From 1986 until 2014, David Letterman would close out his final show of the year with a Christmas episode that featured the one and only Darlene Love. Over the span of those 28 years, Love would perform her holiday hit “Christmas (Baby Please Come Home),” one of Letterman’s favorites.
The appearance found its origins after Letterman saw Love perform the song at the Bottom Line, in a show called Leader of the Pack. He immediately had to have her on the show. Love told Variety in 2014:
He had David [were] down to see the show. [Letterman] said, “You know that song that girl sings? That Christmas song? That’s the greatest Christmas song I’ve ever heard. We need to get her on the show.” That was 1986, and so I’ve been doing it ever since.
The tradition spanned two networks over nearly three decades, appearing from 1986 until 1993 on Late Night with David Letterman, and later on the Late Show with David Letterman when Letterman joined CBS.
The song was originally recorded for the 1963 Phil Spector album A Christmas Gift for You, and while Love performed the song on Letterman’s shows, she told the New York Times in 2014 that she will not sing it for any other TV talk-show hosts moving forward.
For her final performance, the Late Show paid tribute to Darlene Love. Following her brief interview with Dave, the stage filled in with additional musician, including string and horn sections and several backup singers. These singers would not overshadow Love’s powerful voice, and sang her final last verse from the top of Paul Shaffer’s piano, with fake snow falling around her.
Recently, an animated version of “Christmas (Baby Please Come Home)” has been released through Legacy Recordings. The short video follows a young Black girl as she walks home through a snowy neighborhood, accompanied by a happy snowman. Along the way, she stops to admire a Christmas tree and runs into her dog, who is singing along with a pair of carolers. The girl and her dog arrive home, where they are lovingly greeted by her parents. As the video nears its end, the girl opens up one of her presents to find a snow globe with the smiling snowman inside.
At the end of the music video, Love posted a message paying tribute to her late sister, Edna Wright Perry, who sang backing vocals on the track.
Featured on the show prior to Love’s show-stopping performance, Letterman annually welcomed comedian Jay Thomas, to share, as Letterman put it, “the best story I’ve ever heard.” Thomas would then launch into his true story about an encounter with Clayton Moore, the actor famous for playing The Lone Ranger. For 17 years starting in 1992, Thomas would come on the show and deliver the joke, much to Letterman and the audience’s approval. Watch the story unfold over the years.
After Thomas delivered the punchline, he and Letterman would alternate throwing a football at the meatball on top of the Late Show Christmas tree. To wrap up the show, Darlene Love would come out for “Christmas (Baby Please Come Home)” and send the show into the night.
There are certain years in Phish lore that are held in higher esteem than some others. 1997 would certainly be one of these. The Fall Tour this year, aka “Phish Destroys America,” produced some of the greatest moments in the band’s storied history. 23 years ago today, the legendary tour stopped in Rochester, NY and delivered a few monumental jams as well as the debut of a soon-to-be Phish regular.
Phish runs right out of the gates tonight in Rochester and sets the tone early with a massive three-song opening sequence. A raucous War Memorial crowd is greeted with a quick trip to Gamehendge first via “Punch You In The Eye.” The popular opener choice revs the crowd up even more with its signature lyrics, fun calypso rhythms and, of course, the customary Mike and Trey salsa dance.
While “Punch” may not have been a surprise, the absolutely monstrous “Down With Disease” that immediately follows surely must have been. Phish’s second song in Rochester was played like a second set with an electric Anastasio-driven jam that starts around the five-minute mark. From there on out, it’s a masterclass in controlled chaos with the band firing on all cylinders. This eventually devolves into an ambient-type jam replete with digital delay loop effects, giving it that vintage late 90s sound.
20 minutes and one funky start-and-stop jam later, the “Disease” slowly crawls to an end. At this point, anything is possible. But then the familiar high-hat drum pattern of “Maze” arises from the mist. The dark organ tones produced by Page on keys combined with Trey’s relentless guitar rhythms shine on this one. This marks the end of a mesmerizing, and certainly exhausting, opening 1-2-3 on the lineup card tonight in Rochester.
Things understandably cool down a tad afterwards, starting with the “Dirt” that follows. Trey leads the band on a quick trip beneath the surface with this new tune that debuted earlier in the year. Afterwards, another new tune makes an appearance in “Limb By Limb.” This one is supplied with a quick, blissful jam on the back end. “Limb” would later be featured on Phish’s TheStory Of The Ghost album released the following year.
These two up and coming songs are then followed by two cover selections to close out the opening stanza. McConnell and his baby grand piano take charge and lead the way on a take of The Rolling Stones’ “Loving Cup.” And a rip-roaring “Rocky Top” then closes the book on a first set that’s certainly going to be most remembered for its impeccable start.
Phish goes deep once again to start the second set with a thorough take on yet another cover, The Who’s “Drowned.” Trey wastes no time before unleashing a plethora of notes with the rest of the band close behind in another frenetic early set jam in Rochester. This yields a pleasant, improv-heavy jam that once again devolves into a loop-heavy ambient segment, stretching to the 20-minute mark once again.
Suddenly, Trey begins strumming a distinct melody as they segue a bit awkwardly into the next number. But it’s one they’ve clearly been practicing (Mike especially), as memorialized in this clip from the movie Bittersweet Motel seen below.
A cover that few saw coming, Phish takes on Ween’s “Roses Are Free” for the first time ever. They get through it ably enough and some more inspired guitar play from Trey drives it home nicely. Quite suddenly, it then shifts from a debut to bust out of sorts as “Big Black Furry Creatures From Mars” rears its head for the first time in 118 shows. The old school, nonsensical rocker shows no real signs of dust as the usual mayhem it produces ensues.
Out of the feedback-heavy ending arises “Ghost,” the title track of the aforementioned 1998 album. This lays the groundwork for one last notable Rochester jam. Mike’s thunderous bass play and Page’s work on the electric keys lead the way early on. A beautifully patient and slowly progressing sequence then takes shape as Trey and Fishman begin to get more prominently involved.
At the end of yet another monstrous jam, a distinct “Down With Disease” section is played, as if in a nod towards its first set brethren. An incredibly random but blistering take on Chuck Berry’s “Johnny B. Goode” then closes out the second set in grandiose fashion. This would be the second to last time it’s ever been played at a Phish show, to date. And as a complete juxtaposition, the delicate ballad “Waste” wraps things up as the encore selection on this chilly Rochester evening.
Phish Rochester War Memorial – Rochester, NY 12/11/97
Set 1: Punch You In The Eye > Down With Disease -> Maze, Dirt, Limb By Limb, Loving Cup > Rocky Top
Set 2: Drowned -> Roses Are Free -> Big Black Furry Creature From Mars > Ghost -> Down With Disease -> Johnny B. Goode
Dive bars and small clubs are generally the starting point for any fledgling band looking to make it big. Ideally, the goal is to move up to bigger and better venues eventually. Well, today, we celebrate one of the few tiny clubs that became renowned worldwide and a dream destination for any band. CBGB opened its doors 47 years ago,today, and the music world hasn’t been the same since.
Located in the heart of New York City’s Bowery district, CBGB was not always the musical Mecca it would come to be. It was previously a biker bar known as Hilly’s on the Bowery, one of two local establishments that owner Hilly Kristal managed. When his other bar was forced to close, Kristal redirected his efforts to the one left standing and made a life-altering change. On December 10, 1973, the Bowery dive bar officially became CBGB & OMFUG.
The CBGB acronym stands for Country, Bluegrass and Blues, Kristal’s initial vision for the music he wanted played there. The OMFUG supposedly stood for “Other Music For Uplifting Gormandizers.” Although a gormandizer is a term often used in reference to someone who eats food ravenously, in this case it would be the music that was being consumed. However, Legs McNeil, one of the true punk music journalists of our time and a CBGB regular in its heyday, claims the “U” in OMFUG was often left open to interpretation.
At its inception, CBGB stayed true to Kristal’s musical vision. But that would soon change, starting in February of 1974 when they booked local act Squeeze. This marked the first shift from country and bluegrass to original rock acts performing there. Another factor that led to the change in format was the nearby Mercer Arts Center burning down in August of 1973. For years, local unsigned bands of all styles had a place to play music there. Now they were in need of a new stage.
Eventually, the bookings at CBGB would lean more and more towards rock. Bands like Television, a local band at the forefront of the newly emerging punk music scene, would begin playing there. Other bands like the Patti Smith Group, Talking Heads, and Angel and the Snake (eventually renamed to Blondie) later got their start here as well. Rock legends The Ramones also played their first gig ever at CBGB in August of 1974 to a comically small crowd in hindsight.
While the early years of the club were rife with bands that would later become nationally known, CBGB was far from a financial success. Per Kristal, it was not until sometime in 1976 that the club started paying for itself. During this time, he also established two “set in stone” rules that would go on to define the ethos of this establishment. Bands had to play original material only and they had to move their own gear. In return, Kristal would allot most of the door money to the bands, encouraging them to develop a following and return.
That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable. Originality (to me) was prime, technique took second place.
Hilly Kristal
Within a few years, CBGB was a known place for local artists of all kinds to experiment, play and do whatever they want – as long as it was original. It would only be a matter of time before acts based outside of New York City would begin to appear. In 1977, The Damned played a show there that marked the first time a British punk band ever played in America. Elvis Costello later opened shows there and The Police would also play their first American gigs here. As the 1980s rolled on, CBGB became primarily a haven for hardcore punk and metal acts.
With its growing success, the club was able to expand a little and a neighboring storefront soon become the CBGB Record Canteen, a record shop and cafe. In the late 80s, this was converted into an art gallery and second performance space. This would be a place for the “other” musical acts to perform, catering to fans of folk, jazz or experimental music.
Sadly, the turn of the century would begin the downfall of this iconic music venue. CBGB would soon enter into a protracted dispute over allegedly unpaid rent amounts. In 2005, atop its normally paid monthly rent of $19,000, CBGB was sued for some $90,000 in rent allegedly owed to its landlord, Bowery Residents’ Committee. Kristal claimed, and the court would later agree, that he was not properly notified about the increase in rent, marking the debt invalid. However, the two sides were unable to come terms on a new rental agreement and the soon-to-expire lease would not be renewed.
The last show at CBGB took place on October 15, 2006 and was broadcast live on Sirius Satellite Radio. Fittingly, New York City and club legend Patti Smith was the headliner, aided by Flea of the Red Hot Chili Peppers and Television’s Richard Lloyd. Smith’s rendition of “Gloria” was notably interlaced with snippets of The Ramone’s classic “Blitzkrieg Bop.” And during “Elegie,” the final encore, Smith named musicians and other music figures who had died since playing at CBGB. This marked a somewhat somber end for a venue that was undeniably full of life for decades.
Talking Heads play CBGB in 1977
Even though no more music is played here, the legacy of CBGB continues to live on. It remained open as CBGB Fashions—retail store, wholesale department, and an online store—until October 31, 2006. And in 2008, fashion designer John Varvatos opened a store there, although in tasteful fashion. Aside from a few needed upgrades, the entire interior of the club remained the same – stickers, graffiti and all – as it housed CBGB memorabilia and clothes for sale. It even has its own movie that came out in 2013.
Aside from the venue itself, CBGB Radio would later launch on the iHeartRadio platform in 2010. CBGB music festivals would later begin to sprout in 2012. And the following year, the building itself at 315 Bowery was added to the National Register of Historic Places as part of the Bowery Historic District.
CBGB was founded in 1973 on the Bowery, in a former nineteenth-century saloon on the first floor of the Palace Lodging House. The legendary music venue fostered new genres of American music, including punk and art rock, that defined the culture of downtown Manhattan in the 1970s, and that still resonate today. In this role as cultural incubator, CBGB served the same function as the theaters and concert halls of the Bowery’s storied past.
National Park Service nomination form
The spirit of CBGB and the early punk era also lives on through new forms of audio storytelling like the immersive audio walks created by arts and culture app, Gesso. Their Punks + Poets audio walk begins in Washington Square Park and ends in Tompkins Square Park, illuminating the birth of punk music in the area.
It’s truly amazing that such a small club could leave such a big impact on society. The music it inspired and the artists it gave a home to read like a Who’s Who of rock music. Kristal’s willingness to pivot from his original vision and adapt to the surge of new wave and punk rock that the 70s and 80s brought with it helped define a generation of music.
For one last look at CBGB the way it was, check out the video below.
On a fateful Thanksgiving Day in 1965 in a Norman Rockwell town in Massachusetts, events began to unfold which would alter the life course of Arlo Guthrie in unexpected ways. He documented his story in a finger-picked folk song with the well-known chorus, “You can get anything you want at Alice’s Restaurant.”
What starts as a kind-hearted gesture to take out the garbage for friends Alice and Ray on Thanksgiving turns into a humorous romp through legal and bureaucratic systems, with a punchline about being deemed ineligible for the Vietnam War draft. Lasting in excess of 18 minutes, “Alice’s Restaurant Massacree” filled up an entire side of Guthrie’s first album. He never expected it to gain any airplay. However, in the politically-charged climate of late 60’s and early 70’s, the song became an anthem for war draftees and protesters.
The 1969 film Alice’s Restaurant features some of the people who were involved in the events, including a cameo by Alice Brock, who is immortalized in the song’s title. Radio stations began to play the song every year on Thanksgiving, a tradition that continues half a century later.
Today, Guthrie operates the Guthrie Center, which promotes cultural and spiritual experiences. The Institute is located at the church featured in the iconic song, and remains a pilgrimage destination for fans around the world.
Legendary rock band Blue Öyster Cult has announced the release of a live performance video for 2020 track, “The Alchemist.”
Riding the triumphant success of their 50th Anniversary celebration, Blue Öyster Cult is rolling into the release of ‘50th Anniversary Live – Third Night,’ the final installment of the live album celebrating the band’s 50th Anniversary. This electrifying performance, which includes the band’s third album ‘Secret Treaties’ performed back-to-back, is set to hit the shelves on December 13, 2024, and promises to be a spectacular follow-up to the band’s historic three-night stint at Sony Hall in NYC. Today, in anticipation of the album’s release, Blue Öyster Cult share a new live performance video for “The Alchemist”.
Blue Öyster Cult’s legacy spans over five decades, captivating fans with intelligent hard rock loaded with classic songs. Hailing from Long Island, NY, the band is renowned in the hard rock and heavy metal scene for their pioneering work, earning both critical acclaim and commercial success. Cited as a major influence by acts like Metallica, BOC boasts a timeless catalog, including iconic tracks like “(Don’t Fear) The Reaper,” “Godzilla,” and “Burnin’ for You.” The creative vision of the original core duo, Donald “Buck Dharma” Roeser and Eric Bloom, is complemented by Richie Castellano, Danny Miranda, and Jules Radino, forming a powerhouse lineup.
As the band embraces its status as a ‘classic rock’ phenomenon, they continue to create vibrant work, offering a refreshing alternative to mainstream trends. With a relentless touring schedule and the critically acclaimed 2020 album The Symbol Remains which contains “The Alchemist,” Blue Öyster Cult remains an enduring force, ready to ignite the stage once again with the upcoming release of 50th Anniversary Live – Third Night. With the release of a live performance of “The Alchemist,” the band celebrates their 2020 success along with the anticipated success of their upcoming 50th anniversary live album.
For more information on Blue Öyster Cult, their upcoming works, and to watch their live performance of “The Alchemist,” click here.
Joe Walsh and VetsAid have announced a forthcoming collaboration with Post Malone at this year’s benefit concert. The show, scheduled for November 11 at 7pm at UBS Arena in Belmont Park, NY, will feature the two iconic artists playing material from each of their respective catalogs. This year’s show marks the eighth annual edition of VetsAid which started in 2017 with a show at EagleBank Arena in Fairfax, VA. The two iconic artists will be joined by Eric Church, Toto and Kool & The Gang this year.
“VetsAid is for EVERYONE: fans of all ages, backgrounds and musical genres,” Walsh explains. “So who better to join the party than Posty – the man who can do it all? And do it so well?! Mix in the best of country with Eric, rock with Toto and funk with Kool and The Gang and you have a VetsAid for the ages. What better way to honor our veterans and their families this Veterans Day than with a night you will never forget?”
Walsh has also announced the grant recipients that will benefit from the proceeds of this year’s VetsAid. All of the groups are either based in New York or New Jersey or have committed to using these funds exclusively on the ground in New York or New Jersey. Large grant recipients include the Travis Manion Foundation, Fourblock, Hire Heroes Foundation, America’s VetDogs, Vets4Warriors, Our Military Kids, Foundation for Women Warriors, HunterSeven Foundation, and Merging Vets & Players. The Community Grant recipients are Homeward Bound Adirondacks, Project Refit, AMVETS Service Foundation of New Jersey and the North Country Veterans Association.
Veterans and their wellbeing have always been important to Walsh, a Gold Star son himself whose father died while stationed on active duty on Okinawa when Walsh was not even two years old. His mission is to use this platform to raise funds and awareness for the still urgent and significant needs of our returning soldiers and their families. The establishment of VetsAid and this annual benefit concert is his way of giving back to those who have given so much in sacrifice for this country.
VetsAid 2023 took place in San Diego and featured performances by Jeff Lynne’s ELO, The Way on Drugs, the Flaming Lips, Lucius and special guest Stephen Stills. The group is committed to curating an exclusive once-in-a-lifetime festival lineup in a different American city each year with a large veteran and military population.
Rock legends can never seem to have enough press. From Rolling Stone magazine and personal memoirs to archived concert footage, the rich history of Rock and Roll is well-documented on the surface level.
But it’s on the local level that unsung Rock and Roll veterans of their own right typically go unnoticed. Musician and journalist Michael Rabb didn’t want that to happen in the Hudson Valley.
Michael Raab pictured at a film festival where one of his documentaries was streamed.
In the late 70’s Raab – who grew up in Cornwall, NY – meticulously documented the music scene of the Hudson Valley for the subsequent decades. In 1979 he created the MusicMachine Magazine and started writing articles about bands in the region. He had first noticed a surge of live music and bands in Orange and Dutchess Counties but became frustrated when local papers didn’t cover the local scene. So armed with an IBM Selectric typewriter, he took matters into his own hands and began publishing his own articles.
“The region was ready for media coverage in the trenches where it was all happening,” Raab said. “The time was right for Musicmachine Magazine.”
Raab himself was part of a band called the Jelly Bean Bandits in the 60’s and 70’s. The group worked their way into a record deal with Mainstream Records and recorded an entire album in 12 hours in a studio in Manhattan. (Their 1967 debut self-titled LP still averages a few hundred streams every month on Spotify, Raab informs me.)
The Jelly Bean Bandits self-titled LP
When the band first started out, they played all over the Hudson Valley in places like the Trade Winds nightclub in Newburgh and the Buccaneer in Poughkeepsie. The Bandits would eventually dissolve before releasing any subsequent records but has reunited a few times over the past decades for reunion shows and charity events in the region.
As the 80’s came around, readership continued to grow for MusicMachine and the magazine expanded. The magazine partnered with brands like Budweiser Beer and even grew to interview stars such as Southside Johnny (of the famed Asbury Jukes)
A rare interview with Southside Johnny in a 1983 edition of the magazine – photo via Michael Raab and MusicMachine Magazine Archives Facebook PageA 1983 edition of the magazine detailing concert ticket winners from a recent giveaway – photo via Michael Raab and MusicMachine Magazine Archives Facebook Page
In the 90’s, Raab moved to North Carolina but continued to operate the MusicMachine remotely with the help of a friend and eventually sold the magazine to a company that ended up going bankrupt. In North Carolina, Raab also had an eye for the emerging music scene there and purchased a struggling publication called The Beat and eventually sold that as well.
Later with the advent of the internet, Raab was able to archive video, photos and articles from the MusicMachine and share them with the world. He even made a documentary titled “Hudson Valley Music of the 1980s’, which is now available to watch on his Youtube channel.
As Michael Raab himself puts it, “that’s the condensed version of an exciting 12 years in mid-Hudson music.”
To explore more of the rich history of music in the Hudson Valley in the 80’s, check out the archives of the Musicmachine on Facebook: here
Hudson Valley Music of the 80’s documentary by Michael Raab.
Phish is, once again, going back to the Garden for their annual New Year’s Eve run. The band will play at MSG from Saturday, December 28th to Tuesday, December 31st. This will bring the running total of Phish shows at the Garden to 87 in all. Tickets go on sale to the general public beginning Friday, October 11th at Noon ET.
A ticket request period is currently underway at https://tickets.phish.com (ending Monday, October 7th at Noon ET). A limited number of travel packages (hotel + tickets) will go on sale tomorrow, Wednesday, October 2nd, at Noon ET at https://phishnye.100xhospitality.com. For complete ticketing information, visit https://phish.com/tours.
Phish also has four more upcoming New York State gigs as well, with a three-day benefit run that will take place at Albany’s MVP Arena in late October.
It’s had many names over the years: The Knickerbocker, The Pepsi, The Times Union Center and currently the MVP Arena. But on Tuesday, September 10, the storied building was transformed into a cathedral of heavy metal. Playing host to the legendary Megadeth and their “Destroy All Enemies” tour featuring Mudvayne and All That Remains, the scorching night of thrash, prog, punk, speed and metalcore music bludgeoned downtown Albany like a 10-ton hammer in a way that hasn’t been felt in years.
An epic evening of arena sized anthems and a career-spanning setlist packed with deep cuts and fan favorites alike, Dave Mustaine once again proved why his band remains one of the cornerstones of metal’s “Big Four.”
Thrash metal icons Megadeth returned to the MVP Arena for the first time in 17 years on 9/10/24.
For anyone familiar with Mustaine’s storied career, the sight of him on stage, shredding through riff after riff, felt like witnessing history in motion. After being famously ousted from Metallica in the early ’80s, Mustaine forged his own path by forming Megadeth in 1983, determined to make his own mark on metal. His fierce ambition and relentless work ethic paid off—Megadeth has since sold over 38 million albums worldwide, earning their place alongside Metallica, Slayer, and Anthrax as the pioneers of thrash metal.
But the show in Albany wasn’t just about Megadeth’s past. It was a testament to the present power of Mustaine, who at 63, plays with the same ferocity that marked his early years, if not more. This resilience is all the more impressive considering his 2019 battle with throat cancer, which threatened to sideline him permanently. Instead, Mustaine emerged victorious, his unmistakable snarl and masterful guitar work as sharp as ever. His playing style—technical, lightning-fast, and rhythmically complex—defines Megadeth’s sound and was on full display during songs like “Holy Wars… The Punishment Due,” “Peace Sells,” and “Symphony of Destruction.”
Fuck Cancer: Megadeth’s Dave Mustaine was back in Albany on 9/10/24 after beating a life-altering diagnosis.
Megadeth would also play selections from their most recent album, 2022’s The Sick, The Dying…and the Dead! which featured the eerie visual aid of an old plague doctor pushing a wagon cart full of corpses across the stage. Also from the same album, “We’ll Be Back” stood out as a new favorite for its relentless power groove and over-the-top shredding, further proof this band still has plenty of gas in the tank. Adding fuel the frenzy, time-tested staples like “Washington is Next!,” “Hangar 18” and “Sweating Bullets” sounded massive and just as potent as they were decades ago.
Destroy All Enemies: Megadeth performing at the MVP Arena on 9/10/24.
The crowd, a sea of black-clad fans with fists pumping and heads banging in unison, responded with a fervor that could only come from decades of loyalty. For many, Megadeth’s music represents something deeper. Their songs, often steeped in political themes, war, chaos, and personal demons, strike a chord with listeners who revel in metal’s intensity and cathartic aggression. This is why heavy metal endures—its primal power, complex musicianship, and dark themes speak to a primal part of the human experience.
Symphony of Destruction: Watch fan shot footage of Megadeth performing at the MVP Arena on 9/10/24.
As much as the night belonged to Megadeth, it was far from a one-band show. Mudvayne, co-headlining the tour, brought their own brand of chaos to the MVP Arena. Rising to prominence in the early 2000’s, Mudvayne, known for their groundbreaking debut L.D. 50, has a reputation for blending nu-metal with progressive elements, and their set did not disappoint. Musically tight, they delivered heavy grooves, complex rhythms, and a raw power that paired perfectly with Megadeth’s thrash fury. Known for their theatrical costumes and high-energy performances, frontman Chad Gray worked the crowd with ease, demonstrating an innate ability to connect with fans. Dressed in his trademark face paint and blood splatter, Gray’s commanding presence and guttural screams during songs like “Not Falling,” “Death Blooms,” “-1,” and “Internal Primates Forever” were highlights of the night.
Dressed to Kill: Mudvayne’s Chad Gray painted the MVP Arena red on Tuesday, 9/10.
Speaking candidly to the audience after ”Dull Boy,” Gray gave a heartfelt speech about the importance of staying true to yourself. Saying how this is the place to leave your baggage at the door. The problems at work, in your relationship, at school, with your family, with the law—they will all still be there tomorrow, but here at the arena, this is a safe place to let it all out. Demanding the fans make enough noise to satisfy him before they continue playing, Gray talked about the honor it is to be playing with Megadeth, one of the big 4 that inspired and empowered him as a kid we he came from nothing. Addressing the elephant in the room, i.e. the amount of people at the show, he would tell us “Anyone who knows metal is here, and if you’re not, that’s probably a good thing. Because once metal is in you, it never leaves. It doesn’t matter if you’re 6 of 65, you’re a metal kid for life.”
Ryknow Power: Mudvayne bassist Ryan Martinie was dropping bombs all night long on 9/10/24.
After delivering a standout version of “Nothing to Gein,” and working their way through “Happy?” Gray would reflect once again. Talking about how to him, this tour represents the passing of the torch. From one generation of metal to the next, he’s made an oath to carry it forward from here. Referencing influences like Metallica and Slayer, and later Pantera and Korn, he said heavy music will always keep evolving and it’s up to the fans to keep showing their support, no matter who the current torch bearer may be. Wanting the audience to know that he’s proud of each and every person who came out to see the show, he says it’s important to remember to reward yourself every once in a while, and to not be ashamed tomorrow for liking heavy music today. Asking if Albany can dig what he’s putting down, the band then launched into their biggest hit, “Dig” to close out their set. What a performance!
Dig This: Watch fan shot footage of Mudvayne performing “Dig” in Albany, NY 9/10/24.
Kicking off the night was Springfield, Massachusetts’ All That Remains, a metalcore band whose blend of melodic and brutal elements set the tone for the evening. No stranger to the Capital Region, the band has been playing various Albany clubs since forming in the early 2000’s and clearly have developed a loyal following in the area. Their impressive guitar solos, particularly from lead guitarist Jason Richardson, caught the attention of the early crowd.
Opening up with “Now Let Them Tremble,” and working their way through songs like “Six,” Divine,” and a massive rendition of “This Calling” from their beloved 2006 album The Fall of Ideals, All That Remains have a style that leans more into metalcore than traditional thrash. Making sure to bring a balance of aggression and melody, by the time the band reached their set closing number and biggest song, “Two Weeks, anyone who was on the fence was converted. Showcasing the band’s ability to fuse heavy breakdowns with catchy hooks, All That Remains was the perfect choice for an opening act.
All That Remains kicked off the night in Albany on 9/10/24.
Despite the aggressive sounds emanating from the stage, the Albany crowd remained surprisingly tame. While many die-hard fans in the front row headbanged and moshed in sync with Mustaine’s riffs, a significant portion of the audience seemed content to take in the spectacle from their seats, perhaps a testament to the older demographic that Megadeth now commands. Even so, the energy in the arena was palpable, and the night felt like a celebration of heavy metal’s enduring legacy.
As the tour rolls on through the rest of North America, including this upcoming Friday the 13th at Bethel Woods, it’s clear that the “Destroy All Enemies” tour is more than just a trip down memory lane—it’s a reminder that Megadeth and their fellow metal titans still have plenty left to say. For those in attendance in Albany, it was a night that highlighted the power of heavy metal to bring people together, proving that, even in 2025, metal is far from dead.
Megadeth | September 10, 2024 | MVP Arena | Albany, NY
Setlist: The Sick, The Dying…and the Dead!, Dread and the Fugitive Mind, Kick the Chair, Hangar 18, Washinton is Next, Countdown to Extinction, Sweating Bullets, Angry Ain, Trust, Tornado of Souls, We’ll Be Back, Symphony of Destruction, Mechanix, Peace Sells
Encore: Holy Wars…The Punishment Due
Mudvayne | September 10, 2024 | MVP Arena | Albany, NY
Setlist: Not Falling, Silenced, Internal Primates Forever, Fall Into Sleep, -1, Death Blooms, Dull Boy, Nothing to Gein, World So Cold, Happy?, Dig.
All That Remains | September 10, 2024 | MVP Arena | Albany, NY
Setlist: Now Let Them Tremble, Chiron, Six, Divine, Let You Go, This Calling, Two Weeks.
Soaring to spectacular heights for two nights in Saratoga Springs, indie-improv groove sensation Goose delivered a pair of performances that felt more like a homecoming celebration than rock concerts. After playing to their largest ever crowd (at the time) during their debut at SPAC last year, this time around, the colorful band decided to bet on themselves and make a weekend out of it.
Playing four sets over two consecutive nights, the Norwalk, Connecticut-based band showcased just how far they’ve come from their humble beginnings. Not too long ago, Goose was cutting their teeth at smaller venues like Albany’s former Parish Public House and Putnam Den. Now, they’re packing out massive venues and headlining some of the biggest festivals on the circuit. It’s been a meteoric rise that underscores the band’s extraordinary talent and their magnetic draw for fans.
Goose performing in Saratoga Springs on 9/6/2024
Since their ascent in the pandemic era, Goose’s fan base has exploded, thanks to their intoxicating blend of groove-based improvisation, catchy melodies, heartfelt vocals and relentless touring. For the family and friends who have supported them since the early days, this SPAC run was a full-circle moment—an intimate celebration amidst their ever-growing fame. In just a few short years, Goose has gone from playing bar gigs to headlining stages like Red Rocks and major festivals such as Bonnaroo and Peach Fest. Their rise has been both organic and rapid, fueled by the band’s tight-knit musicianship and a growing, fervent fanbase.
Live streams during the pandemic introduced their genre-bending sound to a global audience, which quickly transformed them into one of the most exciting acts on the modern jam and indie circuits. Luckily for fans, despite their growing fame, the band continues to maintain their down-to-earth, hardworking ethos and have continued serving up plenty of free high-quality content and live streams to keep casual fans and new ones interested. Whatever the secret to their success is, it’s clearly working, as evidenced by the massive applause the band received while walking out on the Broadview Stage at SPAC on Friday, September 6th.
Kicking off the festivities with a nod to the OG-honkers in the audience, multi-instrumentalist Peter Anspach strapped on his guitar for one of the few times of the night and led the band through “Elizabeth,” a song that was first played in Saratoga Springs in 2018 to a mostly empty Putnam Place down the street. Now performing it on the big stage at SPAC, you somehow always knew this is where Goose was destined to be. Their signature sonic sound has been arena and amphitheater-ready from the very start. Keeping it old school, Goose then unleashed a pair of longtime favorites next with their version of the Wood Brother’s “Atlas,” followed by “Turned Clouds,” the opening track from the bands 2016 debut album Moon Cabin.
The Great Handini: Multi-instrumentalist Peter Anspach performing with Goose at SPAC on 9/6/2024.
At the core of Goose’s sonic magic is the unspoken chemistry between the band members, each with their own signature style and endearing nicknames. Primary vocalist and axeman Rick Mitarotonda, or simply “Snakes,” leads the charge with his soulful vocals and dexterous guitar work. The always smiling Peter Anspach, affectionately known as “Handini,” handles keys and rhythm guitar, adding a layer of infectious good-natured energy. Trevor Weekz, or “Tweekz” holding down the bass, is the quiet powerhouse of the group, while percussionist and multi-instrumentalist Jeff Jeff Arevalo helps bring the rhythm to life with a cool confidence in the back.
Making his SPAC debut on drums was the newest member of the band, former Swimmer timekeeper Cotter Ellis who joined the band early in 2024. Injecting fresh energy into the band’s live performances, Ellis’ dynamic drumming has found a seamless place in Goose’s sound, adding new textures to their already eclectic mix of indie rock, funk, and improvisational jams. On Friday, Goose would really open things up for improvisation on the fourth song of the night, “Borne.” Taking the hypnotic track for an impressive 17-minute joyride, you knew exactly what Mitarotonda meant when he crooned out the lyrics, “I’m not tired / I’m not worn at all / I’ve just started / Now I’m shown around / Just what we were born to be.”
Rick Mitarotonda shredding his custom guitar, the Empress, at SPAC on 9/6/24.
Serving up a sweet treat to the many Grateful Deadheads in the crowd was a surprise bust-out of the Monroe Brother’s “Rosa Lee McFall,” a song Jerry Garcia often played with his side projects. This was the first time Goose has dusted it off in 76 shows. Switching gears to a more contemplative vibe next, Mitarotonda had complete command of the audience as he serenaded SPAC with the introspective “Bob Don” before Peter would take over on an impressive 18-minute version of “Pancakes,” a song he wrote with his band Great Blue before joining Goose. Taking on new life in recent years, the Anspach-penned tune has since become a staple of the Goose live show, becoming both a fan favorite while simultaneously paying homage to his early roots. The high octane jam sent the crowd into intermission buzzing with excitement for what was still yet to come.
Goose performing in Saratoga Springs on 9/6/2024.
Opening the second set with the longest jam of the night, “Arrow” has long been a major improvisation vehicle for Goose. Featuring some of Rick’s most heartfelt singing of the weekend, Goose went reaching for the stratosphere on this one and found it, yielding an unforgettable 26-minute journey of pure musical bliss. Following it up with the first “Everything Must Go” since their hometown Westville Music Bowl summer tour closer, this stellar version clocked in as the fourth longest version of the song the band has ever played. Locked in and firing on all cylinders, the energy in the pavilion was through the roof.
A key ingredient in Goose’s captivating live experience is the mesmerizing stage lighting, expertly crafted by lighting director Andrew Goode. Goode’s use of vibrant colors, synchronized patterns, and dramatic builds complements the music’s improvisational nature, elevating each song to a visual feast. His lighting design doesn’t just illuminate the stage, it creates an immersive, otherworldly atmosphere that draws fans deeper into the performance. The interplay between Goose’s jams and Goode’s lighting transforms each concert into a multi-sensory experience that lingers in the minds of fans long after the final note.
Lighting director Andrew Goode mesmerized in Saratoga Springs.
Following another nod to Great Blue, “Jeff Engborg” was played for the first time since October of 2023. But the biggest bust-out of the weekend came next when Goose dipped into a beautiful, soul-wrenching cover of Tom Waite’s “Christmas Card From a Hooker in Minneapolis.” Played for the first time in a staggering 254 shows, Goose last covered it during their now-legendary Swanzey, NH drive-in show in October of 2022. There’s a sticker on one of Peter’s keyboards that says, “Phone Down, Eyes Up, Heart Open,” but on “Hooker,” I simply couldn’t resist taking my phone out. I had been chasing that one for a while, and in that moment, it was everything I needed and I didn’t want it to end.
The only thing that could top it was the song that got me hooked on Goose in the first place and as Rick crooned out the final words, “I’ll be eligible for parole come Valentine’s Day,” you could faintly hear the buttery-smooth transition into exactly what I was craving– a nice, dank 15-minute “Arcadia.” Hell yes. With time left for just one more, Rick would offer a nod to his previous band Vasudo as “Hot Love & the Lazy Poet” was chosen as the lone encore. As the band walked off stage to a howling ovation, you knew all the people you told about Goose years ago are finally starting to get it. Goose is special. This band is the real thing.
To my friends that inexplicably turned down miracles, I hate to beat a dead horse, but you simply missed out. For anyone lucky enough to catch Goose live, whether it’s their first or fiftieth show, it’s an experience that stays with you—a reminder that great music, like the fans that support it, is always evolving.
Watch pro-shot video of Goose performing “Big Modern!” on Night 2 at SPAC
Creating good vibes and blowing minds and returning to SPAC for Night 2 on Saturday, Goose would do it yet again. Opening up with a unique “indie-groove” arrangement of “Atlas Dogs” for the first time in 133 shows, the band also surprised folks with their cover of The National’s “Bloodbuzz Ohio.” After debuting the massive new track “Big Modern!” at the tour opener six days earlier in New Jersey, SPAC fans would get the second version ever played, this one coming in at nearly half the length of its predecessor at only 18 minutes. A beautifully performed “This Old Man’s Boat” made the hairs on your neck stand up, while the OG fan favorite “Hot Tea” had the entire place on their feet and dancing up a storm.
Saratoga Bust Out: Goose played the “indie groove” version of “Atlas Dogs” for the first time in 133 shows on 9/7/2024.
One thing that sets Goose apart is their deep connection with their fans. With the audience as much a part of the show as the band itself, the SPAC crowd was an eclectic mix of fans, from dedicated “poster collectors” lining up early for limited-edition artwork to first-timers eager to experience the Goose magic. The atmosphere was energetic yet laid-back, with people dancing freely, sharing stories of past shows, and reveling in the moment.
With a veritable and organic pre-party and post-party scene emerging around the band, there was plenty of excellent music to be heard outside of SPAC all weekend too, notably with sets by the Prince-Bowie supergroup Annie in the Water and Grateful Dead cover band The Wheel. Prior to the show on Saturday, members of Goose would hit the links for a good cause, teaming up with the Western Sun Foundation for “Goose on the Green” to help raise money for local charities. And while it was all smiles before showtime, when the band came out for the final set of the run, they put their game faces on and were all about getting down to some serious improvisational business.
Goose opened their 4th and final set at SPAC with a 25-minute rendition of “Hungersite” on 9/7/2024.
Kicking it off with a huge 25-minute rendition of “Hungersite,” the ‘wow’ factor was off the charts. Weaving their way through multiple tension and release peaks and even flirting with some type II jamming, the song’s massive crescendos made SPAC come unglued. Diving deep into their roots once again, Goose would show more love to Vasudo with “Give It Time,” a song that seems to be in steady rotation since Cotter Ellis took over on drums. After cracking the 20-minute mark on the always epic “Drive,” the song that had everyone talking afterwards was the cover of Nina Simone’s “Sinnerman.” Played for the first time in 87 shows, Peter would describe it as “one of the craziest dance parties he’s ever seen,” with even the lawn getting down. Closing out the triumphant SPAC run with a 2-song encore, “So Ready” gave way to just the second ever performance of “Zalt.”
Watch pro-shot video of Goose performing “Drive” on Night 2 at SPAC
After the show, the question on everyone’s mind loomed large. Will Goose follow in the footsteps of their jam band elders like Phish, Tedeski Trucks Band and Dave Mathews and make Saratoga Springs an annual stop on their touring schedule? After two mind altering, life affirming nights that showcased their unique ability to weave intricate jams with fan-favorite songs and positive energy, one thing is clear—they’re a band that thrives on the live experience. From their early days in the club scene to headlining the biggest stages in the world, Goose is a testament to the power of grassroots success. Their story is still unfolding, but if these shows at SPAC are any indication, the best is yet to come. Up next, the band plays three nights at Chicago’s Salt Shed before heading to the West Coast for the remainder of September. Until then, keep and eye on the bands Youtube channel for tons of free music and full-show performances. We’ll be watching and can’t wait to see what these guys do next!
