes, Turned Clouds, Dripfield, Rockdale[2], Elmeg The Wise[2], Hot Tea[3][1] Flopener. [2] With Trey Anastasio on guitar. [3] With Trey Anastasio on guitar, James Casey on saxophone, Jennifer Hartswick on trumpet, and Natalie Cressman on trombone.
The Trey Anastasio Band graced the stage for the final time of the tour and was greeted by the sold out crowd with eruptions of warm applause and cheers. The love and reception of Trey in the arena felt like an entire crowd welcoming their rock star father to melt faces.
The set began with “Push on Til the Day,” whose bouncy rhythm kept Trey hopping and bopping around the quick and concise composition. Things cooled things down with “Love is What We Are,” a fun reggae half-time beat was adorably paired with percussionist Cyro Baptista playing a small bow and arrow to appear as a bearded, can-jingling Cupid.
To fire things up again the band erupted into “Mozambique” with a jazzy salsa style that kept the crowd moving as Trey ran back and forth across the stage. “Cayman Review” came next followed by an incredibly funky “Camel Walk.” Bassist Dezron Douglas kept everything locked in place as keyboardist Ray Paczkowski revved up his organ. Trey took this as a queue to glide through a solo which was met at the end with a palpably strong call and response jam between saxophonist James Casey and the rest of the band.
“Twist” had a fun jam paired with some high kicks and “woo’s” from Trey, who showed off a fair amount of his looping skills that he has grown partial to over the last couple of years. “No Man in No Man’s Land” kept the night moving with tight and concise horns and on-the-dime turnarounds. The jam concluded with a drum and space style solo from Cyro and drummer Russ Lawton.
“Life Beyond a Dream” captivated the crowd next with harmonic crescendos from the horn/vocal section. “Dark and Down” was a highlight of the TAB set with its intense vibe and composition. Trey’s soulful solo raised the hearts of the crowd and left the room speechless before its eruption of applause.
While waiting for Mitarotonda and Anspach to join the stage on guitar and keys, Cyro treated the crowd to a spacey jam consisting of Vargan playing and voice modulated poetry. Rick and Peter sat in for “Ghost” where the jam sent the crowd once again into overdrive. While waiting for Trey’s fried amp to be fixed, Peter shared some words that he heard from Trey at one of his first Phish shows. Anspach recounted that Trey asked the crowd, “Hey, any youngsters out there? This is a pretty good job!” With that Peter encouraged the young people of the crowd to pursue music if their passions lie there.
“Hey Stranger” and “Everything’s Right” brought joy and whimsy to the crowd as the night neared the end. For the last song of the set, the rest of Goose rejoined the stage for “First Tube,” where Dezron and Trevor wove through heavy basslines together and brought even more energy. A disco ball at the top of the stage canopy shone throughout the arena while the rhythm section turned around and played to the crowd behind the stage.
Both bands came to the stage for the encore and ripped into a beloved slow version of the Phish jam, “Llama,” whose final lyric, ‘Taboot’ was appropriately changed to ‘Taboose’ for the night. The slow and melodic “Show of Life” came next and as Trey ended the song and thanked all the band members and crew, Trey said, “We don’t want the party to end. So I say keep the fuckin’ party going!” With this, the group punched into “Party Time” which ended with a New Orleans-Style parade walk off guided by Cyro’s whistle and the TAB horns.
Trey will be back with Phish for their NYE run at Madison Square Garden over December 28-31. Goose is scheduled to play two nights at 1stBank Arena in Broomfield, CO for two nights of their Annual Goosemas show on December 16-17, with other scheduled Goose events at the Fox Theater in Boulder on December 18, two nights of New Years Eve at the Brady Music Center in Cincinnati, and five nights at the Capitol Theatre in Port Chester from March 8-12.
Trey Anastasio Band Setlist: Push On ‘Til the Day, Love Is What We Are, Mozambique, Cayman Review, Camel Walk, Twist, No Men In No Man’s Land, A Life Beyond The Dream, …And Flew Away, Dark and Down, Ghost [1], Hey Stranger [1], Everything’s Right[1], First Tube [2]
Encore: Llama [3], Show of Life [4], Party Time [5]
[1] Rick Mitarotonda on guitar and Peter Anspach on keys. [2] Rick Mitarotonda on guitar, Peter Anspach on keys, Trevor Weekz on bass, and Jeff Arevalo and Ben Atkind on percussion. [3] Rick Mitarotonda on guitar, Peter Anspach on keys, and Jeff Arevalo, Ben Atkind, and Trevor Weekz on percussion; performed in an alternate arrangement. Final lyric changed to “Taboose.” [4] Rick Mitarotonda on guitar, Peter Anspach on keys, and Jeff Arevalo, Ben Atkind, and Trevor Weekz on percussion. [5] Rick Mitarotonda on guitar, Peter Anspach on keys and vocals, and Jeff Arevalo, Ben Atkind, and Trevor Weekz on percussion. Ended with the horns and everyone else on percussion playing as everyone walked off stage.
For the penultimate stop on Trey Anastasio Band and Goose’s fall tour, the two bands took over War Memorial Arena in Syracuse. Over two sets, both groups showed their comfort level in the arena setting and playing with each other that they have gained over the tour so far.
Goose began their set with “Slow Ready”, easing in with the sultry synth-drenched songs. Eagle-eyed fans may have noticed a change in guitarist Rick Mitarotonda’s amp setup – instead of the Mesa Boogie Express 5:50 we are used to seeing behind him, last night in Syracuse he used a setup not unlike Trey’s classic Mesa Boogie III and a 2×12 wooden cabinet.
Ripping into “Jive I” next, the first of the Jive triptych to make an appearance this tour saw Mitarotonda and multi-instrumentalist Peter Anspach trading licks over a hot intro jam ahead of a strong take on the song. “Jive Lee” offered just under ten minutes of solid improv, bassist Trevor Weekz laying down a foundation for Anspach and Mitarotonda to work over.
“Bob Don” came next – an apt performance possibly in honour of the release of EP Undecided yesterday, a surprise drop of four songs recorded during the Dripfield sessions in 2021. “Bob Don” is included on this release, though under the song’s original name “Undecided”. Last night’s version featured the extended outro jam beloved by fans – Anspach’s gentle piano and percussionist Jeff Arevalo’s contributions accentuate the laid-back groove.
A surprise performance of fan-favourite “Factory Fiction” continued the set – the song’s shortest gap ever at just three shows. After a dissonant jam that led to a blazing peak, Goose invited Trey on stage to help close out the set. Starting the sit-in with the highly anticipated “Madhuvan” (or Madhuvanastasio, as it has been called), Anastasio added perfectly to the song, throwing in little riffs and accents as Mitarotonda sang his way through.
Beginning the jam in a spacey motif, Anspach laid some vibraphone-infused piano down as the two guitarists explored the terrain. Starting up a descending progression on piano that the rest of the band quickly locked in to, Anastasio led the way through a major-key section as Mitarotonda joined in for some spot-on harmonization work. Insistent playing from drummer Ben Atkind gradually increased the pace and intensity as the peak drew closer. Locking in on some twin sustain action, the dual-guitar attack shredded the classic Goose jam vehicle to pieces before quieting down into some tension/release runs. Undeniably the improvisational highlight of the night
Bringing out TAB drummer Russ Lawton to help close the set, Goose brought out the catchy “Animal”. With one show remaining, the quintet has proved beyond a doubt that they are up to the arena-size sound.
Goose Setlist: Push On ‘Til the Day, Love Is What We Are, Mozambique, Cayman Review, Camel Walk, Twist, No Men in No Man’s Land, A Life Beyond The Dream, …And Flew Away, Dark And Down, Ghost[1], Hey Stranger[1], Everything’s Right[1], First Tube[2]
Encore: Llama[3], Show of Life[4], Party Time[4]
Coach’s Notes: [1] With Rick on guitar and Peter on keys. [2] With Rick on guitar, Peter on keys, Trevor on bass, and Spuds and Jeff on percussion. [3] Performed in a slow funk style. With Rick on guitar, Peter on keys, and Trevor, Spuds, and Jeff on percussion. [4] With Rick on guitar, Peter on keys, and Trevor, Spuds, and Jeff on percussion.
Before TAB began their set, Trey took a moment to note that percussionst Cyro Baptista would be absent from last night’s concert – an emergency health issue had popped up before showtime. Dedicating the opening “I Never Needed You Like This Before” to the absent percussionist, Trey immediately began stretching his legs improvisationally more than he has all tour with TAB.
The patience and more extended takes on songs continued through “Blaze On” and “Wolfman’s Brother”, seeing Trey leading jams yet also weaving melodies with keyboardist Ray Paczkowski.
“Blazing Down the Twisted Wire” from 2022’s Mercy offered an uptempo breather ahead of “Sand” – bassist Dezron Douglas digging into the song’s signature riff as Trey once again stretched the song slightly beyond its normal length. The peppy “Shine” came next before a deep and groovy “46 Days”. The Phish song saw the horn section departing the stage as Trey shredded over the moody groove. Paczkowski provided the perfect backdrop to the fretboard fireworks on organ and clav.
Numerous peaks later, Trey brought Mitarotonda and Anspach back on stage for an extended sit-in that began with the tour’s second “Mr. Completely”. Taking the first part of the jam to face off with Mitarotonda, Trey traded licks with the Goose guitarist before handing it off to Jen Hartswick on trumpet. Modulating into the typical solo section, trombonist Natalie “Chainsaw” Cressman stepped up next as we were treated to an extended solo where she and Trey faced off at centre stage. Anspach took a solo next, Paczkowski egging him on just like in Glens Falls earlier in the tour.
As the song drew to a close, Lawton and Douglas eased their way into the “Plasma” groove. Trey led the way on this jam, first on some eerie whammy pedal work and then switching on his various synth pedals for a more dissonant section. Paczkowski’s distorted organ perfectly suited the spacey and out-there jam, evolving in one of the most experimental TAB performances of the tour. The 10-piece band then delivered a hot “A Wave of Hope” to close the extended sit-in and set.
For the encore, Anspach and Mitarotonda returned to the stage for the tour’s first “Quantegy” and another blazing reading of “Money, Love and Change”, once more highlighting how locked in the two lead guitarists are to each other at this point in the tour.
With one more show left in TABoose tour, both bands are primed to deliver incredible performances in Reading, PA.
Set 1: I Never Needed You Like This Before, Blaze On, Wolfman’s Brother, Blazing Down the Twisted Wire, Sand, Shine, 46 Days, Mr. Completely [1] > Plasma[1] > A Wave of Hope[1]
Encore: Quantegy[1] > Money, Love and Change[1]
[1] Rick Mitarotonda on guitar and Peter Anspach on keys; setlist via Phish.net
Reaching the halfway point of their collaborative tour, TABoose took over the Cool Insuring Arena in Glens Falls on Sunday, November 13, formerly the Civic Center and site of the legendary 1994 Phish Halloween show.
Leaning away from the Beatles cover that was highly speculated, both bands threw down hot 90-minute sets as their confidence both with each other and as individual musicians seems to grow with every concert.
photo by Derek Java
Goose opened up the night with “So Ready”, the Shenanigans Nite Club cut letting loose with standout guitar solos from Rick and Peter as Spuds pushed the tempo to breakneck speed. “California Magic” came next, breaking its longest gap since debuting in March.
“Thatch” a new song that Rick remarked was “only two days old”, continued the quintet’s set. Featuring a hard-charging groove and crunchy clav, lots of potential was immediately shown and I eagerly await future performances of the song as it grows into Goose’s ever-expanding catalogue.
A rare mid-set cover of The Band’s “Don’t Do It” whipped the crowd into a frenzy as Peter and then Rick took great solos.
Note the vintage jacket Peter is wearing – Glens Falls Red Birds, a minor league baseball team from mid-1990s. photo by Derek Java
The improvisational centerpiece of the show came in the ensuing “Madhuvan”, giving us the dose of darkness and extended jamming we had been hungering for since Portland. Featuring an aggressive synth tone from Peter on Nord Lead rather than the Prophet, dissonance reigned as the first song to cross the 20-minute mark since Portland displayed Goose’s improvisational capabilities.
After the always-fiery end to “Madhuvan”, the quintet brought Trey up on stage to contribute to “Red Bird”. Perfectly singing one verse of Peter’s emotional song written about his mother, Trey proceeded to lead the jam away from the fiery guitar duels we have seen in the past few shows and into more of a rhythm-based motif for a while before exploding back into a great peak. “Hot Tea”, also featuring Trey, closed out the set with incredible guitar interplay once again.
TAB’s set opened up with a laid-back “Drifting” ahead of “Set Your Soul Free”, “Ocelot”, and “Magilla” – all showcasing TAB’s growing confidence on stage as this tour progresses. Pure energy kicked off “A Wave of Hope”, one of the most prominent tracks from 2020’s Lonely Trip that has become a live staple of the Phish catalogue and has led to some of the best jams this year. While last night’s version didn’t hit 20 minutes or go outside the main song structure, Trey instigated the “second jam” and drove to many blistering peaks before concluding.
Trey then took a moment to talk about his connection to the city of Glens Falls and his time spent in nearby Saratoga Springs during his time in drug court after his arrest in late 2006 before a beautiful rendition of “Shade”.
Last night’s MVP took centre stage on the next song, an absolutely BLISTERING “Burlap Sack and Pumps” – saxophonist James Casey ripped up the baritone sax for an amazing solo that saw him going back and forth with Trey as the tension built.
“Spin” offered a similar placement and vibe to “About to Run” at Mohegan – a late-set opportunity for Trey to rip over a foundational groove. The song’s outro jam was its usual slinky self, bassist Dezron Douglas seeming to get lost in the vibe as they dug deeper and deeper into the amazing song.
photo by Derek Java
The pounding “Last Tube” gave way to “hey stranger”, the latter getting its second play of the tour – lots of potential in this song that I hope makes its way to Phish in the future!
“Valentine” brought the TAB portion of the set to a close, and Rick and Peter were welcomed on stage for an absolutely BLISTERING “Mr. Completely”. Taking some time at first to have a musical conversation, Rick and Trey harmonized as they have been doing so well on this tour before ceding a solo to the keyboardists. Egged on by Ray’s organ blasts, Peter ripped up an awesome piano solo before the jam transitioned into TAB’s usual solo-modulation sections. Once the horns had taken a spin with the tune for a little while, Trey cued everyone to drop out as he and Rick faced each other with huge smiles on their faces and continued to shred – it is impossible to tell at this point in the tour which guitarist is having more fun playing with the other!
A set-closing “Rise/Come Together” and an encore of “Possum” brought the incredible night in Glens Falls to a close on an extremely high note.
Four shows in, four shows left. TABoose tour has already exceeded expectations thus far and I cannot wait to see the collaborations that are on the horizon!!
TABoose tour continues on Tuesday in Carnot-Moon, PA. Webcasts are available via Nugs.net and LivePhish.
Tune in to Day After Show live with Always Almost There, HFPod, and The Great Beyond the day after every show at 3pm ET as we recap the tour in real time!
On Saturday, November 12, TABoose (Trey Anastasio Band and Goose) took over Mohegan Sun Arena in Uncasville, Connecticut for an incredibly fiery sold-out show as the third night of Goose and Trey Anastasio Band‘s co-headlining tour.
Goose’s performance on Saturday marked their second appearance at Mohegan this year – the home-state arena hosted the eighth annual Goosemas celebration this past February. Unlike that show, where there was extra space on the floor and no seats open behind the stage, the room was absolutely packed with people, a full 10,000-person sell out.
The quintet took the stage to thunderous applause and jumped into “Animal.” The perfect opener choice for the energetic crowd, guitarist Rick Mitarotonda took his time on the middle jam section and brought it to a rolling boil before closing out the catchy tune.
“Flodown” was tapped next and saw Mitarotonda once again lead the jamming, this time not with punchy guitar playing but with a bevy of delay effects. As the extended intros to this song are wont to do, the propulsive beat of drummer Ben Atkind and percussionist Jeff Arevalo was peppered with squiggly guitar freak-outs until exploding into the song proper.
Keeping the energy up in this no-breathers set was the first track from Dripfield to appear on this tour, the jamming staple “Arrow.” Taking the dance-y groove out for a shorter-than-normal spin, Mitarotonda pushed through a broken string to lead the rest of the band through a smooth segue into a cover of Bob Seger’s “Hollywood Nights,” not played by Goose since May 4, 2018 or 311 shows. Arevalo sported an ear-to-ear grin throughout the cover as the band kept the energy at a screaming level as they finished off “Arrow.”
Wasting no time, multi-instrumentalist Peter Anspach used his wireless guitar set-up to join Rick center-stage on the ensuing “Dripfield.” Debuted alongside “Hungersite” during the third set of the Goosemas show in the same room back in February, last night’s “Drip” had a similar effect in an arena setting — pounding drums and churning guitar echoing around every corner of the space as massive smiles were sported by all band members.
Anspach then called up the TAB horn section to help on a cover of “Fish in the Sea” by Fat Freddy’s Drop – a staple of the live Goose catalogue. Bassist Trevor Weekz driving groove laid the perfect foundation for the horns to solo over as saxophonist James Casey and Mitarotonda traded licks phenomenally.
Trey was brought out for the set closer, and the crowd went absolutely nuts for the opening notes of “Factory Fiction.” For those of you who may not know the history of the song, “Factory” was penned by Mitarotonda and songwriting partner Matt Campbell over a decade ago as part of Goose precursor band Vasudo’s catalogue. Rarely played in the earlier days of Goose, it was busted out at crew member “Coach” Jon Lombardi’s wedding in October 2019 and was a standout part of their 2020 livestreamed Bingo Tour. Since then, the song has been played numerous times at “special occasion” shows, or times when the vibe just calls for a little extra.
Excitement swept the crowd as the song progressed, and we were treated to another dose of Allman Brothers-like guitar playing from Anastasio and Mitarotonda as the jam built to multiple screaming peaks to close out Goose’s incredible set.
TAB’s set began with the first repeat of tour, catalogue classic “Sand.” Moving from there into “Shine” and “Twist,” Anastasio’s normally bouncy energy seemed multiplied last night as he ripped his fretboard to shreds during the opening songs.
A quick bounce through “Mozambique” gave way to the tour’s first “Night Speaks to a Woman,” a song filled with impressive vocal contributions from Natalie Cressman, Jennifer Hartswick and James Casey while Trey continued to shred.
“Mercy,” a beautiful song crafted from the composed piano intro to the Ghosts of the Forest live shows, offered a breather ahead of a bubbly take on “Undermind.” Trey led the band through relative rarity “…And Flew Away” from his Lonely Trip quarantine album before the brightness of “Pigtail” kept smiles on faces.
Taking a late-set spot that is perfect for the song, “About to Run” featured what may have been Anastasio’s strongest guitar playing of the night. Bassist Dezron Douglas dug into the groove as the roof was blown off the arena. “Push On ‘Til The Day” closed out the main portion of TAB’s set with another blistering peak that had the crowd even more dialed in and crazy than they had been before.
Bringing Mitarotonda and Anspach on stage, the band jumped into a peppy “No Men in No Man’s Land” that once again showcased Douglas and drummer Russ Lawton‘s rhythm section connection, with the former turning to face the latter throughout the deep groove. Focusing once again on guitar showcases rather than deep improv, Anastasio and Mitarotonda brought forth peak after peak in “NMINML” and the set-closing “46 Days” that left ear-to-ear grins on those in attendance.
For the encore, the rest of Goose was brought up on stage as Trey remarked that “sometimes you just need two bassists” before ripping directly into “Carini.” More smiles on the faces of every band member, more fretboard fireworks and one final venue-destroying peak closed out the third show of TABoose tour.
With five shows remaining, both bands continue to be growing in energy and confidence as the tour goes on and we all eagerly await the collaborations to come.
The Trey Anastasio Band and Goose are teaming up for an eight-show tour in November, with stops in Syracuse and Glens Falls. Fans can expect a full set from each band, as well as unique collaborations.
Goose is currently traveling on their biggest North America tour thus far after the success of their acclaimed new album Dripfield. They have many sold-out shows coming up as well as a few festival stops including Charleston, SC’s Resonance Music & Arts Festival, and Austin, TX’s Austin City Limits Music Festival. Goose is a four-piece indie groove band from Norwalk, Connecticut made up of members Peter Anspach, Jeff Arevalo, Ben Atkind, Rick Mitarotonda, and Trevor Weekz.
The Trey Anastasio Band is composed of the lead guitarist and founding member of the famous rock band Phish, for whom he has acquired several Grammy nominations for his work. In the summer of 2017, Phish completed a residency at the world-renowned Madison Square Garden in New York – an unprecedented 13-night run known as The Baker’s Dozen. They return to the road in September with a headline run before teaming up with Goose on the eight-run tour.
The tour will be stopping in Glens Falls at The Cool Insuring Arena on Nov. 13 and in Syracuse at the War Memorial Center on Nov. 18. re-sale tickets for the tour begin Aug. 17 at Noon ET. General public tickets will go on sale on Aug. 19 beginning at 10 A.M. (local). To purchase tickets, go here.
The 10th anniversary of Peach Music Festival took place at Montage Mountain in Scranton, PA over July 4th weekend. The festival began in 2012 by the Allman Brothers and Live Nation. Throughout the years, the music of the Allman Brothers has remained a focus with the evolving cast of musicians. The Montage Mountain Ski resort transforms into a water park in the summer months, and the Pavilion hosts concerts. The water park is a unique aspect to a music festival that makes this festival appealing to a wide range of guests.
Day 1: Billy Strings Closes Out the Opening Day
While some people began arriving on Wednesday, most guests arrived on Thursday, June 30. It was a beautiful day to set up camp and get ready for the music to begin in the late afternoon. Billy Strings, Keller Williams, Samantha Fish, Midnight North, Yam-Yam, Consider the Source were among the acts kicking off the festival.
There was a noticeable air of excitement for Billy Strings, with a consistently long line at his merch tent. Keller Williams delivered a late afternoon set full of classics with the aid of an array of pedals, but mostly just his trusty acoustic. Samantha Fish was a delightful surprise. Beginning the day unaware of her music, her set filled with powerful vocals, rocking guitars, and a striking stage presence. I became a fan. The evening headliner, Billy Strings, played to a packed pavilion and lawn. A full day of anticipation exploded into a sea of fans swaying and singing along to his blend of Bluegrass and Jam. Speaking with fans over the course of the weekend, Billy’s set was constantly a fan favorite. Consider the Source, the New York City trio, closed out the Grove Stage for Thursday with their unique blend of Sci-Fi Fusion. Steeped in Middle Eastern influences, their cosmic sound set the perfect tone to bookend a truly great day of music.
Day 2: Weather Doesn’t Dampen Spirits
Friday, day two of the festival, included another full day of music and enjoying the venue. Before the music began, the fans enjoyed the art displays in the lodge and utilized the water park. A sober group of music fans also held their morning meeting at the lodge, making the Peach Festival at Montage Mountain a welcome place for all fans.
Music began mid-day with Eggy, The Jauntee, Marco Benevento, Eric Krasno, The Kitchen Dwellers, The Motet, Jason Bonham’s Led Zeppelin Evening, Andy Frasco & The U.N., Joe Russo’s Almost Dead, and Pigeons Playing Ping Pong. The late afternoon sets were affected by a severe weather event that had fans sheltering under the spacious pavilion. The house speakers kept fans happy while heavy rains descended on the grounds. The event staff were extremely helpful and efficient about keeping people safe.
Once the all clear was given, Jason Bonham’s Led Zeppelin Evening brought fans to their feet transporting the crowd to another time and place. The blend of voices and instruments was eerily close to the CDs on which I grew up.
Andy Frasco & The U.N. put on one of the most kinetic performances I’ve ever witnessed. Frasco’s shows are legendary for the band’s energy and crowd interaction. Entering the stage with a baby carriage that was home to an opossum, and raising it to the crowd like Raffiki did with Simba set the wheels in motion for his memorable set. Performing a mix of songs from his new album, Wash, Rinse, Repeat, the crowd was singing along with their favorites. One of several highlights from this set was when Andy had the entire crowd doing the Horah dance with the crew quickly adding extensions to his microphone wire as he waded to the center of the whirling crowd.
Pigeons Playing Ping Pong closed out the night with a late night set to a packed pavilion. The rollicking set was cut short with another severe weather event that caused the festival to cancel the rest of their set, out of an abundance of caution for everyone’s safety.
Day 3: Trey Anastasio and Goose
Day three of the festival began with some residual rain, which quickly gave way to a perfectly sunny sky. Karina Rykman, Daniel Donato’s Cosmic Country, Jaimoe & Friends, Pixie & The Partygrass Boys, Neighbor, Rayland Baxter, Celisse, The Revivalists, Cordovas, Trey Anastasio Band, Brandon “Taz” Niederauer & Friends, and Goose filled the day with music.
A new artist known to those that attended the festival last year was Celisse. She played the festival on the Grove Stage in 2021 and had Trey Anastasio sit in with her. This year she owned the Peach Stage, belting out songs filled with power and emotion.
The Revivalists were up next on the main stage. David Shaw, the lead singer, brought his voice even closer to the crowd venturing off the stage to stand atop the large speakers. Singing directly to those lucky fans at the rail, Shaw sang crowd favorites with those in the pavilion singing along. As darkness descended on the festival grounds, light-up outfits, hula-hoops, and totems could be seen under the pavilion. The Trey Anastasio Band delivered a packed set which included several Phish covers including “Blaze On,” “Everything’s Right,” and “Gotta Jibboo.” One of the many highlights came towards the end when, in a twist of fortunes, Celisse sat in with Trey. Together they performed three songs: “The Moma Dance, “A Life Beyond The Dream,” and “Rise/Come Together.”
Brandon “Taz” Niederauer closed out the Mushroom Stage, while Cycles closed out the Grove Stage. Goose was the final act of the night with a special late night set. Anticipated all day by fans, Goose did not disappoint. With their ever upward trajectory, the band has amassed a following that is staggering when you consider their brief time together.
Day 4: Black Crowes Close Out Peach
Like all good things, even the Peach Music Festival must come to an end. The fourth day represented the last day of the 10th Anniversary of Peach Music Festival at Montage Mountain. The day began with a sense of melancholy, until the music started. Then fans rejoiced in the waning hours together.
Duane Betts, Daniel Donato & Friends, Maggie Rose, Dogs in a Pile, The Wailers, G. Love & The Juice, TAUK, and The Black Crowes were among the acts rounding out the weekend. Daniel Donato Brought a little county to the festival with Allman roots. At the Mushroom Stage, Dogs in a Pile are with fans enjoying their energetic set of psychedelic fusion. G. Love & The Juice, a band put together by Philly-based G. Love, and, as he describes them, the most exceptional musicians he’s played with. The hip-hop and blues influenced music was perfect companion to the jam-centric sets, which got fans to their feet.
Long Island-based TAUK brought their instrumental, EDM influenced beats to the Mushroom Stage. Their unique sound filled in a void of electronic funk music. The wordless instrumental music gave fans an opportunity to shake the cobwebs off of the weekend and become lost in the beats. To fill in your own emotions and experiences to a song is a special trait of instrumental music.
The final act of the Peach Festival was The Black Crowes. The Rock band fronted by Chris Robinson has been at it for over 30 years. They have continued to be a true rock band that fans flock to. They were a fitting bookend to a truly great weekend of music.
A Grateful Finale
At a special place, like the Peach Festival on Montage Mountain, you can look around at the sea of gyrating bodies, moving together and appreciate the collective experience you’ve just gone through. Smile at the friends that ventured to the festival with you, or the new ones made over the weekend. Having the space to be grateful for the music, the comradery, for all that awaits once we pack up and head home is an incredibly precious gift. As life becomes more entangled and busy, a music festival is truly just what the doctor ordered.
Seekers and travelers, both aquatic and avian, endured a nauseating sense of moral conflict while making their way to see Goose on June 24th and 25th for the sold out Radio City Music Hall shows. News of the Dobbs Supreme Court ruling was fresh; strong introspective notes of guilt and grieving rang in battle with the plans for a most jovial gathering. Hurdles of planning jumped for months to make those nights happen. Travel high jumps cleared in the last hour. All of this legwork to prepare for two nights when we thought we could finally be animals and move our abdominals for a night, instead receiving news that life for women just got a whole lot scarier.
Good news brought to you by Goose and Trey by Em Walis
Goose’s cover of “Mad World” from the South Farms Halloween show played on repeat the whole drive down. A song which leaned into the darkness in the throws of pod-era guilt stricken live music attendance. It also was a song Doom Flamingo played later that night with powerhouse feminist badass Kanika Moore appropriately addressing this particular moment of darkness.
During moments of self-preservation and protection, the mind for some went to a strange place where the value of innocuous thoughts skyrocketed. Distraction in the form of social anxiety, primal desire to hunt for big game in the form of a limited release poster, and theories of potential setlists and sit-ins began to swarm the mind, blocking out any space for all-out panic about women living in those states.
Empresses by Em Walis
SOS
Shock-driven imagination created a surreal mental image worthy of the “Weird Goose Dreams” facebook group. The line outside of Radio City before Connecticut Indie Groove band Goose played back to back sold out shows at Radio City Music Hall painted the sidewalks like the signs that once were held up only a few blocks away outside of MTVs TRL. Memories of pop-punk fandom long ago trailed while approaching. Opening conversations were mentally rehearsed. Would Dripfield have been hitting #1 on the hit music video countdown show if it were still airing today?
So ready by Em Walis
Why the rehearsals? The typical over-thinker would estimate that of the 6,000 guests, a core group of, say, 10% would be in attendance for every show. Another 20% will go to every run within a day’s driving distance. 30% will see every show where they can return home the same night. 20% could be first-timers and the remainder… It was complicated.
100% Sold by Em Walis
In a landscape of ever-changing risk, evolving life circumstance and financial whirlwinds, that percentage unaccounted for above could be dedicated fans, unable to attend for a solid chunk of time. Thankfully, they were able to continue to follow the band, only from the VIP view of the livestream and rode the rails of the coffee table with company of an active group chat. The poster line was more like reflexes with a Nintendo game, instead of the running of the bulls (or in this case, geese). The importance of a historic night for band and community might have inspired months of preparation in order to attend. The emotions of the prodigal children ran high.
The time they left Scarf the Redeemer in charge of the pit at RCMH – Georgiana Platt
Before crossing the street over to the line, all thoughts were immediately interrupted when a man standing with arms outstretched and body language that shouted, “Welcome!” and “I’m so glad you made it to the show!” Golden light poured over the massive Radio City Music Hall and line as far as the eye could see weaving behind. Scarf draped over the outstretched arms, the bit of fabric which has become a rock relic illuminated with vibrancy from the sun as it set behind.
The scarf danced and waved tirelessly during those early streams where the pods were spaced such that only two people from the crowd could be seen when Marta Goedde switched the cameras to the front of house viewpoint. A symbol of giving it all you’ve got to both thank the band for taking a risk during a dark time and to honor those that were not in a position to safely attend. A symbol of hope when we needed it most. A man whose outstretched arms and scarf draped, larger than life in front of the epic Radio City Music hall could only be described as “Scarf the Redeemer” washed away all doubts with a single hug. Radio City. Goose. Good News. Mood Boosted. Game on.
Start and end with glizzy sacrament by Em Walis
Seekers
Familiar faces full from streams and memes were assembled at the front of the line, taking part in the sacrament known as the eucharist of glizzies. Why show up so early when there are assigned seats? The group up front at Radio City absolutely wanted a poster, but more importantly, value the time waiting on line for doors as part of the community experience. Hours of sharing and connecting before as well as mutual experience up front for every show has created an unbreakable bond and ritual that could not be forgotten, even if their ticket put them somewhere up in the three Mezzanines.
Shine on by Em Walis
Stickers, baklava and pogs were passed around from arms draped in glistening sequin capes to ones with vibrant colors of one specific tie dye maker. Typically a sign on regional representation, these dyes transcend the regions and have been worn by community members hailing from an area much larger than their origins of Western New York.
The patterns on the dyes both thoughtful and ornate, evoked an unconscious mood boost because the coloring seemed to look exactly like the big looks from some most cherished moments from Goose shows past. The Blue Sky Dyes have been worn by members of Goose over the years which have been featured on streams played at home time and time again. Another mood boost.
Travel MVPs by Em Walis
Travelers
Seven missed flights, one broken truck and a marriage proposal later, one couple finally made it to Radio City for the show. Another seated monk figure had converted his van to follow Goose. Coast to coast, Midwest to Southeast. Representations from across the country were assembled together. The mood was cohesive and upbeat.
The Rockdale by Em Walis
Goin Down To The Rockdale
Arriving inside Radio City Music Hall felt like time travel. Lounges, not bathrooms, all had unique mirrored constructions. Water fountains made with artistry that could not look like anything further than the industrial robot fill stations of today. The merch line spiraled down an oval staircase. The surreal feeling seemed to never end as memories of the Resonance set from a few years ago kept appearing when chatter began to spread about what potential this band had. Familiar faces, big long hugs and selfies galore could be witnessed throughout the halls as thousands of people poured into the venue. This was a powerful feeling at a powerful time.
Peter remembering who is important by Em Walis
Gonna Lay It All Down For You
Before Goose began their first song during the biggest night of their careers, Peter took a moment to address the crowd about the devastating news. He stated the value for women’s rights among the band and tears were falling before the first note commenced.
Arms up, or not. You decide. By Em Walis
Leave Your Coat At The Hotel, We’ll Be Hanging In The Old Barroom
The atmosphere differed tremendously depending on location of seating. Each quadrant held a distinctive personality. Under typical circumstance, a Goose crowd would often resemble that of a high school cafeteria. Same people riding the front rails. Tamara, Crepes and Val on Trevor side, Phil, John and Noah in the middle. Binky between Rick and Peter alongside the Carusos forever dedicated to “Pete side, sweet side.” At Radio City Music Hall, everyone was scattered throughout. Some were able to experience the light show for the first time, despite countless shows attended.
Ryan Stasik believes in shenanigans by Em Walis
Orchestra: Elmegs and Empresses
In the Orchestra seating, there appeared to be a near checkerboard pattern of longtime family and friends mixed with first timers and socializers. Similarly dispersed were those that danced hard with those who would fall under a still, hypnotic trance. In the center of it all, fittingly, was the Goblin King. The “George Washington of hot guys in the jam scene,” according to Andy Frasco. Ryan Stasik was in attendance. “So hot right now,” someone whispered from nearby.
Escaped animal by Em Walis
First Level Mezzanine: Animals
The first mezzanine was a different story. These bunch of animals danced hard and could be called rowdy. The view of the stage from the back rows could have been better, but it didn’t matter. Every person of every age sang each word as if it were a church hymn. It was discovered here that amidst a tumultuous emotional experience, it can be extremely healing to let all of that angst out with dance and shouting the words. Catharsis comes in the form of the silly and leaving egos at the door. Appropriately, this quadrant of the venue went all out bananas when Animals came on. Little did they know the amount of banana jokes that would be made after the following night.
A game the animals played was called “Guess When Goedde is in Charge!” The critters up in mezz 1 would try to spot moments when the lights matched what was happening musically and participants in the game would try to guess what they thought Goedde would say through the monitors to the band like a circus ring leader. “Again!” was the most common guess.
Feed the creatures. They will grow. By Em Walis
Second Level Mezzanine: Creatures
The second level was where true entrancement happened. A sensory experience where holding a prism, balloon while adorning 3D Glasses was common ground. The visceral reactions and empathy held by all. The bigger meaning was felt here. The growth of the band and its fanbase. The creature which grows when nourished and loved. When Trey came on, all bets were off and everyone beamed with excitement in celebration of the good news we all finally needed. Conversations afterword consisted of repeatedly exchanging the question “what the actual f?” back and forth to each other for the remainder of the night.
Mezzanine 3: Red Birds
Perched up above, the full view of the light show was quietly enjoyed by those that dedicated their night to doing everything possible to appreciate the small moments of beauty in life. The colorful moments viewed from a safe distance created a space for the Red Birds to begin to heal. In the most heartfelt performance of the new song “Red Bird,” dedication to all of the women struggling with the supreme court ruling. Caring, judgement free words were sang to the Red Birds up in Mezz 3, reminding the rest of the crowd of Peter’s assertion at the start of the run. Attendee Tony Vasile put it best,
“Red Bird was a necessary anthem for women’s rights tonight.”
Leave your coat at the hotel by Em Walis
Going Down To The Rock Dale
All in all, the two night of Goose at Radio City Music Hall were memorable because of the good news it brought. Everyone seemed to get exactly what they needed out of it and left feeling better than when they arrived. For good reason. Fans both streaming from home and in attendance were able to witness their favorite band live out their childhood fantasy. It does not get more proud mother goose than that. One proud parent in the crowd recalled an early rendition of Goose practicing every Friday night for three hours over the course of seven years before they all left for college. With the occasional Saturday and Sunday jam session peppered in, it is remarkable to see the result of dedication as well as a coming of age tale converging during two beautiful nights.
Media team and long time friends Adam Berta and Bryan Murphy perched by Em Walis
One Life To Live For
The spirit of the night was impactful for more than just bands and fans. The crew behind the scenes have all been friends with Goose for years. The amount of tears shed could fill buckets. It was not only a dream come true for the band to collaborate with Trey, or play this venue. Aspiring audio engineers, lighting designers and photographers dream of working Radio City Music Hall. To ice the cake with both musical and photographic heroes sent it over the edge into something that could once only be joked about as a “Weird Goose Dream” facebook group fantasy.
Not The First Time by Em Walis
And The Sun Will Be Rising Soon
Beneath the brightly illuminated city lights and glowing marquee reading the words “Sold Out” and “Goose” common ground established between birds of a feather and fish in the sea. It turns out, they were all just animals. It was phenomenal. Finding an exit path through the boisterous carnival and second consumption of the eucharist of glizzies outside Radio City Music Hall, chirps of praise volleyed between friends old and new.
Glancing upward, the bright white points of St. Patricks cathedral glowed brightly as they peeked out from behind Rockefeller center. Like a scene from a movie, it all clicked. We have been here before. The face tingling sensation from Arcadia was felt this intensely only one other time during the Goosemas livestream performed atop Rockefeller Center amidst the throes of shutdown.
Its a new light creeping out…
This band seems to have made it a habit of there for us when we need it most.
Goose – Friday, June 24 – Radio City Music Hall, NYC
Set One: California Magic, Elizabeth, Jack-a-Roe (1), Turned Clouds, This Old Sea, All I Need
Set Two: Tumble, Borne, The Whales, A Western Sun, Pancakes
Set Three: Madhuvan, Hot Tea (2), Arrow (2)
Encore: Animal
(1) Grateful Dead cover, Goose debut (2) Studio arrangement with Stuart Bogie on saxophone, D. James Goodwin on guitar, Dave Nelson on Trombone
Goose – Saturday, June 25 – Radio City Music Hall, NYC
Set 1: Atlas Dogs, Moonrise, Wake Up(1), Atlantic City(2), Flowdown, Elmeg the Wise
Set 2: Rockdale, Seekers On the Ridge (Part 1)>Seekers on the Ridge (Part 2), Redbird >I’m Writing a Novel(3), Creatures
Set 3: Silver Rising, Hungersite (4), Arcadia(4), Dripfield(4)>Loose Ends(4), Empress of Organos (4)
Encore: Tomorrow Never Knows(5)
(1) “Wake Up” by Arcade Fire (2) “Atlantic City” by The Boss (3) “I’m Writing a Novel” by Father John Misty WITH FATHER JOHN MISTY!!!!! (4) Trey Anastasio Playing with the boys! (5) Jeff on Guitar w/FJM on Drums, Trey has returned) “Tomorrow Never Knows” by The Beatles
Today we look back at perhaps the most memorable and influential music festival of the 21st century, the first Bonnaroo. Held June 21-23, 2002 in Manchester, TN, Bonnaroo has helped pave the way for the success of the modern day music festival. The original 2002 edition skewed jam band-heavy when compared to the contemporary version, but the communal vibes and appreciation for live music that the festival has fostered over the years have only gotten stronger. Discover how the first Bonnaroo Music and Art festival came to fruition, the memorable musical offerings that weekend, and how the festival laid the groundwork for successful music festivals in the years and decades that followed.
photo by Pete Mason
Origins
Bonnaroo, in name alone, is steeped in musical culture. The word derives from the French words “bonne,” meaning “good,” and “rue” which means “street.” This was done out of respect for the music tradition of New Orleans, a spirit the founders of Bonnaroo were looking to carry over into their next venture. And even more fittingly, “bonnaroo” also serves as Creole slang for a “really good time,” the very essence of any successful music festival.
Not only that, Angola Prison was located on Bonnaroo Avenue. To be on that street, and not in prison, was naturally, a good thing. The cajun expression “desitively bonnaroo” came to mean “better than the best,” originating among the inmates of the South Louisiana prison, for if you were on that street and not in the prison, it was “desitively bonnaroo.”
Not only that, Angola Prison was located on Bonnaroo Avenue. To be on that street, and not in prison, was naturally, a good thing. The cajun expression “desitively bonnaroo” came to mean “better than the best,” originating among the inmates of the South Louisiana prison, for if you were on that street and not in the prison, it was “desitively bonnaroo.”
The closing of Knoxville’s World’s Fair Park in 1999 unknowingly got the ball rolling for the creation of Bonnaroo. The park had been the yearly home of the Hot Summer Nights music festival until construction forced concerts to no longer be held there. Festival founders AC Entertainment were forced to pivot and look elsewhere and from there the seeds of Bonnaroo were hatched.
The closing of the World’s Fair Park for concerts precipitated getting creative and trying to find, ‘OK, if we can’t do this anymore, how can we still participate in the summer outdoor concert business,’ and it was from that that Bonnaroo was ultimately launched.
Ashley Capps, co-founder AC Entertainment
Bonnaroo seemed like a natural name for the massive new venture on a giant farm in Manchester, TN. Not only for the aforementioned translations, but the term itself wasn’t completely foreign either after being introduced to pop culture through Dr. John’s 1974 release Desitively Bonnaroo.
Superfly, who produced shows during New Orleans Jazz Fest in the late 90s, had experience in staging 28 shows over 8 nights at various New Orleans venues, typically late-night and catering to jam band fans. Superfly founders Kerry Black, Rick Farman, Richard Goodstone and Jonathan Mayers had attended Glastonbury and Coachella Festivals in years prior, and used these experiences to frame their vision for Bonnaroo Music and Art Festival.
The Superfly team brought in Coran Capshaw, who managed Phish and Dave Matthews Band, among others, to assist with financing, and worked with regional promoter Ashley Capps (AC Entertainment), based out of Knoxville. Working together, Superfly, Capshaw and AC Entertainment combined resources and dove in feet first, creating America’s most successful multi-day camping music festival since the original Woodstock.
Farman spoke to Relix in April 2002 noting that the first task was to establish bonafides to the fans:
The first thing that I think is important to let everybody know is that we have an extremely experienced and professional crew behind this event. I know many people know Superfly from the events we’ve done at Jazz Fest and other things. And I know people know AC for the events he’s done. But what I really wish to emphasize is that we have hired the best people in the camping festival business to help us put on this event. We have a lot of experience between AC and us in putting on concerts and concert promotion but we certainly understand that our experience is limited in putting on an event of this size.
Our basic plan has been to make the learning curve zero. Most of the people that we’ve hired were also key players in putting on the big Phish events- everything from our project manager, site coordinator, vending consultant, production manager, parking company, business manager, the head of security and the different security companies that were hiring. We’re going to have Clean Vibes out there, which I think people know through many events, including the big Phish events. So in terms of the quality of the people putting on the event and the quality of the facilities, its really going to be top notch.
The location the team would choose was found in Central Tennessee, in the small Coffee County town of Manchester. Located an hour drive southeast of Nashville, the town of less than 9,000 at the time had previously served as host to at least one previous music festival, Itchykoo.
Named for the Small Faces song “Itchykoo Park,” the festival was held only once, from August 12-15, 1999, featuring 40 bands over four days and nights. The event sold 20,000 tickets, but the event did not repeat, something apparent before the weekend concluded, with event staff reportedly departing mid-shift when it became clear their work would not be paid.
The classic rock-centric festival featured Dave Mason, Survivor, Rick Springfield, Blue Oyster Cult, Sammy Hagar, Joan Jett and the Blackhearts, Iron Butterfly, Leon Russell, Davy Jones and Mickey Dolenz (performing separately), Starship and the Wilson sisters from Heart. The lineup, while ambitious, did not have a true headliner, but instead a list of classic rock bands with no clear connection between the artists.
Itchycoo not returning to Manchester for additional installments, coupled with World’s Fair Park closing for construction, made the perfect conditions for Bonnaroo to arrive in 2002. Of course, the two festivals would have a similar sounding name, and an ambitious first year endeavor like Bonnaroo needed to establish their brand as distinct from the predecessor, at least to all who were aware of Itchykoo. With a name that signified a ‘good time,’ was the name of a street in New Orleans as well as a Dr. John album, confusion with the 1999 festival was not a factor.
The location in Manchester, a 700-acre farm with access roads left over from Itchykoo gave it perfect location next to I-24, something that was a necessity for any major music festival to ensure easy access for arriving fans. The farm was purchased in 2007, and a permanent power source was added shortly after, so as not to use the TVA hookup that accounted for 70% of all power, with the rest coming from generators.
On March 13, 2002, with little advertising, tickets for Bonnaroo went on sale, at an initial cost of $100, eventually sold for as much as $170. Tickets were sold exclusively through the Bonnaroo website, with 10,000 tickets sold the first day. Within the first week, 70,000 tickets were sold, and the festival announced a sell out on March 24. Within 11 days, and mostly by word-of-mouth, Bonnaroo had sold out their first year with a lineup and vision that fans agreed with.
There was of course another failed festival in 1999 that also had an impact on Bonnaroo, and music festivals in general. Woodstock 99, which quite publicly showed Baby Boomer greed meeting Gen X angst, in full view on MTV. While Itchykoo failed due to lack of headlining acts and lack of funding, Woodstock tarnished a brand permanently, with founder Michael Lang unable to celebrate the 50th anniversary of Woodstock with a festival 20 years later.
The long-running Peach Music Festival has returned with its official 2022 lineup. The four day festival will run from June 30 to July 3 at Montage Mountain in Scranton, PA, with a number of performances to celebrate its 10th anniversary.
Headliners for the festival include Trey Anastasio Band, The Black Crowes, Billy Strings and Joe Russo’s Almost Dead. They will be joined by acts like The Revivalists, Pigeons Playing Ping Pong, Duane Betts, Ripe, The Wailers, The Motet, Star Kitchen and many more. There will also be a reunion of The Word featuring Robert Randolph, John Medeski, Luther Dickinson, Cody Dickinson and Chris Chew. Additional artists will continue to be announced.
Goose Performing in 2019
After initially starting as the first-ever Allman Brothers Band-inspired festival back in 2012, Peach Music Festival has evolved into a one of a kind experience for all music lovers. Continuing with the Allman Brothers Band inspiration, there will also be performances from founding member Jaimoe performing with friends that includes Daniel Donato, Dylan Niederaurer, Jack Ryan, Lamar Williams Jr., Nikki Glaspie, Peter Levi and Roosevelt Collier to celebrate the 50th anniversary of their seminal album Eat A Peach.
The high energy music fest also has food and craft vendors, along with access to the Montage Mountain Ski Resort’s water park, zip line and ski lift rides. Tickets and travel packages, as well as camping, glamping tent and RV passes are available on the Peach Music Festival website.
