el Goose Times Volume 11

EDITORIAL STAFF Jon Caruso

TEDitor-in-Chief

Lisa Governa

Goose Chicks TEDitor & Classifieds Queen

Ryan Storm

Music Maestro

Garrett Dorfman

TED Project Manager

Rick Gallego

Resident Chef de Cuisine

Paige Caruso

Idea Entrepreneur & Goose Chicks Ambassador

Andrew DaRosa

Feature TEDitor

Tamara Sastow

TED Music Therapist & Multi-Instrumentalist

Sara Tonin

Empress of Harmony

Jack Quinn

Number One Newsie

Marc Komito

Resident Dance Teacher & Contributing Writer

(satellite) TEAM Rus So Amanda Cad Sparkman Clark Marc Chiavon Rebecca Jane Lee Khalee Kay

OG Fan & Historian Master Storyteller Strange Man Accomplice Meme Wizard Canadian Visionary & Artist Creative Queen

el Goose Times LLC 2021-2024

SUMMER 2024

Table of Contents Volume 11

Cover artwork: Long Strange Putt

Pages 4-5

Depths of Space: Capitol Theatre Run 2024

Pages 6-12

Rock & Roll: An Interview with Cotter Ellis

Page 13

The Voice Beneath the Quill: Silver Rising: The Werewolf Trilogy

Pages 14-15

"Wild Goose Chase" Centerfold Artwork by Rising Tide Art Studio

Pages 16-18

A Lesson to Learn and a Cup to Refill An Interview with Hannah Ritchie & Kait Tomkosky (Together)

Page 19

Hot Tea in Rick's Kitchen Recipe #9: Foccacia Rising

Pages 20-21

Goose Chicks "Freshened Up & Headed to the Scene" Collage & Tumble Jumble by special guest Madisonhuvan

Pages 22-23

el Goose Times Tour Guide & Classifieds

Pages 24-25

Ted the Goose Cartoon: "Salt"

Page 26

WTED Presents: Teddy's Takes: June 11, 2021 (Swanzey, New Hampshire)

Page 27

The Adventures of Strange Man Comic

SPECIAL THANKS Cotter Ellis Dave DiCianni & 11E1even Management Hannah Ritchie & Kait Tomkosky Long Strange Putt WTED & Wysteria Lane Rising Tide Art Studio Madisonhuvan (@madisonhuvan; @madshuvan) Chris Quinn Angie Wilder Our Advertising Partners, especially CashorTrade & Nugs.net Our Subscribers & Readers like YOU!

el Goose Times | Volume 11

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On to the next dimension, just a curve in space and time...

Photo Credit: Chris Quinn

by Ryan Storm Goose welcomed Cotter Ellis to the band and delivered four statement shows at the Capitol Theatre in April, coming back from their time in the Chateau a completely different band who closed out 2023 in Hampton. Lineup change aside, each musician on stage came equipped with new gear, new tricks, and a heightened sense of purpose both within improvisation and songs.

The first night at the Cap saw the band take the stage to raucous shouts of “GOOOOOOOOSE” and deliver a solid opening pair of “Flodown” and “Rockdale.” These two songs epitomize the hometown vibe Goose has when playing at the Cap – now with nine performances, plus three as Orebolo at the legendary venue. Of course, the band could have stuck close to home for the first show (or even set) to ease Cotter in, but instead decided to unleash a monstrous 30-minute “Drive” as just the third song of the run, making the first of many statements: jamming is on the menu - lots of it and in fresh and exciting ways. Indeed, a big part of this “Drive” was the return of long-form two-guitar jamming, a standout feature of the band largely missing in 2023. The multi-pronged attack of Rick and Peter’s tones created a wall of sound as the rhythm section really dug in out of the gate, each player fitting into the collective group improvisation perfectly. Cotter’s first standout moment came when he instinctively pivoted from the spacier beat to a more driving theme right as the first peak was dying off, showcasing the tightness that can only come from the weeks of practice the quintet had over the winter. “Drive” then built to a euphoric peak to conclude what I believe to be the best jam of the week. A perfectly-placed “Seekers on the Ridge” led to the debut of Vasudo classic “Hot Love & The Lazy Poet” and brand-new original “SALT,” the latter of which will be one to watch this summer as its jamming potential gets explored.Set 2 began with the only non-sit-in cover of the run in “Eminence Front” (originally by The Who), enjoying a bust-out of 180 shows (last played 11/13/21). The show from there was rife with key moments like the controlled chaos of the “Pancakes” jam, another new (and ambitious) take on “Everything Must Go” with a multifaceted jam, and Jeff adding excellent acoustic guitar textures to “This Old Sea.” Monday night’s show coincided with a total solar eclipse, prompting fan speculation about how the band would acknowledge it – and they opted for a full performance of Goose’s first album Moon Cabin. “Dr. Darkness” appropriately led off the show before diving into the LP, but the real highlight of the first set was the mind-blowing “Into the Myst.” Not ever having been jammed out before (at least not in a Type II sense), Cotter’s fluidity made it easy for Rick to lead the charge out of the song proper and into a long build around a singular idea – bliss. Smiles could be seen everywhere as the dance moves reached a fever pitch after each successive peak, eventually landing in a gnarly and patient take on quintessential Goose song “Arcadia” (shoutout to Peter’s PERFECT clav tone). In the second set, we were treated to the live debuts of the “Interlude” tracks from Moon Cabin, each one adding a few minutes of space and improv before the band finally dropped into “Indian River,” “Jive I,” and “Jive II” respectively, with another exhilarating display of patience in a dazzling “Rosewood Heart” nestled within.

On Tuesday night, Goose began the night with a statement “Wysteria Lane,” opening a show for the first time since 2021 and hinting at some new ambient exploration toward the end. Revised arrangements continued with a bright Vintage Vibe addition to “Bob Don” and a year-long bustout of “It Burns Within.” Peter’s MVP run continued in his OB-6 synthesizer explorations within “Thatch,” before the debut of “Give It Time” closed the set. I don’t think there’s anything to say about this song that hasn’t already been said, but if it’s somehow escaped your listening until now, drop everything and give it a spin immediately. It will inspire you, it will get stuck in your head, and it will make you appreciate the immense talent of Rick and Matt Campbell’s songwriting. It’s definitely going to be the next song coming on your radio!

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el Goose Times | Volume 11

Set two opened up with a seismic “Red Bird,” complete with Trevor hitting foundation-shaking chords toward the final peak and adding another entry into the standout jams list for the run.

Goose drew from Shenanigans Nite Club for the remainder of the show – though a run of “So Ready,” “Spirit of the Dark Horse” with no jam, and “The Labyrinth” in the middle of the second set was a little bit less than ideal. “Madhuvan” once again opened up into improvisational territory with a near-total deconstruction and segment of darkness.

The band came out for night four with a vengeance, adding some serious extra mustard into first-set readings of “Turbulence & The Night Rays” and “Silver Rising,” while exploring some synth-drenched grooves on “Earthling or Alien?” and jamming out “Atlas Dogs” for the first time since 10/6/22 – much to the elation of diehard fans (or nerds) like me.

The werewolf saga (or Dawgtych) closed with new debut “How it Ends,” a song with thematic and lyrical similarities to “Silver Rising” that has immense potential in the Goose canon – just like every Cap debut. When “Tumble” began toward the end of the set, I assumed we’d get a hot Type I closer version, but instead the band opened up the space into one of the most gorgeous bliss jams they’re capable of. Patiently building on the back of Trevor and Peter, Rick strung together melody after melody and built to an excellent peak within this theme, giving an almost romantic feel to the music. Peter then really took the lead on the back half, peppering in funky Vintage Vibe work ahead of a strong conclusion to the song.

Just when you need it, turn it up and let it go.

A surprise sit in from Ezra Koenig, Chris Tomson, and Chris Baio of Vampire Weekend kicked off the second set with “Gen X Cops” and a 31-minute “Cape Cod Kwassa Kwassa.” Hitting on a multitude of segments including an upbeat Allman Brothers-like jam (complete with Jessica tease) and a dark, funky clav section, the joy of all eight musicians on stage was palpable throughout. Late-night grooves within “Arrow” marked a standout version for the song before a full performance of the Driptych closed out the second set – “Hungersite” giving us its trademark flamethrower peak.

With an encore of “Slow Ready,” Goose closed out their fournight residency at the Cap on a high note, letting us know that this new era of the band is going to be an adventure on a scale we haven’t seen before – and the massive June tour will only be the beginning.

Photo Credit: Chris Quinn

Michael D. Schwartz Schwartz Planning Group

P: 609-981-6130

Wealth Well Planned

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el Goose Times | Volume 11

3/20/24 3:28 PM

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An interview with

Cotter Ellis Drums Goose

Rock & Roll Photo Credit: Chris Quinn

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by Jon Caruso

el Goose Times | Volume 11

What is Rock music if not for the drums? Drummers are sometimes considered the ‘heart’ of a band. Like musical architects, drummers provide a rhythmic foundation for other instruments to build upon and establish a groove. A well-placed drum fill, pocket groove or thunderous solo during an instrumental break can change the overall dynamics and energy of a song. Great drummers Roll with the sudden changes and shifts within a song as an anchor – the constant pulse and keeper of rhythm that keeps the musical arrangement or jam moving forward as one cohesive piece.

Similar to how architects have their own individual techniques and methodologies, many drummers develop their own unique style through years of learning (developing rudiments, building muscle memory and reflexes), experimentation and most importantly, playing with other musicians. There’s a certain magic that comes from a band jamming together, in unison and cohesion – to divert away from tradition to create something new and take listeners on a journey within the musical conversation happening between instruments. The great Levon Helm (of The Band) once said that “If you give it good concentration, good energy, good heart and good performance, the song will play you.”

Cotter Ellis, drummer of Goose, understands this well, as music is a huge part of his life and has been playing the drums since elementary school. el Goose Times had the opportunity to speak with Cotter about his life growing up, overall influences, what excites him the most about joining the band and more: Tell our readers a little bit about you and your life up to this point.

What are some of your most fond memories growing up?

I grew up in Bedford, Massachusetts, a small tight knit community just outside of Boston. As a little kid, I spent most of my time wandering around the woods with my younger sister Cali pretending to be an explorer, fictional hero or whatever other character we were fascinated by on any given day. Hockey was a huge part of my life until I left high school. I started playing hockey at age 5 and immediately was drawn to being a goalie. I loved the sport, but also learned how to be a part of a team. The camaraderie and teamwork are things that have translated to countless things in my life since then.

A Jambase article by Andy Kahn said you started to play the drums in elementary school and that later, in high school, you were also a member of the marching band. Has music always been a big part of your life, even prior to those formative experiences?

I started my musical performance journey with saxophone in the 5th grade concert band. This is kinda silly, but I quickly switched to percussion because I had a crush on a girl in the percussion section and wanted to hang out with her more.

In sixth grade, I started taking drum set lessons and immediately started a band with three of my best friends. We all learned our respective instruments from the ground level – both individually and as a band – which I think is relatively rare and awesome.

We would mainly play pop-punk covers and other random tunes I would bring to the table from my various musical influences. We kept it going until we all went to college and went through a ton of phases along the way. Random Insanity (terrible pop punk band) to Substance D (half-way decent alternative rock)to Juicy Tuesday (Sublime-esque band that had clearly discovered weed). We played live shows pretty frequently around the Boston area, including some legit ones to a full crowd at Paradise Rock Club, Middle East and The Axis (now the House of Blues).

Was anyone in your family a musician or passionate about music in general?

Who are some of your biggest musical influences?

My Dad was a professional saxophone player and it always piqued my interest. From the time I could walk, I would grab a toy instrument to play along with him as he practiced in the house. Both of my parents were constantly playing a variety of music in the house, which gave me a more eclectic musical taste than my average peer. On top of buying CDs as often as I could, I would use my allowance to pay my buddy to make me bootleg mixes of all different kinds of songs(back in the days of CD burning).

I have so many musical influences.

Photo Credit: Bedford High School 2008 Yearbook (Page 49 & 117)

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Starting with soul, Motown and R&B from my Dad (James Brown, Aretha Franklin, Earth Wind and Fire, Etta James, etc) to 60s Pop, folk and 90s 2000s contemporary from my Mom (Paul Simon, The Beatles, Santana, every NOW! CD). I love a variety of music and it all contributes to my playing and tastes.

But, as a drummer, my major influences are Vinnie Colaiuta, Billy Martin, Steve Gadd, John Bonham, Levon Helm & Jon Fishman (among many others).

My favorite bands, off the top of my head, are Frank Zappa, Little Feat, The Band, Phish, Herbie Hancock, Miles Davis, Led Zeppelin, Pink Floyd and Tony Rice. I know this response is drawn out, but It’s hard to pick major influences when they’re constantly changing and evolving.

Let's talk about some drumming fundamentals!

What are some of your favorite techniques that you’ve learned? Have any of those techniques been harder to master than others?

All in all, my drum education has been somewhat unorthodox. Instead of consistent schooling, I’ve mainly learned from playing in a large variety of musical situations.

Starting out, two of the first major challenges in drumming I had were in high school. The first was learning how to play the quads in marching band. I was in a drumline with a group of percussionists from hardcore southern marching bands. They gave me new routines every day – with crazy sticking patterns at all different tempos – and it was the first time I had to play perfectly in unison with a large group of musicians.

My next challenge was when I had my first lesson at Berklee College of Music. This was my first encounter with higher level drum set technique and the teacher absolutely picked me apart. My first teacher was a percussionist from the Boston Pops, who helped me install the baseline muscle memory that helped me through everything going forward. I had a relatively easy time getting multi-limb coordination on the drum kit after practicing basic techniques and rudiments for about a year.

The most challenging thing I remember from that time was learning reggae beats. As Fishman says, it’s like a “reverse blues,” the hardest part being not playing the kick drum on the down beat. Before that, I had only played in the rock, funk and latin world where the kick is always on the one.

Then came learning jazz. It was an intimidating world to enter and a difficult approach to wrap my head around. I could swing, but diving into drummers like Elvin Jones and Tony Williams was a trip. A lot of my friends were in the jazz scene and needed me to sub on gigs, so I had to learn quickly. I started listening to all kinds of jazz every day - I watched a ton of YouTube lessons and would go to local jazz jams to study the drummers closely. Of all the styles I’ve dove into – including difficult ones like prog and math rock – I think I got the most out of jazz.

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Photo Credit: Chris Quinn

el Goose Times | Volume 11

The other thing I hold in high regard is emotion and passion. If a player loves playing, you can hear it and it’s infectious. In my opinion, the fire inside fuels the best jams and it translates directly to the listener. Any musician or audience member that has been to a great live show can understand that.

"The fire inside fuels the best jams and it translates directly to the listener."

Tell us about the bands you’ve been involved in over the course of your career thus far, such as Swimmer, Dead Set and artists such as Hayley Jane, Marcus Rezak and Zach Nugent. What have been some of your favorite shows you’ve played so far?

I feel lucky to have played with a wide variety of bands. From my time pre-Goose, Swimmer is the band I hold closest to my heart.

From my time pre-Goose, Swimmer is the band I hold closest to my heart. We’ve played together for over 10 years, from college house parties to tours across the country. I wrote a lot of music for this band and it’s been the greatest creative outlet I’ve ever had. We played some relatively huge shows opening for bands like Dopapod, Lespecial and Pigeons Playing Ping Pong. Those were all great, but nothing will ever top our sweaty sold-out nights at Nectar’s in Burlington. We actually recorded a full album of my tunes, but COVID hit us hard and we were forced to pay off our van instead of finishing the record. We were also tired from constantly being on the road and decided to take a hiatus.

I still hope to release that album in one form or another as soon as possible!

Photo Credit: Chris Quinn After getting the hang of it, jazz was clearly the most expressive style and translated the most into my improv with jam bands – inspiring more creativity and originality in any given improvisational moment.

In terms of rudiment technique, there is one thing that has stayed consistent in every warm-up I’ve done for the last 14 years. It’s called 'The Rudimental Ritual'

by Alan Dawson and was introduced to me by my teacher in college, BerkleeAlumnus Tim Gilmore. It’s eight pages of sticking patterns that are played over any foot pattern ostinato. It’s helped me build muscle memory between all four limbs in all kinds of combinations. You can’t focus on every limb at once, so I see it as a constant dance with where I place my focus and relying on muscle memory as the accompaniment.

In your opinion, what are some of the most important qualities that make a great drummer, especially when it comes to improvisation.

The single most important quality in a great musician, especially when it comes to improv, is listening. To see beyond yourself and hear the music as a whole. In a song, it comes down to understanding your role, whether it’s supporting each musician in the right moment and providing what’s needed, whether it be a nice pocket groove or a powerful fill.

In improv, it’s a matter of listening and reacting in a split-second. Listening and interacting in improv at a high level can feel like a telepathic connection with the right group of players – hearing each tiny detail of each other’s playing and allowing it to push the jam further. When this connection is nurtured, it produces the most emotionally-moving music I’ve ever experienced.

el Goose Times | Volume 11

As fate would have it, Swimmer did end up reconvening as Dead Set when live music came back into play. We always had love and appreciation for the Grateful Dead’s music and it was a way for us to continue playing while making a livable wage. Zach had started “Dead Set Tuesdays” at Nectar’s in 2013, then left to play with JGB for a while so we knew he took it very seriously. We climbed the ranks pretty fast and played a lot of large theaters around the Northeast and beyond. Selling out the Flying Monkey in Plymouth, NH was particularly special, because it’s on the PSU campus where Swimmer originally formed.

This past Fall, we embarked on a seven-week tour in a converted school bus and played some wild shows at legendary venues. My favorites include the Great American Music Hall in San Fran, Spanish Ballroom in Tacoma, Old Town Pub in Steamboat Springs, The Funky Biscuit in Boca Raton and the Lincoln Theater in Cheyenne.

Overall, it was a true rock and roll adventure and a roller coaster of emotion. We had no crew on tour with us and the Swimmer boys worked their asses off picking up the slack. We grew even closer as friends and bandmates and that’s always the most special part of touring.

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When did you discover Goose? What attracts you to their music?

I discovered Goose around 2016-2017 when they played before Swimmer on a split bill at Nectar’s. I had heard of them before, but that was my first real Goose experience.

I remember being blown away by Rick’s playing that night and the refreshing originality of their sound compared to most jam bands. As a drummer that loves improv, I was blown away by the sound Goose was getting in their jams. But, I think their best quality is their songwriting.

Through all my experiences, I’ve found that most bands get stuck in some kind of bubble of sound - finding their space within a genre and often adopting a disdain for other styles or scenes. I love being around the Goose boys because of their pure love for music and their willingness to invite inspiration from any source. I think a lot of bands in the jam scene have a clear influence, following the path of their favorite bands.

To me, Goose stands apart most obviously based on their contemporary influence. In a world full of superficial judgement, they aren’t afraid to play anything that moves them. This kind of vulnerability is what music is all about and cuts through any criticism.

Especially when the music is being backed up with an abundance of talent and intention. This, to me, reflects the truth of what music is and why we love it as humans.

Plus, I just love the tunes. They hit all the marks of a great live band and a great studio band. The energy and emotion of their catalogue is exactly what I’m looking for in a band, whether I’m listening or playing.

"In a world full of superficial judgement, they aren’t afraid to play anything that moves them.

This kind of vulnerability is what music is all about and cuts through any criticism."

If you could choose three words to describe how you felt after the band invited you to join, what would they be? What excites you most, moving forward?

Elation. Validation. Synchronicity.

Music means everything to me. I won’t give you some long sob story, but I’ve put my heart and soul into being a professional musician. I’ve made sacrifices and been shot down countless times. That being said, I’ve enjoyed the whole ride and just love to play – so I was still very happy.

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Photo Credit: Chris Quinn

el Goose Times | Volume 11

Getting the call from Goose was an invitation to live my ultimate dream.

To play original music at the highest level and to have the resources to focus on developing that music. That I could be a part of a really passionate and supportive community.

On top of everything, the band and crew are quality people. I felt comfortable being my authentic self right away. It allowed me to be vulnerable, which is one of the most important aspects of good chemistry in any creative group. I feel extremely lucky to join a band that’s in their prime. I’m excited to play at such a high level and do my part in continuing their success.

"Getting the call from Goose was an invitation to live my ultimate dream."

What have been some of your favorite songs to play so far and which have been the most challenging to learn?

I love playing all the tunes for different reasons! Right off the bat, “Atlas Dogs” was one of my favorites because of the 3 over 4 poly-rhythm. For whatever reason, that rhythmic vibe has always been one my favorite spaces to groove in. No songs have been easy, but I’d like to believe that I’ve taken to everything pretty quickly after a ton of listening and shedding at home. Once I started meeting up with the guys for rehearsal, things were certainly clicking.

There’s a wide variety of feels in their catalogue and luckily, I’ve had experience with all the feels in the past. It was just a matter of learning the nuances of each song and getting intimately acquainted with the sound.

What’s your favorite track off of the Ted Tapes release? Do any of the jams particularly stand out to you the most over the others?

It’d be impossible for me to pick a favorite. “Leo” will always have a special place in my heart because it’s the first thing I ever played with the band. I’ll never forget sitting down at the kit and immediately getting into a flow state with a group of guys I barely knew. It was a blast! Everyone was visibly psyched on what we were laying down and it just fueled the fire inside me.

I also love “Manu” because it’s such an organic build. I’m a fan of patience in a jam. Nothing wrong with a quick rockin’ jam at all, but the ones that cook slow and low, building naturally like a snowball rolling down a hill are straight money.

el Goose Times | Volume 11

Photo Credit: Chris Quinn How has the fan response been so far for you?

The fan response has been overwhelmingly positive and supportive since the announcement. Obviously, there has been some criticism and skepticism, but that’s to be expected given the circumstance. All in all, I’m seeing a fanbase that loves and supports the band whole-heartedly. Everyone I’ve met in person has been super nice and welcoming. Even the meme pages seem to have my back (laughs).

Do you live by any particular mantras, especially when on the road?

My favorite mantra is “rock and roll”. I say it out loud every night right before I walk out on stage. To me, it encapsulates the highest of highs, as well as the struggles and reminds me why I’m doing it. Sometimes, it’s glorious and sometimes it’s grueling, but there’s nothing better than being on a music-driven adventure.

Outside of drumming, what are some of your favorite hobbies?

Snowboarding, fishing, hiking, swimming, etc. I just love being outside, especially up in Vermont.

My Dad was a contractor and I learned a lot working for him as a kid. I get a lot of satisfaction from building things, working on cars and fixing things around the house.

In the last three-to-four years, I’ve been really into woodworking - specifically making picture frames.

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I also love audio and video production.

I’ve recorded multi-tracks of almost every show I’ve played for the last seven-to-eight years. I mix the audio and pair it with footage from one-tofour cameras that I set up before each show. Some of it is online, but most of it is just on hard drives as a kind of ‘musical scrapbook’ for me to look back on one day.

During COVID, a few friends and I started a fake production company and made our own dumb TV show.

Essentially, we would film all improv skits or write silly songs like “Little Wayne is My Dad” and “50 Ways to Clean your Lover” and make music videos. I’d then edit all the footage in a style comparable to Tim and Eric Awesome Show, Great Job! We would premiere them in an hour-long Facebook Live show once a week and I would host this show as my character, “Rex Tatterson.” It was a hilariously good time and gave me a creative outlet when live music was shut down. The YouTube channel is called Spun Haus Productions – go check it out!

What are you looking forward to the most about your first tour with the band?

There’s so many things I’m looking forward to on this first tour. First and foremost, I can’t wait to share the music with the fans and experience the connected energy between the band and a large crowd. I’ve been in the audience at a lot of venues that we’re playing this summer and I’m beyond stoked to experience them from the stage.

I’m also hyped on having a crew. I’ve been on a lot of tours and never had the resources I’ll have with Goose. It will allow me to focus on bringing the heat every night rather than all the other challenges that come with touring.

I’m still in the process of nailing down my touring setup, but I’m starting out with a seven-piece DW kit. Currently I’ve got 2 paper thin K Zildjian crashes, 14” Avedis hi hats and a 22” K Zildjian Dark Custom Ride. Every day I’m experimenting with accent cymbals such as splashes, chinas, stacks and of course some cowbells.

I probably won’t nail it all down until the week before we play our first show.

Thank you so much for your time and we sincerely look forward to seeing you growing with the band and out on the road this Summer!

Thank you so much for reaching out!

Looking forward to meeting y’all in-person.

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Photo Credit: Chris Quinn

el Goose Times | Volume 11

Silver Rising: The Werewolf Trilogy

Photo Credit: Chris Quinn

by Andrew DaRosa In the Goose lore, there are a number of trilogies that stand out — the "Dripfield" Suite, the "Jivefecta" and the "Travelers-Elmeg" Suite (though two songs, the “Autumn Crossing” EP has it over three songs). But, in the immortal words of Yoda to Ben Kenobi’s force ghost in “The Empire Strikes Back”: “There is another.”

Introducing: the “Werewolf transformation trilogy.” (OK, we’re still workshopping names.)

The trilogy comprises “Silver Rising,” “Atlas Dogs” and “How It Ends,” and tells the story of a person who is coming to terms with their ability to become a werewolf.

Starting off with “Silver Rising,” the opening words set you right into the scene of the person as they feel the transformation starting to take hold. “Feel the rush/Taste the blood/Feel the fear behind your eyes/All my dreams and all my reasons/Swallowed up into the night.” No Rick Baker-produced practical effects are needed as Rick Mitarotonda paints the imagery of transformation with his words. We hear the werewolf emerge as Rick sings: “The rage in my heart flows out through my veins/I’m losing my mind but all I can do is empty my lungs to the sky.”

The lyric, “All that I am fades away,” becomes an important motif for the trilogy as it is the foundational link that explains everything — more on that later.

Next is “Atlas Dogs,” which takes you into the mindset of the werewolf as it patrols the mountains as well as the person who realizes the potential in living in this new form. The first verse paints the portrait of where this new form has taken our protagonist, who is just a “shadow in the starlight.” As they return to their human form, the longing to return as their alter-ego is almost as essential as oxygen: “I wanna feel the night as I shed my skin/I wanna hear that voice calling/Take me back to the wild again.”

By the time “How It Ends” rolls around, the struggle between humanity and wolfdom has ended and the latter has come out as the winner. Our protagonist has come to terms with saying “farewell to the sun” and is ready to welcome in this new “curve in space and time” — a new reality dominated by the moon.The real kicker here is the line, “All that I am fades away/And I can finally see that everything and everybody I’ve ever loved.” The listener returns to the theme of fading away, whether it be from the reality of the werewolf’s humanity disappearing or a much deeper emotional connection between the protagonist and a sense of finding belonging in a new world while leaving behind an old one. Though the songs carry an emotional gravity to them that is deeper than werewolves transforming, it is a lot more fun to envision watching Lon Chaney Jr.’s “The Wolf Man” while listening to this set of tunes.

The realization of their connection truly cemented itself into Goose history when the three songs were played in succession at the Capitol Theatre on April 10, 2024. Interestingly enough, Vampire Weekend sat in during the second set of that show.

Werewolves versus vampires — now where have I heard that before...

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A Lesson to Learn and a Cup to Refill An interview with Kait and Hannah (Together)

by Sara Tonin

Photo Credit: Angie Wilder Kait and Hannah are two passionate Goose lovers who also happen to be the founders of Together, what I would classify as a growing community of individuals seeking something beyond themselves, connecting with their hearts, and expanding their horizons in the form of meditation and ceremonial cacao. Join me as I interview these two inspiring women who are opening up our hearts to the powers of connection into our inner selves, the music we enjoy, and how we step out into the world.

Kait and Hannah, thank you so much for doing this interview with me! We’re lucky to have you become a part of this issue of the El Goose Times! What brought you both together to start Together and how did you discover cacao?

We met on our first day of college and have been best friends ever since. We both have “normal” day jobs (Kait works in web design and Hannah works in sleep medicine). We’d always daydream about what our true purpose was and how we could create a career together that was more fulfilling. Our daydreaming sessions always came back to feeling like we were meant to do something in the music scene, something with meditation, and something with helping people live more intentionally, but we couldn’t envision how we could realistically tie these things together. Eventually, as our spiritual practices began to deepen, we started to really struggle with still loving live music, but feeling out of alignment with the party side of the scene. We had some friends who stopped going to shows because they didn’t want to party any more, but we didn’t think it had to be one or the other. We started using cacao as our “drink” before shows. We were blown away by how in the flow we felt and how connected to the music we were - every show we drank cacao before felt magical.

So, we started drinking cacao before every show. We would bring it to line sometimes, and people started to become curious. Eventually, enough people were interested that we decided to host our first (very informal) ceremony at Goose at Legend Valley in 2022. We made cacao in our Jet Boil, set up some inflatable camping lanterns, sat in a circle on yoga mats at our campsite, and served cacao in an assortment of Yeti mugs. We were really excited for others to try cacao, but what surprised us most was watching people who had just met become engaged in deep conversation with one another, and then watching them continue to connect after the ceremony (eg, throw a frisbee together, dance together during the show). We also had people come up to us later in the night to tell us about how something fell into place for them that day, and they’d excitedly ask, “Was that Mama Cacao!?”

That’s when we realized that we weren’t totally crazy and others could feel the magic of cacao, too. So, we hosted our first formal ceremony at Goose in Lake Dillon, Colorado in 2022 and have since hosted dozens of ceremonies (now referred to as “conscious pre-games”) all over the country and even in Europe.

What is Together all about - is it just focused on cacao or is it so much more than that?

Cacao and meditation are definitely the fuel for Together, but creating space for people to connect with themselves and others on a deeper level is the overall goal. Our signature offering is our conscious pre-game, which is a cacao ceremony + meditation circle designed to deepen the live music experience. At the very least, we hope our conscious pre-games provide space for you to connect with yourself and be more intentional about how you hope to experience the night. Regardless of what substances you may choose to dance with later in the night (our mission is not to promote sobriety), we hope to encourage you to take a moment to check in with how you’re feeling, rather than getting swept up in the moment and unconsciously going through show day on autopilot. We also hope that our pre-games provide space to connect with others in the scene whether it be a chance to meet new people or an opportunity to spend quality time with friends.

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Ultimately, we hope to help people bring this deeper connection with themselves (ie, intentionality and inner awareness) and others in the scene into their daily lives, whether that be starting your own meditation practice, building your own relationship with cacao, becoming aware of synchronicities and sparks of magic, or maintaining deep, personal connections with others in this community outside of shows.

Meditation has completely changed our lives (we’re both certified Shambhavananda meditation teachers and have been meditating daily for ~5.5 years). We feel like it's a secret weapon or superpower that enables you to better deal with life's challenges. In the immediate sense, it's like you have specific tools to grab onto whenever something difficult, triggering or stressful happens.

Now that we’re getting more of an understanding of who you both are, your purpose, and all that goes into this labor of love… Tell us a little bit about cacao, meditation, and all the benefits!

Over time, it changes you as a person - you become more patient, curious, and trusting, even about hardships (they actually become kind of fun because it's your chance to put your skills to the test). You develop an underlying knowing that you have the tools to deal with difficult situations/emotions, you develop a hopeful, curious perspective about how things will unfold, and you curate a deep sense of trust that everything happens how it's supposed to. We think these long-term effects are the key to happiness (not necessarily 24/7 happiness, but overall).

Cacao has a lot of physical and spiritual benefits.

Physically, cacao is a nutrient-dense superfood that produces heart-opening, energizing, blissful, yet grounding and centering effects. Cacao enhances euphoria and feelings of connectedness while keeping your mind clear, making it easier to connect with yourself and others around you.

Spiritually, cacao is a non-psychedelic plant medicine that is particularly helpful in healing all things heartrelated (eg, heartbreak, grief, confusion). Unlike psychedelic plant medicines, cacao’s power is gentle - she meets you where you are and guides/ supports you as you process and heal at your own pace with a clear mind (she shows you the door, but does not push you through it).

The benefits of meditation are endless - it allows you to think more clearly, become less reactive, make intuitive decisions, combat stress/anxiety, etc.

You can catch glimpses of these benefits while meditating, but the overall goal is to be able to access these benefits while going about your day.

We think it’s really important to have a formal meditation practice (“on the cushion”) because this is your time to practice in ideal conditions (no outside triggers or distractions). The more you practice, the better you’re able to access a calm, clear, meditative state during the day when immersed in the chaos of the world (“off the cushion”).

In your words, how does cacao and music connect, what are your ceremonies like, and what are the benefits of ceremonies pre-show?

In our experience, cacao helps you to feel more connected with the entire show experience you feel more grounded and present, more aware of magic, more immersed in the music, and more connected to those around you. This is likely largely due to the ceremonial and communal aspects of drinking cacao. When you consciously set intentions for the night, you’re more likely to be present and tuned into the world around you because you’re looking to see whether these intentions manifest. When you drink cacao with others (and share this intimate intention setting space), you’ll naturally feel more connected to them during the show.

It’s like cacao acts as this magical thread connecting us all to one another. When the band drinks the same cacao before the show, that thread naturally extends to them and into the music, intertwining us all. There are also numerous potential physiological reasons for why cacao deepens the live music experience. As an example, cacao contains phenylethylamine (PEA), a neurochemical that’s said to be released when you fall in love or are so engrossed in a task that you lose track of time. This could contribute to cacao’s ability to help you lose yourself in the music.

Our conscious pre-games always consist of checking in with how everyone is feeling, a guided meditation, cultivating gratitude for the present moment (so you can truly soak in the experience), intention setting (to gain inner awareness and clarity about how you hope to experience the night), drinking ceremonial cacao, surrendering intentions over to Mama Cacao, pulling an oracle card, and then opening the space up for sharing/ discussion. Our conscious pre-games give you a moment to escape the chaos of show day, ground, connect with yourself, and connect with others. We’ve heard that our ceremonies help open your heart, ease “preshow jitters”, facilitate entering a “flow state”, and encourage approaching the night with a sense of curiosity and wonder.

Goose is no stranger to cacao! Anyone who has been to your pre-show ceremonies knows those mugs and if you’re looking, sometimes you’ll even see them on stage! What or who brought Goose and cacao together?

Yes! We love when Mama Cacao makes an appearance on stage.

What are your individual relationships with meditation and cacao and what benefits have you personally seen?

When we first started drinking cacao (as a pregame alternative before shows), we would set an intention for the night (eg, a song we wanted to hear, how we wanted to feel, to find the perfect spot surrounded by good energy and lots of dancing space). Our intentions almost always manifested and unfolded in the most playful, surprising way like someone was working behind the scenes to ensure our night unfolded with ease. That’s when we first became aware of the spirit of cacao (“Mama Cacao” as she is lovingly referred to).

Intrigued by this guiding force, we dove into the world of cacao - we started drinking cacao in our daily lives, completed a month-long cacao immersion, and completed our cacao ceremony facilitator training. That’s when we were awakened to her powerful healing abilities. Drinking cacao provides dedicated time and space to sit with things you’re going through - to reflect, to feel, to process, to seek guidance, and to gain clarity.

Similar to how we hold space for people in our ceremonies, cacao holds this bubble of space for you. It feels like you have someone by your side, holding your hand and your heart, who takes some of the weight off your shoulders, empowers you, and is determined to give your heart all that it desires (whether that be manifesting intentions or healing). She has truly become our favorite wingwoman - she brings magic and divine intervention to every live music experience and our lives overall.

el Goose Times | Volume 11

Photo Credit: Angie Wilder

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Jeff signed up for our fan conscious pre-game in Bozeman, Montana during the Spring 2023 tour (we couldn’t believe it (laughs)), and we guess he had such a great time that he wanted to share it with others. Next thing we knew, we were backstage in Seattle, sitting on the floor with incense burning, our beloved Animal Spirit oracle cards laid out in a circle, trying to keep our cool while questioning our sanity as we were about to explain to our favorite band that we call this magical cup of hot chocolate “Mama”. Thankfully, they were into it.

What is it like doing a pre-show ceremony with the band and do they all have similar experiences with cacao?

It’s such a special experience, and we feel unbelievably grateful and honored that they trust us to help them get into the right headspace before a show. We can’t speak for them, but one thing that seems to repeatedly come up is the appreciation for a moment to escape the chaos of tour, drop in, and become centered before going on stage. Rick has said, “The cacao ceremonies led by Hannah & Kait always do wonders in balancing and recentering our hectic energies before shows.

We all share the same look in our eyes every time we’re able to have one - that of gratitude for the space they create and to be able to breathe and be nothing but present with ourselves and each other for a moment.”

You have had pre-show ceremonies in the past for Goose as well as Orebolo are there any pre-show ceremonies coming up that readers can register for?

We currently have one scheduled before Billy Strings at Fiddler’s Green (Denver, Colorado) in May and one before Goose at Fiddler’s Green in June.

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We will likely announce a few more for Goose’s Summer and Fall tours, as well as one for Phish’s festival (Mondegreen). They do tend to sell out quickly (in order to keep the space intimate, we limit the number of participants), so we recommend signing up for our newsletter or following us on Instagram to be notified when registration is open.

Together goes beyond just music - you do group sessions outside of the music scene and online classes as well! Can you tell our readers more about that and how they can partake?

Yes! Our ultimate goal is to help others integrate meditation, cacao, and intentionality/ awareness into their daily lives. To support this, we have a few online offerings. For one, we host integration circles after a big run/tour where we hold space for people to reflect on their show experience, learn how to sustain that “flying high” feeling, and reconnect with others in the scene. Our goal is to help combat “postshow blues” and make it a little bit easier to come back to reality and integrate into the “real world”.

We also host a 6-week series of meditation classes once every season. In these series, we meditate, journal, discuss a specific topic, explore tools to help you feel more connected with the world/universe, and help you build your own meditation practice. Most importantly, these classes provide dedicated time and space each week for you to focus on yourself, connect with others, share your progress, and feel supported as you make these practices your own.

Although our meditation series aren’t specific to the music scene per se, nearly all our participants are people in the jam community.

This creates a relatable, relaxed environment, which may be more appealing for people in this scene who are curious about meditation or beginning/deepening a spiritual practice, but feel intimidated by or out of place with most programs. Plus, it’s really special to have this space to connect with others in the scene in this deep, personal way outside of shows. We will also be releasing a few on-demand (prerecorded) courses later this year.

We announce all our online offerings on our website (www.conscioustogether.net), in our newsletter, and on Instagram (@conscioustogether).

Please tell us what you both love most about the Goose community, the people, the music, and why.

We always feel so seen and appreciated as our authentic selves in this scene, and we always feel so aligned and inspired after a run/tour.

The people in this community are really the best. We’re amazed that people have been open to meditating and drinking cacao before a show - we know there are a million things to do on show day, so we’re so grateful that our conscious pre-game has become a valued option. It feels like a dream (that Mama Cacao surely helped to manifest (laughs)).

Thank you so much for your time, Kait and Hannah!

Visit conscioustogether.net/events to discover the next Together community event in your area.

el Goose Times | Volume 11

Recipe #9: Foccacia Rising with Chef Rick Gallego

Custy Wooks??? I thought you said Crusty Nooks!!!

Do you miss baking bread while watching "Live from the Solarium" or "Live from T's House" during COVID? Well, don't you worry, I'm going to take you on a little trip down "Wysteria Lane" and we can remember when the country loved baking bread and Drive-In shows but without the masks and all the sick stuff. This bread is way easier than a sourdough as it requires no kneading, no babysitting and can be customized to your liking with just about anything you can dream up.

Oh and this recipe is Vegan for all the Custy Wooks out there!

"Foccacia Rush, Taste the Crust, It's the Bread that you don't Knead"

Ingredients 11g Yeast 1250g AP Flour 33g SALT 125mL Olive Oil 1000mL Warm Water (Slightly warmer than body temp)

Directions Pre-Heat your Oven to 425 degrees 1. Add your water to the bowl of your stand mixer. and add the yeast to the water. Give it a quick swirl with your finger and let it hang for about 20 minutes until it gets "frothy."

(See: picture on upper left corner) 2. Put your bowl on your mixer with the dough hook attachment and turn it on medium speed. Slowly begin to add your flour a spoonful at a time. This is mostly so it doesn't make a total mess. After all of your flour is added, add your SALT. The dough should seem fairly tight at this point and not completely pulled together.

3. Next add your Olive Oil to the bowl and mix until everything comes together and continue to mix for a little while to develop the gluten (5 mins or so.) This is also a good time to add anything you would like IN the bread and not just on top (I added Lemon Zest and Poppy Seed to mine.) You dough will be fairly loose, but pulled together.

4. Now cover the dough with plastic wrap in the bowl and let it rise for the first proofing. This should take about 45 minutes to an hour and the dough should about double in size. A good indicator is when the dough rises to touch the plastic wrap.

"Focaccia Rising, It's almost time and I know...

That the yeast will be set free."

5. Now take a baking sheet and cover it in Olive Oil more liberally than Marc Chiavon uses Goose lyrics to pump out lot t-shirts. The oil is important to help get a crispy layer on the bottom of the bread. Now dump out your dough out onto the baking sheet. It should spread fairly easy but not so much that it covers the entire pan right away.

6. Now we need to proof the bread again, but on the baking sheet this time. This should take about the same amount of time as the first proofing. A good indicator will be when you tap the top of the dough (akin to Jebb delicately thumping on bongos) it will SOUND hollow almost, or like its full of air.

7. Now it's the time to add your toppings; herbs, spices, salt, cheese, etc. I put a blend of fresh sage, rosemary and thyme, sel gris ("grey salt" - my personal favorite for its small crunchy crystals and its minerally, oceanic flavor) and shaved Parmesan cheese, but you can add almost anything you can think of. After you cover the top with that "good good," take your fingers and pretend you are Trevor hitting a groove and poke all those holes in the top of your bread. I like to add the toppings first because you push some of your toppings down into those nooks.

8. After you poke your holes, liberally drizzle the top with olive oil (If you have a bottle of really nice Olive Oil that someone bought you and you don't know what to do with it. ..USE IT NOW!) and pop in your oven for 25-30 minutes.

9. Insert a toothpick to see if its done, if it comes out clean you're good. It's going to be difficult, but you need to let it cool in the pan for a bit before you try to take it out.

Blowing on it wont help, you'll end up emptying your lungs to the bread. Give it at least a half hour. If you oiled your pan enough, it shouldn't stick to the bottom!

As always, hit us up with any questions and tag us in your pics @elgoosetimes #hotteainrickskitchen

el Goose Times | Volume 11

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Freshened Up &

Headed to the Scene

By Paige Caruso

Chicks

Community. Making connections with like-minded fans before (and after) shows is such a special part of the concert-going experience. Even if someone goes to a show by themselves, they're never alone. This is especially apparent at Goose shows.

One of the main reasons we started this publication over three years ago was to highlight the Goose community, which is very special in its own right.

To celebrate our positive, inclusive and amazing community that continues to grow and evolve alongside one of our favorite bands - we've headed back to the scene to highlight some amazing Goose Chicks from the Capitol Theatre last Spring!

Pictured Below: Kathy & Binky

Pictured Above: Val & Darian on lot Pictured Below: Erin, Alexius & Friend

Pictured Above: Rachel & Shelby on N2

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el Goose Times | Volume 11

Pictured Above: Paige & Tina

Pictured Below: Liz

Pictured Above: Amy & Friends

by Special Guest Madisonhuvan (@madshuvan; @madisonhuvan on Twitter/X)

el Goose Times | Volume 11

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By Jon Caruso anic

100% Org

June 4-5, 2024

June 10, 2024

June 12, 2024

The Factory 17105 North Outer 40 Rd Chesterfield, MO 63005

Steelhouse 1100 Dodge St Omaha, NE 68102

For More Info: (314) 423-8500 thefactorystl.com

For More Info: (402) 345-0606 steelhouseomaha.com

Everwise Amphitheater at White River State Park 801 W Washington St, Indianapolis, IN 46204

Fun Fact: The Factory is the first built from-the-ground-up performance venue in the Midwest in over 20 years.

Fun Fact: Debuting in 2023, Steelhouse Omaha reflects Omaha's industrial history through it's architecture with a dark aluminum exterior and sawtooth repetition, meant to reference the steel manufacturing process.

June 7-8, 2024 Fiddler's Green 6350 Greenwood Plaza Blvd Greenwood Village, CO 80111 For More Info: (303) 220-7000 fiddlersgreenamp.com Fun Fact: It was commissioned by the Museum of Outdoor Arts (MOA) in 1982 and designed by renowned landscape architect George Hargreaves. The adjacent Marjorie Park hosts a variety of artistic offerings viewable to the public.

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For More Info: (317) 776-8161 whiteriverstatepark.org/venue/everwiseamphitheater-at-white-river-state-park Fun Fact: The amphitheater opened in 2004 as the Farm Bureau Insurance Lawn and has seen extensive renovations since.

June 11, 2024

June 14, 2024

The Midland 1228 Main Street Kansas City, Missouri 64105

Northlands Music & Arts Festival 247 Monadnock Highway Swanzey, New Hampshire 03446

For More Info: 816-283-9900 midlandkc.com

For More Info: northlandslive.com

Fun Fact: Located in downtown Kansas City, The Midland was originally built in October 1927 as one of the largest movie theaters in the Midwest.

Fun Fact: Goose first played this venue (dubbed "Drive-In Live") on October 3, 2020, their second show back after the COVID pandemic shut down the music industry. This was my first show and what really started it all for me!

el Goose Times | Volume 11

Classifieds Please support these Goose community-run businesses!

If you'd like to promote your business, shout out a friend/loved one or showcase a fun graphic like the below in the next volume, please e-mail us at elgoosetimes@gmail.com

June 20-22, 2024

June 28, 2024

Fox Theatre 660 Peachtree St NE Atlanta, GA 30308

Mann Center 5201 Parkside Ave Philadelphia, PA 19131

For More Info: (855) 285-8499 foxtheatre.org

For More Info: (215) 546-7900 manncenter.org

Fun Fact: This $13.5 million facility is the result of a privately-funded undertaking through the sale of 54 VIP boxes. Constellation Brands secured the naming rights.

Fun Fact: The Fox Theatre opened on Christmas Day in 1929 to a sold-out crowd, premiering Steamboat Willie, Disneyʼs first cartoon starring Mickey Mouse.

Fun Fact: The Mann has one of the largest free educational programs of any outdoor presenter in the country, reaching 30,000 people annually through young peopleʼs concerts, in-school presentations, workshops and more.

June 16, 2024

June 23, 2024

June 29, 2024

Jacobs Pavilion 2014 Sycamore St Cleveland, OH 44113

Skyla Credit Union Amphitheatre 1000 North Carolina Music Factory Blvd Charlotte, NC 28206

Forest Hills Stadium 1 Tennis Pl Forest Hills, NY 11375

For More Info: (440) 775-2190 jacobspavilion.com

For More Info: (704) 549-1292 livenation.com/venue/KovZpZA7kdJA/ skyla-credit-union-amphitheatre-events

For More Info: (888) 929-7849 foresthillsstadium.com

June 15, 2024 CMAC 3355 Marvin Sands Drive Canandaigua, NY 14424 For More Info: 585-678-6938 cmacevents.com

Fun Fact: Formerly called the Nautica Stage (from 1987-2003), this venue is located on the waterfront of the Cuyahoga River.

Fun Fact: The concession area has a Bourbon Street feel with multiple permanent restrooms with pedestal sinks, full length mirrors and private stalls.

Fun Fact: Built for the U.S. Open in 1923, this historic venue has hosted The Beatles (1964), Jimi Hendrix (1967), The Talking Heads (1983) and many other iconic musicians.

June 18, 2024

June 25-26, 2024

June 30, 2024

Red Hat Amphitheater 500 S McDowell St Raleigh, NC 27601

Thompson's Point Portland, ME 04102

Westville Music Bowl 45 Yale Ave New Haven, CT 06515

For More Info: (919) 996-8500 redhatamphitheater.com Fun Fact: Planning a fun day around the show? This venue is centrally located, right next to downtown Raleighʼs bars, clubs, galleries and restaurants.

el Goose Times | Volume 11

For More Info: (207) 747-5288 thompsonspoint.com Fun Fact: The International Cryptozoology Museum, located right next to the venue, is the only one of its kind in the world. It's extremely fascinating - we highly recommend it.

It had a yeti. Enough said.

For More Info: (203) 573-1600 westvillemusicbowl.com Fun Fact: "Factory Fiction" and "Same Old Shenanigans" were bustout for the first time live since the 2018 when Goose played this venue in 2021.

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presents

Page 24

"Salt"

a Ted the Goose cartoon

By Jon Caruso

el Goose Times | Volume 11

FIN

el Goose Times | Volume 11

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presents

Teddy's Takes.

June 11, 2021 Swanzey, New Hampshire

It seems that much of my life is defined by random encounters that make no sense; this is the life of an itinerant biped with very sharp teeth but an open heart. On a late Friday afternoon, I was foraging for berries in a wood near Mount Monadnock to be used as the aperitif for Mrs. Yeti’s weekend gathering. I turned north to make my way toward Wilson Pond en-route to our den in Chesterfield Gorge. As I was trudging through the wood, I stumbled into a clearing wrought with other bipeds who, despite emitting a disquieting odor that I detected from far away, seemed welcoming to a giant wooly beast. They didn’t recognize our differences, choosing instead to welcome me into their collective.

We began the age-old tradition of figuring out how to communicate. Despite a growl annotation that inadvertently questioned my heritage, the well-meaning homosapiens began to tell me about the goings-on of this place, complete with a concert that would begin soon by a band called Goose. Having enjoyed goose for dinner in the past, I was quickly incorporated into the fan base as my new friends outlined the names of the band members and what noise they produced. Knowing Mrs. Yeti’s berries to be safe, I had an opportunity to enjoy the proceedings. I stood six abreast but two feet taller than my new friends in what the owners of the clearing in the wood called our ‘pod.’ I learned that this odd grouping was the result of something called a pandemic. This seemed like a confusing time for them, but the band had nonetheless released "Shenanigan’s Nite Club" a week prior.

And then, the band took the stage, opening with "Elizabeth" (10:35) where I picked up on the perfection of the lead guitarist called Rick, showcasing his PRS sound and keeping the energy high throughout. For selection two, they played a song that delighted all in attendance called "Arcadia" (17:21), which should be very highly regarded in the pantheon of this track’s history. Jeff’s whacking of various tubs were notable in the composition portion, Peter shined bright with his organ work early in the jam section, and Trevor continued to drive the jam forward before Rick found a theme that he held onto throughout the rest of the song where the band members interrelated with each other. It extended into a stratospheric bliss riff with a loop-back hook that left me wondering what local wood could contain such magic. The outro jam set the surrounding treeline ablaze and I was beginning to wonder if I’d be able to find my way back home.

Next up was another jaw dropping performance with "Drive" (12:42). I appreciated its high energy peaks that kept the momentum going through the opening set. I also valued the rest of my weary feet when the band cooled things down through "Lead the Way" (13:13). This selection gave a feeling of transcendental bliss, brought on by Trevor at first, gliding back to earth with Rick and Peter’s interwoven descension before Rick found a thermal pocket that sent me back into the heavens. We were then treated to "Weird Fishes" (14:31) from a different band not made of delicious meat where Rick’s vocals came forward and Peter donned his own guitar for a 2-guitar Goose offering.

Finishing out Set 1, the band gave us a "Wysteria Lane" > "Loose Ends" (18:21) where the former’s pace shifted, transitioning from a darker element to a more funky vibe that led us into the intermission break.

Set 2 started out with a first-time-played offering of the instrumental closing track from Shenanigan’s Nite Club, called "The Labyrinth" (12:55). Subsequent research into my experience showed that this was the only time this track has opened the second set of a show. This showcased Rick’s guitar giving us three distinct movements that make up this composition.

Afterwards, the band offered up another track they didn’t create with "Love is a Battlefield" (8:26), a subtle nod to the greats that came before them. Trevor bombarded the forest and Ben chopped mixed time rhythms before the refrain creating a dance party not soon forgotten; it reminded me of being Best Yeti at a friend’s wedding many years ago. Our pod was then treated to another tune designed to make certain animals work their abdominals with Peter’s own "White Lights" (14:58), which provided an energetic spark from a mid-Set 2 spot thanks to Peter’s piano work and Rick’s guitar grooves with lazy hi-hat upbeats from Ben and Jeff on tambourine. The next performance cannot be understated, especially for fans of getting down (as all Yeti’s are), with "Jive II" (17:04), complete with the rare 2nd jam (research shows only twice ever played).

The other bipeds in my pod shared my euphoria as the band found a groovy pocket and we reveled in it for what seemed like days. To close, the band treated its adoring crowd to another blistering performance of "Creatures" (18:16), a song that I thought was about me for a few minutes until un-yeti-like howling was emitted by my compatriots. The final number of the night was "Slow Ready" (5:49), the abridged version, featuring what would wind up being Rick’s highest played peak of the night in the sustain during the instrumental bridge.

And then, it was finished. Despite our well deserved prowess as consumers of music, my Yeti mind was blown. What had I just experienced? As our pod disassembled, we shared a moment of recognition that we were now changed. During the next seasonal migration, I would enjoy recordings of this show, transporting me to the place it all began: a brief clearing in a northern wood.

-Teddy the Yeti

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Photo Credit: Angie Wilder

el Goose Times | Volume 11

The Adventures of Strange Man

By Sparkman Clark

Episode 8: Deep Reflections Not many people know this, but Strange Man is an avid painter. In his spare time, he enjoys spending time in his sun-filled art studio, expressing himself through abstract colors.

This piece is titled “Ocean View” after a view he had of the ocean. It reminds him of his grandfather, who enjoyed fishing and spent much of his time on a boat.

Strange Man has fond memories of the time he spent with his granddad, out on the open water, waiting for the fish to bite. The calm waves make him think about life, how the world is 70% water and how we beings are also made mostly of water.

What is water but a representation of life itself?

What would we be without water? Nothing, really. *This painting was actually created by Katie Southworth.

Follow her work @katiesouthworth_art

el Goose Times | Volume 11

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