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by
Improvisation in 2024: A New Level
Buildconsentcultureandendhara Buthow?OneofthehighlightsoftheGro de-escalationskillstofanstomakepositiv tounderstandhowtobecomeanActiveB usingviolenceor Wehear"seesomething,saysomething"bu tipsfromGrooveSafeonwaysyoucanhe sh
2024 has been a staggering leap forward for Goose, especially in terms of their jams. While the whole band has been energized since Cotter joined – something evident at every single show they’ve played so far – it’s astonishing to hear the maturity and expansion in their improvisational palette in such a short amount of time. The real key has been the uptick in full-band egalitarian jamming, which happens when it doesn’t sound like just one member is leading – all five musicians on stage working on a theme collectively, each one making up an equal part of a single improvisational brain. In the past, many of Goose’s jams were either led by Rick or Peter, sometimes handing off to each other after a segment to let the other produce the next idea in a leadership role. There were some that broke through to the full-band mode – mostly with Peter on guitar (the best of Winter ’22), but the majority stuck to the single-lead.
Enter the band’s early 2024 time in the Chateau. Not only did these sessions help them seamlessly integrate Cotter into their sound, but it also gave Rick and Trevor opportunities to completely reinvent their role in Goose jams. While high-octane guitar peaks are still fairly common (thankfully, because they’re awesome), the days of Rick rushing into a peak are long gone, as the band has discovered a new kind of patience.
As for Trevor's side of things, he’s escaping from the pocket and playing more melodically and more aggressively in both Type I and Type II jams, pushing the rest of the band from the low end in ways we could only have dreamed of in previous years.
Even listening to their first jam of the year in front of a crowd, the Cap “Drive,” saw them lay out and build upon a single idea for several minutes without letting go and putting the foot to the floor too early. As the year has gone on – and especially in September –we heard Goose put an emphasis on major-key spaces (often referred to as “bliss” jams) but something different than past versions.
As opposed to a traditional upbeat vamp and solo, each foray into similar territory has brought new and exciting elements to the themes, from the pulsating builds of the Mann “Tumble” and SPAC “Pancakes” to the synth-drenched patience of the SPAC “Drive,” to the contemplative toggling between tension and release in the Salt Shed “Thatch” and “Dripfield” to the straight hose of the Utah “Zalt” and Carnation “Earthling” – and even the “When The Saints Go Marching In”-inspired spaces of the Raleigh “Pancakes” and Portland “Wysteria.”
Photo Credit: Chris Quinn
Listening to each of these jams in succession will really make you appreciate the development even just from June to now – and that’s just on the lighter side of things. While more infrequent, evil Goose has been rearing its head (and not just in the breakdown of “Big Modern!”) here and there, taking on new forms like the runaway freight train dissonance of the Westville “Rockdale,” going for nearly 15 minutes in a sustained frenzy – this kind of jamming was previously reserved for quick builds like the 3/31/23 “Rosewood.”
There have also been moments of thick, soupy darkness – Peter’s use of OB-6 and now Moog Muse synthesizer have dominated many of these like the Fox “Arrow” and Holmdel “Madhuvan,” but my real favorite (personally, not the best jam per se) might be what the band unleashed during the SPAC “Arrow.”
With Peter hanging back on minimalist synth tones for much of the jam, Cotter, Rick, and Trevor were able to take center stage with so much momentum and space (thank you, drums) for some raw, dark jamming that has yet to be replicated.
All the jams listed here are, of course, just the tip of the iceberg of the watershed year 2024 has been for Goose, and with a ton more shows to go I have no doubt that they will continue to break new ground as the year finishes – even in the last week of west coast tour, Jeff’s confidence on guitar and contributions to jams have grown, his Bob Weir-like chordal stabs adding a unique flavor to journeys like the LA
I frequently have to remind myself that this is still Cotter’s first year with Goose – and if the last months have been any indication, there’s still nowhere to
Build consent culture & end harassment in live entertainment spaces.
But how?
One of the highlights of the GrooveSafe mission is to teach prevention and de-escalation skills to fans to make positive and long-lasting change. It is up to all of us to understand how to become an Active Bystander to assist in this initiative without using violence or causing more harm. We hear "see something, say something" but what should we do and say? Here are some tips from GrooveSafe on ways you can help to make the shift towards better and safer shows.
Drive Drive
Ben Baruch & Dave DiCianni
An interview with
by Jon Caruso
Photo Credit: Andrew Blackstein
John Oates once said that, “Swimming upstream in the music business is a hard thing to do.” Given the average human attention span is around eight seconds, how do you capture listeners’ attention in an increasingly busy space amplified by the Internet? There's no universal answer to either question, but it's important that artists have support on the business and logistics-side to help lay the groundwork from an organizational standpoint, help with promotion and plan concerts in an effort to continuing building a fanbase.
Planning a concert, let alone a tour, is no easy task. There are so many factors to consider when considering which venues to play and deciding an overall tour route. Outside of general logistics; there’s budgeting, marketing, obtaining insurance and permits – on top of having to secure equipment and staff to accomplish each aspect of production. Planning a large-scale tour can take upwards of six months or more, depending on the complexity of the overall production and logistics that follow.
To illustrate the dichotomy between musicians and music managers, think of management as one half of the human brain, while the artists are the other half. Management, in essence, is like left hemisphere in that they collectively receive, process and interpret information on behalf of artists; while navigating the various complexities that come with it. This allows the artists themselves to stay focused on the creative process versus the business-side of music (similar to the right hemisphere, which is more intuitive and creative).
Enter Ben Baruch (Founder) and Dave DiCianni (Manager) of 11E1even Group, the full-service entertainment group that manages Goose. We had the opportunity to talk with both Ben & Dave prior to Goose's Fall Tour to discuss their overall approach, how they discovered the band and more.
Tell our readers about the inception and overall approach of 11E1even Management. How do you help artists set and achieve their goals?
Ben: The inception of 11E1even started with me simply loving music & live shows, and knowing I wanted to be in the music industry in some way from a pretty young age. As soon as I moved to LA after graduating college at University of Vermont, I noticed an extreme lack of shows in the Jam scene and community, and I wanted to try to change that– for myself, for the bands and for other music lovers. I started promoting DIY shows all around LA, mostly in the Jam and Jam adjacent genres. From the start, it was about helping artists and building community, which is a theme that carried on when I got hired to book the Fox Theatre in 2008 in Boulder, Colorado.
Soon after, I met two guys who were part a newly formed band called Big Gigantic. We became friends soon after my arrival to Boulder, they invited me out to a show, and I really felt that they were doing something that no other act was doing and I gravitated towards it. They soon asked if I could help them get on some opening slots because I had connections to larger artists from booking shows in LA and CO, and soon after that, they asked if I would manage them. The same thoughts went through my head at that point as they do today in terms of making the decision to take this on. I loved the music, I felt that I really saw where I could help them take this project, we shared a common vision, I loved the guys and we were all very much on the same page in terms of the goals and path to get there. What started out as me managing one band out of a coffee shop and my garage has turned into an incredible collective of 32 artists, 10 managers and 12 other team members that I’m incredibly proud of. I believe I say this for all our managers here– our artists are not just clients; they are friends and family. I know for myself; my clients are some of my closest friends and it’s always felt that way. There is a camaraderie and closeness amongst our team and our artists that has always felt truly unique. When signing any artist, I really need to love the music, feel a connection to the artist and feel like we are very much on the same page with all aspects. I see it as a team effort in every way and it needs to feel like we’re all in it together.
The growth of 11E1even has always felt organic and natural. Our approach has always been rooted in getting to know our artists first and foremost, understanding and help craft their vision and execute a roadmap that allows them to share their talents with the world in the most fulfilling way possible.
How many artists do you represent, in total?
Ben: The Company has approx. 32 artists and I work on about 14 which include Goose (and prospective side projects), Big Gigantic, Oteil Burbridge, The Disco Biscuits, Ripe, Twiddle, Mihali, The Oh Hellos, Zusha, LP Giobbi’s Dead House, Thumpasaurus, Nathanial Riley and Madeilyn Mei.
Dave: I am currently working on 3ish clients - Goose and projects involving the band’s members - Orebolo, Vasudo, Great Blue (and other things that might come up); plus Pigeons Playing Ping Pong and Kitchen Dwellers.
What are some of the most significant milestones in 11E1even’s journey and for aspiring music business/ management professionals, what are some of the biggest lessons you’ve learned so far?
Ben: In 11E1even’s journey, there have been so many significant milestones– from signing our first band, to having our bands play venues like Red Rocks, playing arenas, releasing popular albums, to being nominated for Grammys and hearing songs on the radio or commercials for the first time. For the acts I work with directly, there are so many that come to mind. With Big Gigantic being my first act, we were fortunate to experience early success and hit some very cool and memorable milestones early on. They were selling out Red Rocks from their first show in 2012 and have since played 20 times. They were support at Madison Square Garden, which was a very special moment. They also played some bigger multi genre festivals that I had been attending as a fan for so many years that it was very special to be on the other side. Goose playing Radio City Music Hall and the Rockefeller rooftop were both very big moments for me. Starting to work with Oteil Burbridge and being part of the ‘Dead environment’ was pretty surreal for so many reasons. I’ve been very fortunate to have had many very memorable moments throughout my career.
The pandemic was also a very big moment for 11E1even, with a big lesson learned as to how to pivot when needed. The world shut down in so many ways and obviously in a big way for our industry. Within 3 days of concerts being canceled, Dave and I came up with the idea to start a live streaming ‘festival’ and do a complete pivot to make sure our artists, crew and company could do whatever we could to stay alive, while also pushing the boundaries and trying something new. We started working on ideas for all our acts to record shows where they could– renting empty venues and reaching out to other acts to record sets in their home. Within a few days this was live and generating revenue, and it really became the first streaming concept during COVID. We worked every day throughout covid, raised over a million dollars to support the bands involved, crew, and other nonprofit organizations helping artists.
This initiative grew the presence of 11E1even Group during COVID and helped both the company and our artists emerge from lockdown stronger than before. Another great milestone has been our ability to grow the company. Over the last three years, we have been able to really expand our team – adding a full marketing department, label services, in house graphic designer and multiple managers and new acts to the team.
As for biggest lessons I've learned, the main one is that in order for this career to be sustainable, you really have to love what you do and do it for the right reasons. If you believe in your artists, you really share in a vision and work day in and day out, you will start to see the magic. It’s not a business where hours put in always equals a financial balance from day one, so it can be hard to keep putting in 12+ hour days, working on weekends and holidays along with constant travel away from family, but if you keep at it, truly believe in it and love what you are doing, the hard work, long hours and dedication really pays off.
How did 11E1even Management discover Goose? What has surprised you the most about Goose’s overall growth?
Dave: I was familiar with Goose for a couple years when I started with 11e1even in 2019. They were opening for Pigeons on some shows in the northeast in 2017 and 2018. One day within my first couple months of being in the 11e1even offices Ben called me into his office and he was watching Goose’s Relix session performance of “A Western Sun” and asked if I knew the band. I told him I did and with the help of Matt Kolinski, we lined up some meetings with the guys and shortly after starting managing them.
Ben: As Dave mentioned, I was in my office one day and the band's acoustic Relix Session just came on my Facebook Feed. I was immediately drawn in by the song writing, vocals and harmonies and called Dave in to see if he was familiar with them, which he was. As I dug into their music more, I loved everything that I heard and watched on YouTube and met with the band. Dave did some initial reach out as his act Pigeons played with the guys and he was close with Matt Kolinski, who at the time was booking and managing the band. I set up a meeting with the band in Vermont as they happened to be playing in town at one of my other clients' bars, Orlandos, when I was going to be in town for Twiddle’s Tumbledown Festival. I went to check the show out, met with the band for breakfast the following morning on their way to the Peach Festival and the rest is history.
Can you share with our readers one or two of your favorite behind-the-scenes stories from your early days working with Goose?
Dave: The funny thing is, early on working with Goose we did a lot of remote work. COVID basically hit 10 months into working with the band. Ben and I started spending every waking hour together working out of his house because we had to close our office. We went to the band with an idea to put on a virtual tour - we didn't really have much of a concept - we just knew they weren't going to play any shows that summer and we wanted to stream a string of shows for fans. They pretty much immediately brought up the Bingo idea and all these creative ways to connect with fans in a really unique way.
Ben: The pandemic convos, as Dave mentioned, were just something neither of us will ever forget. We would get together and work out of a house, thinking of ways to keep things exciting. Bingo was a really fun one, as well as brainstorming what we could do that would be extremely out of the box for Goosemas. Some of the ideas we brought to them were playing on the Ice Rink at Rockefeller center, and playing at FAO Schwartz, before finally landing on playing the Roof at Rockefeller Center. We had so many fun convos around this concept. When we started entertaining playing the drive-in shows, I did a lot of research on the best ways to make it sound as great as possible for the fans, and remember convos of purchasing headphones for everyone that would then tune into a radio station – researching about people bringing their own radios and speakers and making art to really show people ‘if you want the best sound’ follow these steps. That whole time of pod shows and drive-ins came with so many brainstorming sessions and just bizarre moments that we had to brainstorm & execute in real time.
When planning a tour, how long does it typically take from inception to finish – for example, Fall Tour 2024?
Dave: We normally start to work on tours about 12-18 months out. It's sort of a never-ending cycle and at any given point there's shows that are approaching, shows about to be announced, and tours being booked. The work for Fall 2024 started in Summer of 2023. We tend to kind of plot a whole year out with the agents and they work through the year relatively methodically from front-to-back confirming and locking-in dates.
Are there certain qualities 11E1even Management looks out for when booking venues for an upcoming tour? How does 11E1even Management decide what venues and cities to play?
Dave: We’re live music fans - so often we are looking at venues that we have enjoyed ourselves, or maybe have heard from friends and colleagues that it provides a good fan experience. Sometimes it doesn’t always work out, and a room we are targeting won’t be available on the night we are passing through but we try to do our best to put the band in the right rooms. Oftentimes on a tour, we have certain venues or cities that we lock in first and then work around those pieces to put everything together. There is a ton that goes into deciding venues/cities to play. Most of it is based on certain strategies and making sure we are putting the band in the best position to succeed.
Ben: Along with everything Dave mentioned, it’s always making sure they are playing the appropriate room, which involves a lot of different factors. It’s a marathon, not a sprint, and each room plays a very big role into what that next step is in each market.
We really talk through every detail and look at what the end game is in each market and make sure we are doing everything we can to be strategic in getting there at the right time in their career. Playing bigger rooms too fast can really hurt in so many ways, and it’s so important to really dial in that path and talk through the long game before a show or tour is booked.
How does 11E1even Management manage collaborations and sit-ins? Are they set up entirely by the artists themselves or do those on the business side of music decide to get artists together?
Ben: It's really on a case-by-case basis, but up to this point it has been a really cool and natural process to watch. I'd say many collaborations have stemmed from artists or managers hearing or seeing the band and reaching out to us to see if the guys would be into collaborating in some way, whether that be working on music or sitting in live.
Then, there have been some cases where artists have come up in conversation with the band or I may hear a song or have an idea where I think it would be cool to collaborate. In that case, we ask the band what they think & if they are into it, we reach out to gauge interest and work on making it happen.
Pictured Below: Ben Baruch & Rick backstage at Red Rocks
Photo Credit: Chris Quinn
Tell us about how Fred the Festival came together.
Ben: There were a lot of ideas being thrown around about what we could do around that time frame. It was still in the Covid-ish era of the world, where we were coming off drive-in shows & pod shows, and we were looking into what we could do that felt like something different and cool. We wanted to bring our fans together in a meaningful way, and try something we hadn't done before. The LOCKN’ site was looking to do a few shows with a few acts, and the band liked the idea, so we started brainstorming acts to be part of it, how we could make it feel like a really great event and eventually locked it in.
What steps do you take to ensure the band’s health and well-being on the road?
Ben: A lot of this has to do with pacing and conversations with the band and booking agents. Making sure they feel that they have enough days off while on the road but also making sure they always feel they have enough time off the road, too.
Rick has mentioned he wants Goose to be known for their studio records. Is that something management takes into consideration in giving them enough space to be creative and record versus touring?
Ben: Absolutely, it’s a constant conversation to make sure things feel balanced and that when we are plotting out shows and tours, they feel they have enough time to not only record, but also time to feel that they can get in the proper headspace for writing and recording.
Dave: Whether on the road or off, the band is pretty constantly working. There are of course breaks, but at any given time there are a lot of creative projects going on. Like Ben mentioned, we are trying to work in longer periods of time where the guys can get into the writing and creative headspace and have the room to record if they want to do that. We have tried a few different things over the past few years in terms of how we approach touring periods. I think the guys are starting to understand where the comfort zone is for them in terms of touring and we just try to work within that framework.
Can you tease anything about the upcoming Goose destination shows in Baja, Mexico? When should fans expect to learn more?
Dave: We can’t tease much more about the event other than we're really excited about what we've been able to put together with the band and our team. We’ll be revealing much more about the event in the coming weeks.
Ben: As Dave mentioned, not really teasing anything more than just the location and dates, but we are all very excited about this event and how it will be something very different than what other acts in our scene have done thus far in terms of destination events in Mexico.
Awesome, that sounds exciting! Thank you for both for your time and we sincerely appreciate your support.
Photo Credit: Adam Berta
Pictured Above: A sweet moment backstage with Ben Baruch's son
Photo Credit: Adam Berta
Chicks
Gill with the G
by Lisa Governa
It’s been about a year since Gill joined the Goose crew, and I remember the first time I saw her. She was modeling the new moth crop top shirt and I thought, “Who is this cutie?!”. My curiosity got the best of me (as it does) and unashamedly, I sought her out on social media (as we all do) to see what I could find out about the new Goose chick. What I found was unexpected to say the least. Her Instagram profile reads:
gillian pelkonen (she/her/hers) Artist your favorite sound guy / songwriter
The lowercase letter nuance already had my heart. I went straight for the reels. I watched them all, many a few times. She’s magnetic, eclectic, authentic — I thoroughly enjoyed falling down the rabbit hole. In her oldest video, she sings three part harmony with two friends on a cover of “Marietta” by one of my other favorite bands, Upstate. It’s stunning. But, her original music is even more impressive. Her song about the 4th of July was so relatable to me I felt nostalgic. She sings:
“Well it’s been five years and I still spend the holiday alone
My cat runs from the fireworks, I guess it’s good that I am home
Everyone else is having fun and I think one day I’ll try it
But tonight all I really want is some peace in all this quiet”
I was completely captivated by her voice, her lyrics, and her delivery. Then I realized, she produced it all herself too! This chick does it all quite literally. One of my favorite reels is Gill teaching herself how to solder as she’s building a tiny piano. Listening to her studio setup ASMR was the ear candy I didn’t know I needed.
I mean, what a baddie. I just HAD to interview her. I NEEDED to share this beautiful soul with the Goose community. I don’t know how she found the time amid touring and working in the studio to answer my questions, but I’m so grateful she did.
Gill grew up on Long Island and gravitated towards music from a young age. “I have been passionate about music for as long as I can remember. My Dad wrote songs and played music around the house and always had a dedicated room with his guitars, keyboards, amps and a small recording device… He was the one who bought me my first instruments and really gave me a space to start writing music. I was always throwing concerts around the house and was a very outgoing performer.” (auth note: Peter Anspach used to do the same thing!)
Music remained a central theme throughout her childhood. “I was very into musical theater, and that was a big part of my early years (middle and high school)… My first introduction to acoustic folk music was seeing Once the Musical, which includes music written by folk rock duo The Swell Season. That sound really intrigued me and introduced me to the style of music I love, create, and work within.”
She continued to pursue her passions in college, exploring multiple medias with an impressive double major. “I attended Syracuse University and graduated with a dual degree in TV & Film and Creative Writing with a minor in music. I wasn’t too sure what I wanted to do when entering college, and thankfully Syracuse is a really big school that let me build a program that was tailored for me. A lot of my time was spent reading and writing as well as working on my own music in studios, participating in student short films, choirs, a cappella groups, and volunteer groups. There was so much to do! I also got my masters in Audio Arts which is a super vague name for a build-your-own music business and audio engineering degree. This really helped me build my confidence as an audio engineer. I was working as the school studio manager, booking and running sessions, as well as learning about the music industry, formally, for the first time.”
She began working in live events until productions were shut down during the pandemic. “I had spent multiple summers interning at a creative corporate event planning company. I was a catch-all intern, which led me to work in social media, creative writing, copywriting… really anything that was needed. I even flew to California during my junior year of college to work an event, which felt really cool at the time. I had the idea pretty early on that I was looking for a job where I could have varying tasks and different things to do every day, and if that job included travel, it would be a huge plus.”
2020 was the year of the pivot, and though everyone’s plans were on hold, there was the gift of time to create and reflect. Gill explored a new way to practice with sound.
Photo Credit: Gill Pelkonen
“I got really into sound healing during the pandemic and hosted a sound bath at the O+ Festival as a way to get involved in my community. O+ is a great exchange between doctors and artists that happens every year in Kingston, NY. I found sound bowls to be the easiest way for me to tap into meditation and feel really supported by sonic frequencies. I do have a set of meditation bowls, but use them primarily for myself these days. I find it to be a beautiful practice and something I hope to share with others in the future."
As an obvious fan of her music, I was excited to gain insight to how she applied her extensive academic background and professional skills to her recording and songwriting process.
“Wanting to know how to record music on my own is what got me into this field, and yet it is something that has fallen to the wayside as I have gotten busier professionally. I did put out a few songs last year that I had been working on for over two years. My songwriting and recording process is me alone. I typically start on guitar, write some vocals and melody, and then start recording. I layer all the parts on my own, mess with the mix, and really play with the sounds until the production feels right for me. I’d love to collaborate with other artists and session players, but at the moment it remains a one gal operation. I don’t talk about it often, because I find I am around so many musicians and creatives who I deeply admire and find to be so gifted, I almost feel embarrassed to share my little hobby. But ultimately, we grow and songs capture a moment in time — a moment of how you felt, your musical abilities, your creative abilities, and I think it is beautiful to create even without sharing that creation with others. I don’t have any plans to perform. Being side stage and backstage has become more fun for me! But I’m always open for opportunities to share and work on my creative projects.”
Some of Gill’s biggest influences, other than her dad, are two of the biggest pop icons we know and (should) love today. “If I trace back my songwriting roots, they definitely lead to a mixture of Hannah Montana and Taylor Swift. I had such a deep relationship with that first Taylor Swift album because at the time, she was just a 14 year old girl who wrote songs about the 14 year old girl experience. Up until that point, music and songwriting had been a thing that adults got to do, but then it became something I could do. The first song I wrote was called ‘Torn Between Two Worlds’ about my parent’s divorce (kind of the evil twin of "Best of Both Worlds" by Hannah Montana if you will) and my Dad and I recorded it on his little digital 8 track. Then he recorded drums over it!”
The many artists she’s worked with would make an epic who’s who of the singer songwriter scene playlist. Maybe I should’ve asked who hasn’t she worked with!
“I have been so fortunate over the past few years to work with some incredible artists. Shawn Mendes, Norah Jones & Laufey, Amos Lee, Blind Pilot, Sammy Rae & the Friends, Amy Helm, Crooked Still, Charlotte Cornfield, Ida, Goose of course! The size of these projects varies, as does my involvement. I just got off a tour with Aoife O’Donovan & Hawktail which was really fun and my first van tour. I can say one of my favorite projects that I’ve worked on is the new Bonny Light Horseman record, Keep Me On Your Mind/See You Free. That project was unexpected, and I got to engineer for one of my friends and favorite producers out there, Josh Kaufman. The album was mixed by my mentor and friend D. James Goodwin which is so special. That was just a dream team project, and I love how the album turned out. Currently working on quite a large project with the band Ida as well as few concurrent albums with Elizabeth Mitchell. Those should be coming out soon. The project I am working on with Ida is re-opening a project that was recorded at Dreamland 26 years ago (the year I was born!), so it is a really fun, full circle project that includes revisiting 2inch master tapes recorded by the one and only, Trina Shoemaker."
Where does all this magic happen? Gill has the distinct privilege of working in one of the most awesome recording facilities in America — the aptly named Dreamland Recording Studio.
“Dreamland is an absolutely magical place. It is a time capsule back to the big recording studio industry of the 80’s and 90’s. Just check out a picture of it. It is an old church turned studio that has amazing, well maintained analog gear that is hard to find these days. It was actually the first studio I worked at and where I did a lot of my initial on the job learning. The house engineer there, Ariel Shafir, taught me a lot of what I know about how to run a professional, commercial session and is really the heart and soul of that studio. He cares so much about the space and making the experience for clients seamless.”
Enter D. James Goodwin, renowned producer of Dripfield and Autumn Crossing
“While I was learning the ropes there, I met Dan while he was engineering his first session there in a few years. He said he was looking for a studio assistant, and I was looking to learn (I had moved to the area maybe 3 months before this). A few weeks later I was at his studio, the Isokon, working on Jenny Owen Young’s Avalanche (incredible album, everyone should check it out) and the rest is history. Whenever he would work at Dreamland, I would be his assistant engineer and often worked with him on projects outside of that studio. Dan is an incredible engineer, producer, renaissance man. He has so many creative passions and really taught me how to capture sound creatively and keep a super cool vibe in a session. He has a way of bringing out the best parts of a song, sonically and creatively. I feel so lucky to have learned so much from him!”
Gill met Goose through her studio work with Dan and the rest is history.
“I met the guys working in studio! When I became interested in touring, I reached out to all the bands I was working with and asked if I could speak to their tour manager because I didn’t really know what the role entailed. I had heard great things about Sam over my time of knowing them and had a sense that Goose toured a lot (but had no idea how much it actually was!). I chatted with her on the phone, drove to Boston to shadow her 2 days later, and was given the opportunity to work at Goosemas 2023 and then again during the 2024 touring cycle.”
Photo Credit: TBD
Gill with D. James Goodwin
Photo Credit: Monserrat Muro
Now, she’s part of the crew as a production assistant!
“I am on the tour management team, which currently consists of Sam King (our incredible tour manager) & Eric Loomis (production manager + FOH engineer). Sam and I work closely together, and she has graciously taught me everything I know about touring. My main focus on the road has been working as Sam’s right hand lady and doing a lot of day to day tasks that happen backstage to make the show possible. Think logistics, hospitality, and VIP. I’ve had a lot of fun meeting and chatting with our ride or die rail riders who often beat me to site!!”
Gill is living her dream of traveling for work, and she gets to do it with Goose! Manifesting your destiny works y’all!
“Life on the road is awesome! Wrapping this interview up on a plane back from September tour and can say that it was just as great as the June run. I’ve really been loving tour life and am so grateful for my friends in Goose for having me out. We’ve had some killer days off. I love to shop and explore, and have so much fun doing that with my thrift buddies, Cotter, Peter and Juliana (Get Tiny photographer). It is so great to find an item of clothing with great energy from a new city and make it an unexpected staple in your tour wardrobe! The hometown shows have also been really special. SPAC and Forest Hills were those for me, especially when friends and family are able to come out to the shows. It is surreal to show them a slice of tour life since it is so different from being at home.”
Next up, Gill has leg two of fall tour, Goosemas, and New Year’s to look forward to.
“I’m very excited to travel! There are so many states on the 2024 tour that I’ve never been to. Every day is a new adventure, and I especially love multi-night runs. It is great to get to settle into a venue, make a longer connection with venue staff, and get to explore a city for a little bit before showtime. And the thrifting scene is definitely different state to state - that’s something I’ve been enjoying as well.”
With the revival of Bingo Tour being announced as this year’s Goosemas theme, I was curious how Gill thought this would translate to a live, in-person show.
“The original Bingo Tour was before my time with the band, but I always thought the concept was super cool and interesting, so I’m glad to be involved as it makes its return. As for what to expect, I think it’s fair to expect the shows to be fully random and improvised. The Santa sack from a few Goosemases ago was Goosemas wishes, but this will be full on bingo for the first time since 2020!”
Gill’s accomplishments are remarkable as an audio engineer and now production assistant for our great American jam band, are remarkable, but not because she’s a woman. They are remarkable (period.) regardless of gender.
Photo Credit: Adam Berta
Photo Credit: Juliana Bernstein
Ingredients
2x 6-8oz salmon filets; preferably wild caught, with skin on
1x large bundle of organic asparagus
1x 10oz bottle of soy sauce (low sodium preferred)
~¼ cup of olive oil
~1 tbsp hot chili oil
~1 tbsp sesame oil
½ - 1 cup brown sugar
Salt Pepper
Sesame Seeds
However, we’d be remiss to ignore that any woman’s journey through a male dominated field looks and feels different. Gill’s perspective is enlightening:
“It is challenging. It is rewarding. It is a question that gets harder to answer with time. It used to be something I spoke about often, and with time it is something I feel I have been desensitized to. I personally have shifted the circles I work in to be ones that support women. And yet, the world as a whole has a lot of work to do. This industry has a lot of work to do, but it takes time and persistence through the good and bad days. And this industry needs more women and non-binary folks! I always notice when there are other women in the room and appreciate when it happens. We all handle how we fill the space in the room differently, and I have respect for all ways of maneuvering through. I feel supported and empowered by my female co-workers, and by a lot of my male coworkers! A great day is a day when I don’t have to think about my gender and can just kick ass at my job.”
I’m continually blown away by the incredible women in our Goose community, and Gill is no exception. No pressure to keep writing and sharing music, but know that we see you, Gill, and there’s a reason you’re surrounded by wildly talented folks — birds of a feather! An artist of your style and caliber could make a fantastic opening act for a certain agoosetic trio … just saying!
You can listen to her songs on Spotify under the artist name Gill with the G.
Please also check out her website: www.gillianpelkonen.com
Recipe #10: Zalmon & Azparaguz
special
Photo Credit: Juliana Bernstein
with
guests Janie Cancila & Bruce Robinson
Recipe #10: Zalmon & Azparaguz (Cont.)
with special guests
Janie Cancila & Bruce Robinson
Directions (Azparaguz):
1. Wash asparagus and cut off the ends of the stalks.
2. Pre-heat oven to 450F.
3. Place the asparagus stalks in large baking dish and coat with olive oil. Season to taste with salt and pepper.
4. Put baking dish with asparagus into pre-heated oven and cook for 15-20 minutes or until desired level of doneness.
Directions (Zalmon):
1. Place salmon filets skin side down and lightly coat the top of the filets with enough olive oil to cover the surface.
2. Place filets in a 7”x11” glass baking dish and lightly rub about a tablespoon of brown sugar onto the top of each filet.
3. Pour 10oz bottle of low sodium soy sauce into baking dish so the filets are mostly submerged.
4. Add 3 tbsp of olive oil, 1 tbsp of chili oil, and 1 tsp of sesame oil to the soy sauce in the baking dish, then add one half-to-one whole cup of brown sugar spread somewhat evenly throughout.
5. Mix the marinade in the dish by hand while lightly coating and rubbing it into the salmon.
6. Cover the baking dish and place in the refrigerator to let fish marinate for at least 30 minutes.
7. Pre-heat oven to 400F.
8. Remove salmon filets from marinade and place in baking dish. Drizzle and brush marinade onto the filets, then sprinkle the filets with sesame seeds.
9. Put baking dish with salmon into pre-heated oven and cook for 15 minutes or until inside temperature is 135F.
Plate salmon and asparagus and enjoy the perfect accompaniment to indie groove background music!
Bonus Interview Questions with Bruce
Who do you think would be the best cook in the band and why?
Well, I'd say that maybe Rick is the best cook in the band, but Jeff is fairly capable...but they're the only guys in the band now whose food I've ate. In terms of the entire team though, I'd have to rank Jon and Greg at the top of the list.
Butter Rum, Pancakes, Zalt...in your opinion what food related song is next? The possibilities certainly AREN'T endless.
If the song can be a cover, then it should be "Lobster Telephone" by Peggy Gou...although, that might not exactly be in their wheelhouse. If it's an original, I think they should spread their wings into Krautrock with a heavy-hitter that would be most appropriately titled, "Gänsebraten."
presents a Ted the Goose cartoon
By Jon Caruso "Slow Ready"
CrypticMystic Afortunetellerpicnic
TheSun
This is the most important star in our solar system. Importance breeds ego, hence why it is associated with the self in astrology. Its great power gives us energy and vitality.
Mercury
This little guy is so tiny we can only see it early morning and late evening. This duality led Greek astronomers to believe it had two parts, so they named them Apollo and Hermes. It was ultimately the Romans who named the planet Mercury after their messenger god gifted with communication.
Venus
Big and beautiful! She is the brightest planet to us on earth and also the only planet named after a woman, the Roman goddess of love, beauty, and relationships. Watch out though! This girl gets hot enough to melt lead.
TheMoon
Responsible for the ebb and flow of the tides, the moon is a reflection of the sun. It habitually rotates through 8 phases every month, based on its relationship to the sun. Though it’s constantly changing, it is always reflecting.
by Lisa Governa
There is no denying the mysticism of Goose. Whether you’re an avid believer in the stars or a total skeptic, there are astrological references throughout their catalogue. When I began my research for this piece, I set out to provide predictions for each sign known as horoscopes. Then it (dawn)ed on me — most folks roll their eyes at this sort of thing because they don’t understand the science behind how it works. In an attempt to appeal to the logical, skeptical, and perhaps even cynical reader, we are taking a trip through our solar system, a universe with a view. My challenge to you: Don’t turn the page just yet. Read on with an open mind.
ThePlanetaryBodies
Each sign has a ruling planet. These celestial guides are astrologically significant points in the sky. We don’t formally recognize each of these bodies as actual planets in modern science, but they exist nonetheless. Your ruling planet is determined by its physical attributes. I know what you’re thinking. So, like, my gaseous ruling planet is making me fart? Not exactly, but these physical attributes have an uncanny resemblance to personality traits. Check out the ruling planets and their significance and you’ll see what I mean:
Mars
Called the Red Planet because of its fiery appearance, Mars is also the Roman God of War suggesting courage as attribute when this planet appears in your sign. The color red is also associated with passion. The phrase “seeing red” comes from the red cloth used in bull fighting to unleash animalistic aggression.
Jupiter
Our big, gassy boy! This expansive, turbulent, unpredictable ball of energy is named after the Roman ruler of the gods, known for his confidence, luck, and morality. Jupiter has had a massive storm nagging its surface for centuries known as the Great Red Spot.
Saturn
This beautiful planet is protected by icy, rocky dust particles. I’d certainly set some boundaries with big rings around me if I was right next Jupiter! Saturnus is Jupiter’s dad, implying maturity and discipline. This guy might be up at 5am, but is hardly in bed by 9. Our weekend celebration, Saturday, gets its namesake from this planet.
Uranus
Named after the Greek deity of the sky, this ice giant is fricking cold. He’s Jupiter’s grandpa! He’s that old, wise man who’s seen it all and just doesn’t give a fuck. There’s an undeniable freedom in letting go of your fucks, hence why Uranus is known to innovate and excite. He absolutely does not care what you think.
Neptune
Named after Poseidon, Greek God of the Sea, this planet has a bright blue hue. Due to its appearance, it represents “the universal ocean of oneness with all beings”. Deep, spiritual stuff! If Neptune chooses to use this great power negatively, he can be a real manipulative turd.
Pluto
God of the Underworld — yikes. Sure, death can be ruthless and destructive, but it’s also transformative! It’s not just an ending, it’s a beginning, a rebirth, a renewal. Either way, it’s intense.
Chiron
Though not a ruling planet, its power in the astrological chart (and relevance to Goose) is noteworthy. Chiron orbits between Saturn and Uranus. He’s named after a special centaur! Centaurs were a rowdy, uncultured crew, but our guy didn’t conform to the norm. He was kind, wise, and shamanistic. He was dubbed the “Wounded Healer”, ironically poisoned by his own arrow. He was only freed from his pain through an act of compassion — sacrificing his life for another suffering being.
NorthNode
Though also not a ruling planet, it’s important to define this energy vortex in the astrological chart as it is very relevant right now and for the next few months. The moon’s orbit crosses the sun’s path at two opposite points, causing an eclipse. The North Node is known as the dragon’s head, referring to the Chinese zodiac. The dragon represents ambition, challenge and goals.
So how the heck do we digest all this information and make it relevant to you? Using your birthday, find your sign and correlating ruling planet. That is the general basis for your personality traits. Listed in green are planets that are aligned with your ruling planet now through the next several months. This means they have a positive influence on your chart. Planets listed in red will be opposing your ruling planet, thus challenging you. For example, if Jupiter is green, luck is on your side. If Chiron is red, you may be opening old wounds. Included is a Goose jam I feel in my opinion (which absolutely nobody asked for but I gave anyway) relates to you!
Aries
Born: March 21 - April 19
Ruling planet: Mars
Symbol: The Ram
Aligned: Jupiter, Chiron, North Node
Opposed: Pluto (moves to align in December!)
Your jam: "Spirit of the Dark Horse"dark he fights! Just don’t let the night steal your soul.
Libra
Born: September 24 - October 23
Ruling Planet: Venus
Symbol: The Scales
Aligned: Jupiter, Pluto
Opposed: Chiron, North Node
Your jam: "Hot Love and the Lazy Poet"love is actually very important to you, but so is chilling and making decisions is hard.
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
Taurus
Born: April 20 - May 20
Ruling Planet: Venus Symbol: The Bull
Aligned: Saturn, Uranus, Neptune Opposed: Pluto
Your jam: "Empress of Organos"beautiful, kind of scary, but you’ve got the love and rhythm!
Gemini
Born: May 21 - June 20
Ruling Planet: Mercury
Symbol: The Twins
Aligned: Jupiter, Pluto, Chiron, North Node Opposed: Saturn, Neptune
Your jam: "Earthling or Alien?" - I don’t know! Depends on the day, am I right? If we were to send anyone to talk to aliens, it’s you.
Cancer
Born: June 21 - July 22
Ruling Planet: The Moon
Symbol: The Crab
Aligned: Saturn, Uranus, Neptune Opposed: Chiron, North Node
Your jam: "This Old Sea" - you’re emotional just reading the title of the song and that’s ok. You’re allowed to feel it now.
Leo
Born: July 23 - August 22
Ruling Planet: The Sun Symbol: The Lion
Aligned: Jupiter, Chiron, North Node Opposed: Uranus, Pluto
Your jam: "Regulus" - this Ted Tapes jam is named after the brightest star in the Leo constellation.
Virgo
Born: August 23 - September 23
Ruling Planet: Mercury Symbol: The Maiden Aligned: Uranus
Opposed: Jupiter, Saturn, Neptune
Your jam: "Same Old Shenanigans"you’re overthinking if SOS also includes (dawn) right now.
Scorpio
Born: October 24 - November 22
Ruling Planets: Pluto and Mars
Symbol: The Scorpion
Aligned: Saturn, Neptune
Opposed: Uranus, Pluto
Your jam: "Dr. Darkness" - you scoffed at this choice, not because it’s wrong, but because it’s predictable.
Sagittarius
Born: November 23 - December 21
Ruling Planet: Jupiter
Symbol: Centaur
Aligned: Pluto, Chiron, north node
Opposed: Neptune, Saturn, Jupiter
Your jam: "Big Modern!" - you are probably overly optimistic about whatever is going on in your brain. A battle? A rattle? You don’t mind, but the rest of us are legitimately concerned.
Capricorn
Born: December 22 - January 19
Ruling Planet: Saturn
Symbol: Sea Goat
Aligned: Saturn, Uranus, Neptune
Opposed: Chiron, North Node
Song: "Elmeg the Wise" - kind of condescending and dramatic, but everyone is very stoked when you make an appearance.
Aquarius
Born: January 20 - February 18
Ruling Planets: Uranus and Saturn
Symbol: Water Bearer
Aligned: Jupiter, Pluto, Chiron, North Node
Opposed: Uranus
Your jam: "Jive 1" - unencumbered, free, zero fucks given, shake ‘em baby!
Pisces
Born: February 19 - March 20
Ruling Planet: Neptune
Aligned: Neptune, Saturn, Uranus
Opposed: Jupiter
Your jam: "Everything Must Go" - meta spiritual, definitely has a crystal collection; you’ve got magic in your hands just please don’t use it for fuckery!
I’ve always endeavored to exist in places ripe with natural beauty, interesting food sources, and a convivial sense of harmony with that which surrounds me. Instead, I had southwestern Ohio. I crossed a wide river to improve this, resulting in a sojourn through the remarkable wood in Devou Park which led to me nearly tripping over a small band of odoriferous yet agreeable humans who told me of a nearby happening involving a favorite of mine: Goose the band.
The happening involved decamping from the wood and crossing a few city streets to a place the humans had christened Covington, in a state called Kentucky, in a building known as the Madison Theater. This was a home away from home for the band, one of the first major followings outside of their home region. Despite the appearance of a Himalayan creature from a different time, we made the journey safely and were admitted into the building to great fanfare once it was determined that my teeth were not actually going to be sunk into anyone. My kind are often misunderstood to be creatures of the night; despite strolling through the daylight hours quite happily, the happening began at an hour rapidly approaching my bedtime. Despite this, four upstanding bipeds took the stage and the magic began.
The magical noise started with a track called "Wysteria Lane," only the fifth time the song had opened a show at this point, and it contained 18 minutes of happiness resulting in a guitar duo at the end that was dripping with funk, at which point noise from another band was imitated with a performance of "Take On Me" with the guitarist and pianist demonstrating their syncopated understanding. The drummer adeptly progressed the music to its crescendo, a feature of songs played this year.
An instance of "Flodown" was issued shortly thereafter, an original from another musical group within the band’s sphere of influence I later learned was called Vasudo, a band I recalled hearing on WTED Radio. I made a note to investigate this Vasudo further at a later date. And then an ice cave melting rendition of "Arcadia," clocking in at 18 minutes which was the second longest performance to date, with the various members of the band trading the spotlight for building jams, with the summit clearly led by the oddly named but consummately dressed Trevor Bass taking the melodic lead to the finish.
Coming out of that fire was "Lady Marmalade," the third and (as of press time) final performance of a tune that brought back memories as the artist responsible for another modern popular cover was a family friend who defeated my brother (he was too hairy) for a television show casting on a network owned by a mouse.
The first set closed with the first-time jam performance of "Echo of a Rose" clocking in at over 15 minutes; the previous record for Echo was 7:50. Six minutes in, the tempo jumps like a yak over a glacial crevice with Peter taking the lead on piano while Ben drives the beat, then a half time break with other members of the band demonstrating their skill with Ben then kicking back into double time. The crescendo flirts with the darkness but quickly embraces the light with the long since forgotten vocal refrain “echo, echo, echo of a rose!” taking us into the set break.
Set two starts with "Tumble," a song introduced this year and only the second time in the opening slot, the first being at Viva Zapata earlier in 2019 where, legend has it, they will graciously allow 8-foot tall bipeds such as myself into their dining room from time to time. It was at this point where I began to feel like I was standing out in the crowd more so than the usual towering beast as the band played "Dancing In The Moonlight" for me, a tune near and dear to my third aorta.
Afterward a stalwart performance of Jive I, one of the oldest and most played songs in the band’s catalog, began with Rick machine gunning notes over Peter’s organ machinations. This led directly into an infrequently played "Rosewood Heart" at this point in the band’s history. With a 56-show gap between performances, I had been chasing this for some time after having heard it in a different wood, far away. It was also the second time in the band’s bygone times where "Rosewood Heart" and "Echo of a Rose" were played in the same show. From there, "Jive Lee" was launched, which debuted in the same city a year earlier. A fellow traveler had seen the first performance and noted that it was clear how the band had grown from that performance to this one.
At this point, all my dreams finally came true when my favorite band played a song they wrote about me: "Yeti." I was forced to apologize to my fellow bipeds as I gesticulated wildly and with fervor during the 9:27 run. As if to make a point about the juxtaposition of my oafish frame compared to others, the final (so far) cover of "Short People" rounded out Set 2.
The encore featured a notable performance of a "Butter Rum" sandwich featuring the first ever "Jive Lee" reprise before switching back to the end of "Butter Rum." It isn’t clear to me what an island muffin is, but at least it’s sweet.
As we dispersed into the night with a high that can only be found in the shared experience of live music with others, I melted back into the wood. Tomorrow I would continue my journey into the beyond.
