10 Top Goose Jams Of 2023

Debuting a new arrangement of this song at Red Rocks, the fledgling jam vehicle drops punishingly into a dark and primal beat driven by the rhythm section and Peter Anspach’s piano as guitarist Rick Mitarotonda unleashes run after run of evil notes. Gets more done in 16 minutes than a majority of the longer jams!

From the first headlining performance of the year, Goose delivered a massive 28-minute rendition of “Drive” to anchor the second set. The first jam takes shape around a beautiful dual-guitar bliss motif, an atypically contemplative motif for the band. Returning to the main theme, Atkind drives forward into the typical second jam that cooks for a while before fragmenting into an exceptional ending few minutes that somehow rest on the cusp of major and minor key, resolving into some “Loose Ends” teases.

Opening the second leg of spring tour, this Madison show boasts three massive jams. Opening up the second set, this “Wysteria” quickly gets cooking with some two-guitar churn action, highlighted by Anspach’s filthy tone. Flipping the switch around the 12-minute mark, marimba piano is introduced as the band sweeps us along into a bright major-key space, expanding into one of the best bliss themes of the entire year.

Following up the groundbreaking version played in Eugene on April 25, Goose began the first summer “Borne” with a similar patient and spacey vibe. With beautiful synths and an unhurried layering of textures, the jam eventually shifts to a funk mode with excellent electric piano work before Atkind ups the tempo and we are treated to a patient build to a monstrous peak.

Taken from Goose’s first-ever three-night stand at the same venue at the legendary Ryman Auditorium. Swirling guitar textures inform the beginning of the longest “Wysteria” played to date as the entire band locks in on a filthy repeated progression. A huge and screaming peak at the 15-minute mark dies away and rides a major-key shift around excellent melodic bass playing from Trevor Weekz. The drums slide into an Eastern-tinged style as Mitarotonda fires off massive leads and solos us to a phenomenal ending peak.

Also from the Ryman run, this near 30-minute version opens with a layered soundscape courtesy of Mitarotonda, Anspach, and Weekz. The jam coalesces perfectly into an airy major space as the band acts as one in a rare occurrence of full-band improv. The pace is pushed eventually into a quicker – yet still bright and major – space before a pivot back into fast-paced “Madhuvan” jamming to close out.

Opening a show with a 26-minute “All I Need” is a pretty good power move – and Goose delivered one of the finest moments of the year in its only “Showhio” gig of the spring. Heading for rocking minor-key waters in the initial segment, Mitarotonda flips on his wah pedal for some aggressive and dirty soloing that hits several great peaks before returning to the main theme around the 14-minute mark. Instead of wrapping up the song or embarking on a typical “second jam,” the guitarist makes a pivot into one of the best major-key jams in Goose history. Anspach dances across his piano with “Honeybee” teases as we get an exceptional build over the ensuing ten minutes. Listen and try not to have a huge grin on your face!

Thirty-five minutes of “Hungersite.” Beginning with a charging jam that has Weekz at the forefront, Goose spends the first 18 minutes in a balls-to-the-walls jam with everyone going crazy – fist-pumps are best suited to this part. Anspach leads a charge down from the peak with dissonant and carnival-like organ playing as Arevalo adds in some nice vibra-slap accents. The reggae-funk continues to highlight Weekz’ deep playing ahead of a quiet transition into a gorgeous two-chord ending jam. The jam pours past the 30-minute mark and goes supernova before concluding with more standout bass playing.

Opening the second set of one of the best shows of the year, the rhythm section locks in on the deep funk early as Mitarotonda starts to pivot away from standard funk around the 10-minute mark with growly and distorted playing. The jam gradually gets darker and darker with active work on marimba piano by Anspach before Atkind leads a charge into a mean and faster space. Brightening somewhat due to the uplifting piano chords, Mitarotonda doesn’t take his foot off the gas for even a seconds and drops some bends with his Whammy pedal as the shred continues to blast through several peaks and explosively back into the ending of “Thatch.”

After PA issues plagued the first set of the band’s first of two “Sleeveless in Seattle” shows, they came back on stage with a vengeance and played their longest jam ever, eclipsing the next-longest by a full eight minutes. Beginning with a cathartic peak, the initial segment broke into some seriously nasty funk with destructive clavinet and bass. A rocking motif emerged and hit a strong peak to cross the 20-minute mark, giving a clear exit ramp to an already-excellent jam. Mitarotonda was far from finished and pivoted into a two-chord bliss jam similar to the final theme of the Chicago “Hungersite” mentioned earlier.

Upon exploring the fullest extent of that part of the jam, it was time to dive into the depths of evil with some shred. Anspach added low tones on both piano and clavinet under the charging jam and rapid-fire guitar – but the multi-instrumentalist wasn’t done and began playing guitar with his foot (seriously, watch the video), adding extra levels of craziness to the jam. Soon after crossing the 40-minute mark, Goose blasted back into the ending of “Echo,” spectacularly concluding what is – in my opinion – the best jam of the year.