All Good Now Day 2 Recap: Goose, moe., Eggy, Daniel Donato & More

All Good Now returned to Merriweather Post Pavilion yesterday for the second and final day of the 2025-revived festival, bringing together several alumni of the original All Good and capping things off with two headlining Goose sets.

The day kicked off much cooler and cloudier than day one on Saturday, Keller Williams' Grateful Gospel beginning the music at the Chrysalis stage. Augmented by guitarist John Kadlecik, Williams proved why his Dead cover sets are such a mainstay of early-afternoon festival slots with a perfect hour of music to get the afternoon started.

As the Grateful Gospel set wrapped up, many fans flocked to the main MPP pavilion for an impromptu peek behind the curtain during Goose’s soundcheck, the quartet leaning into a patient groove-dominant motif for its 20-minute duration as lucky fans who were nearby or holding seats for later in the day got to enjoy the unusual setting for the band.

Eggy took the stage next with a strong one-two opening punch of “Trixieville” and “A Moment’s Notice,” both setlist staples getting a nice workout courtesy of guitarist Jake Brownstein's shredding. Bassist Mike Goodman took a relatively rare lead vocal on a cover of “Jumpin’ Jack Flash,” which led to the first extended improvisation of the set, drummer Alex Bailey propelling the band through a sustained burst of energy with aggressive cowbell work.

During the blistering “Shadow” peak, the venue’s P.A. cut out for a couple of minutes due to a technical glitch, but the band’s in-ear monitors meant that they had no idea as they powered through the remainder of the jam – and the crowd went nuts as the music returned at full volume before the song wrapped up. Eggy closed out their set with a standout version of “Beaming,” whose jam developed into a bass-thumping, groove-pumping funk zone with clavinet breaks courtesy of keyboardist Dani Battat.

Daniel Donato got cosmic at Chrysalis next, his tight band blazing through their set beginning with “Lose Your Mind.” This continued the familial vibe of the Chrysalis stage yesterday, as Eggy, Donato, and moe. have all spent time on the road together. Featuring an always crowd-favorite train song with “Mystery Train,” Donato blended his catchy originals with choice covers as the eager crowd got raging under the gentle rainfall that had begun.

Pigeons Playing Ping Pong got the main pavilion festivities started with their signature party vibe, the set getting a brief prelude video from “Scrambled” Greg Ormont talking about his experience at past iterations of All Good.

Goose keyboardist Peter Anspach joined PPPP for “Show Me,” a frequent collaboration that last happened at Viva El Gonzo in May. Another standout moment of the set came with a disco-fied “While My Guitar Gently Weeps” that featured a slice of “25 Or 6 To 4” within.

Heading back over to Chrysalis for moe., the latest stop on their Circle Of Giants 30th Anniversary Tour delivered a rocking set that began with “St. Augustine.” Their guitar-dominant sound led by Chuck Garvey and Al Schnier shined through “All Roads Lead To Home” before keyboardist Nate Wilson fronted his original “Giants.” A duo of dog-related songs came next with “Spine of a Dog” and “Downward Facing Dog” ahead of classic “Buster” brought the set to an incendiary close.

Lawrence had the final pre-headlining slot and brought their energetic Family Business vibe to the main pavilion stage, though much of the audience wasn’t as engaged as they would have been with a jammier act rather than the Broadway pop vibes we had.

Goose took the stage for a high-energy start with “SALT,” guitarist Rick Mitarotonda and Anspach sparring early on some rapid-fire runs in the concise opener. “Your Direction” was tapped next and opened into some breezy improv, the big hit from Everything Must Go showing its improvisational potential after a standout version at Fiddler’s Green last weekend.

Segueing smoothly from there, the band worked through the beginning of “SOS” without its usual lyrics, hitting into the song proper for the upbeat “(dawn)” segment. From there, the band opened up the song into an extended jam, following the two improvisational versions from February with just under 20 minutes of solid play – not going too deep musically but keeping up the feel-good and danceable vibes.

As far as setlisting went, last night’s Goose song selections were anything but predictable for a festival setting as they called for an extremely rare mid first-set “Red Bird,” beginning a fantastic three-song segment to close out the frame. Slipping into a slick funk groove thanks to drummer Cotter Ellis, Anspach’s hypnotic piano work called to mind 2024’s “Chateau Jam” as the band gradually worked their way into the beginning of “Dustin Hoffman.”

Continuing the funk vibe for a quick jaunt back into improvisational territory, Goose brought the first set to a close with “Running Up That Hill,” the Kate Bush cover making its second appearance of the tour after an uncharacteristically short gap since last weekend in Colorado.

Returning to the stage, “Dripfield” was tapped to open the second set for just the second time as the band tore into it with gusto, Anspach’s only guitar appearance of the night getting a full workout through the primal jam – complete with absolutely stunning work by bassist Trevor Weekz – before Goose segued into a quick cooldown of “This Old Sea” — sans jam.

The surprise setlist calls continued with “Factory Fiction,” making its second improvisation-heavy appearance of the summer after a long run of being tapped as an emphatic set closer. Similar to the last version played, the jam began in a thick, psychedelic haze with everyone taking a texture-forward approach.

Mitarotonda pulled things out of the murk from there, driving the band through a long, blazing peak ahead of a downshift into a driving groove that signalled the beginning of “Hollywood Nights.”

Segueing next into “fast:slow,” the east coast got its first taste of the “GOONTZ,” an electronic-inspired jamming style the band has been leaning into this tour so far. Anspach teed up an arpeggiator as Ellis led the band through multiple rolling builds and drops, eventually winding their way back around to the conclusion of “Factory Fiction” to end off the show and festival.

All Good Now was a resounding success in its first year, and while I was never an attendee of the original All Good, it felt as though the community and vibes were right at home at MPP with the well-organized two-day event.

From playing live cuts from festivals past as house music in between sets to the recorded testimonials from artists about their experiences at the festival, the team behind All Good Presents did a phenomenal job with every aspect of the weekend, and I eagerly look forward to attending future iterations.