Category: Capital Region

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.

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 6^th.

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.   

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.”

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.

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.

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.

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.

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.

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.”  

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!