Goose On The Lake | 06.04-06.05 | Kentucky
By Team JamBase Jun 21, 2010 • 8:02 pm PDT

Goose On The Lake Festival :: 06.04.10-06.05.10 :: Settle Lake :: Allegre, KY
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Very quietly, this small gathering on a private farm in rural Kentucky has evolved into one of the coolest secrets in the summer festival season. Built around an annual celebration of country rock pioneers Goose Creek Symphony, this is a place where real musicians find audiences receptive and attentive to whatever is dished out because it’s done with real heart, blister- won skill and raw talent. And beyond the offerings onstage, Goose On The Lake had the chillest, wonderfully mature group of freak flag waving free spirits you’d ever want to find. Taken together, the music, bucolic setting and primo companionship carved out a little piece of heaven on earth.
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This year marked the fest’s 15th year, and Goose Creek Symphony’s 40th anniversary as a band. Diehards who’ve been rolling on the Creek since the early ’70s mingled with youngsters who likely picked up on them from their parents or perhaps one of the many shout outs from heavily influenced descendents like Yonder Mountain String Band, Railroad Earth, String Cheese Incident, Uncle Tupelo, Great American Taxi and many, many others. Goose Creek gives more codified critics’ darlings Gram Parsons and The Byrds a run for their money in terms of originality, vision and plain old execution. In their early days they opened for the likes of Stevie Wonder, Cheech & Chong and other ’70s luminaries, but despite denting the charts a few times, Goose Creek has remained largely a cult affair, though a fierce, exceedingly dedicated cult that includes numerous top flight musicians like Sam Bush, Vince Herman and Tim Carbone. There’s a strong sense of family and instant fellowship at the Lake simply because of the band that serves as its foundation. Super cool things tend to beget more super cool, copacetic things, and Goose Creek is as copacetic and super cool as they come – survivors and innovators to this day, music makers driven first by the music in their blood and everything else secondary behind it.
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Nashville’s The 5 Tones threw down a hard blues-rock gauntlet next, and the juxtaposition, like many this weekend, was sharp and exciting. There’s not a lot of acts on the bill but the quality of each cracks like a whip, drawing one’s attention quickly and continually rewarding it. Musicians are appreciated at Goose On The Lake, and that simple fact seemed to bring out the best in each performer. The sweat plastered t-shirts and contorted faces of The 5 Tones spoke volumes about the trio’s dedication to get right down to the ground water in their genre, digging ferociously with tangy harp, slicing guitar and a rhythm section that just didn’t quit. The encore cover of the North Mississippi Allstars’ “Po’ Black Maddie” is another clue to their sound, but these guys take it all the way out, separating themselves a good distance from the many who toy around in these dark waters. Kindred contemporaries include Super 400 and Rose Hill Drive, and as the next performer noted during their set, “They’ve got a Robin Trower Bridge of Sighs thing going on.” All good stuff and reasons to keep an ear bent towards The 5 Tones.
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Friday evening’s Goose Creek Symphony set was a hopping hodgepodge of deep album cuts and rarely played numbers, with most of the heavy hittin’ fan favorites saved for Saturday night. Friday was for connoisseurs, and as a 25-year hardcore listener seeing them play live for the very first time I was in hog heaven. That word ‘heaven’ keeps popping up simply because it hangs close to this gathering. Perhaps others’ vision of paradise is different than my own, but outside of the sweltering, hellishly humid southern heat, this is a pretty nice approximation of what at least one corner of heaven looks like in my mind. And you couldn’t ask for a much better soundtrack than the Goose, who started off with a patient, phenomenal reading of “Going Down The Road Feeling Bad,” which like many songs other bands have popularized sounds utterly new in their hands.
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What’s stunning is the band’s leader and chief songwriter Charlie Gearheart – as big and amazing a character as ever breathed life into this stupid, angry, rough world – is in his seventies and fellow original member/co-founder Paul “Pearl” Stradlin is no spring chicken either. The rest of the band is a mix of ages, some quite young, but all stellar players with clear dedication to knocking this music into the cosmos. Yet, Stradlin and Gearheart pitched in as hard as anyone, and neither this set nor Saturday’s were short affairs. They all seem powered by this music, which similarly eases invigorating sap into the listener. Folks looked positively lit up across the lawn as night fell, sunburnt flesh cooling as Goose Creek’s energy moved along the grass and into our limbs. Sure, strong corn liquor and pleasant smells in the air didn’t hurt, but the key ingredient was the songs and their sublime performances – subtlety is a huge factor in Goose Creek’s appeal and longevity. Gearheart declared near the end, “We’ll end early enough for folks to get back to their tent and get some.” Afterwards, Lloyd announced, “If you think music can’t free people then take another puff!”
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Many people floated on the large, private lake during the afternoon, paddling around and sharing brews and laughter on the water. Long before music started up again with two more fantastic sets by Benny Skyn and Dave Gleason and his boys, laughter and gently splashing water provided a charming backdrop to relaxin’ in the shade.
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Paul Burch & The WPA Ball Club were another surprise winner following Hudson, bringing in oodles of swing into country, folk and jazz inflected songs that touched on both American and English traditional music and then snatched it by the arm into modernity. Accordion, fiddle and Burch’s guitar danced continually, creating a much fuller sound than one might expect from a trio. With an inviting voice and a big songbook full of quality material, Burch and the WPA evoked the past in a way that makes it new.
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“Keep listening and eventually we’ll play one you like,” the vintage rock queen declared, and they pretty much walked the line throughout their enjoyable, oldies rich set. Jackson arrived in the 1950s with one of the most distinctive voices to ever hit rock ‘n’ roll, and she’s largely maintained it, though it sometimes took a bit to warm up or cracked occasionally. So be it; she’s rock royalty and still offered up good times decked out in the most fringe I’ve ever seen on one shirt and a simply classic wig. When she let out a still-girlish squeal on monsters like “Fujiyama Mama” and “Riot In Cell Block No. 9” it raised your pulse a bit and reminded one how essential sex is to rock, which oddly didn’t jar against the welcome gospel pieces and Jesus-saved-me rap also included in her set.
The main attraction for most, based solely on the sheer numbers on the lawn and their hooting enthusiasm, was Goose Creek‘s fest closing set. Without exaggeration, this performance ranked with the best I’ve seen by any band, every bit the equal to the transcendent experiences I’ve had with the Grateful Dead, Radiohead, The Black Crowes and other giants. What Goose Creek share with this bunch is the same undeniable originality, sheer talent and resounding conviction. One can play music to entertain and shake a coin out of folks’ pockets, but for some it’s a calling and a privilege to get up on stages and make music. A strong sense of ritual infused this show, with sage burning and a low, percussion driven ‘ohm’ building into the first song proper, a stunning reading of “These Hills” from 2002’s I Don’t Know album followed by their theme song, “Welcome To Goose Creek.” In just two numbers one was struck by a sound forged over a lifetime, a music born from craggy, private places but delivered in a way that makes people dance away their troubles and rejoice in the now.
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Watching the sweaty, dazed young faces along the rail it was clear this isn’t some nostalgia kick. This music has the power to directly connect to real music people, the sort open to the kind of blackly humorous, intricately woven yet rowdily delivered music that Goose Creek Symphony lays down. There were plenty of gray hairs like myself – freakin’ as well as our bodies allow – but the younger fans reveal the huge potential for this music to light up myriad lives. It’s right in front of us, waiting to lift your heels and twist your brain. And thankfully so is Goose On The Lake. Here’s to Year 16 in 2011 and many more for Goose Creek themselves.
See many more pics from this wonderful festival here.
JamBase | Kentucky
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