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The Improbable, Unstoppable Rise of Goose

Meet the jam band that just might persuade you to love a jam band.

Produced by ElevenLabs and News Over Audio (NOA) using AI narration.

or the sake of brevity, let’s skip the first verse and the chorus. Let’s jump over some ambient noodling and the gradual building of musical tension. Let’s begin, in jam-band parlance, on a peak, a moment of sonic culmination. Let’s begin at Radio City Music Hall on June 25, 2022. Specifically, we’re two hours and 12 minutes into the evening when the house lights come up, a red-haired 57-year-old man with a guitar walks onstage, and all 6,000 people in attendance collectively lose their minds as they realize what they are witnessing.

The redhead is the Phish front man Trey Anastasio. But this isn’t a Phish show. The headliner tonight is Goose, a band of five 30-somethings in the midst of a meteoric rise. This is Goose’s second-straight sold-out show at Radio City; just three years and three days earlier, the band was playing at Kenny’s Westside Pub, in Peoria, Illinois.

In his first song with the band, Anastasio, one of the best guitarists of his or any era, holds back, letting Goose’s guitarist, Rick Mitarotonda, lead complex improvisations. As the pair continue to trade riffs, a grin appears on Anastasio’s face. Typically, a visitor of his stature would play just a couple of songs before taking a bow. But after two, he leans into Mitarotonda to whisper a few words the audience can’t hear. When the huddle breaks, Mitarotonda smiles wryly. “He’s gonna stay,” he tells the ecstatic crowd. They play together for another hour.

If you don’t know much about Phish, Goose, or the jam scene, the significance of Anastasio’s presence might be hard to parse. The Radio City show was a landmark moment for Goose—a signal to anyone with a passing interest in the genre that it was time to take the band seriously.

I will pause here to say that I am keenly aware that even a passing interest in this subject may be more than some readers will be able to muster. I’ve apologized enough for my musical proclivities over the years to know that jam band can be a freighted combination of words. It might bring up memories of patchouli oil and Hacky Sacks, of stoned liberal-arts grads arguing about which 16-minute version of Phish’s “Reba” is superior. Without hearing a note, you may have already made up your mind about Goose.

Then again, maybe not. Recently, I’ve found myself needing to apologize less often for my tastes: After years of stigma, the jam scene is enjoying something like mainstream acceptance. Last summer, Dead & Company—the latest incarnation of the Grateful Dead—sold out shows across the country and, according to The New York Times , made the Dead “a cultural touchstone again.” With John Mayer now installed as lead guitarist, the group has recruited a new generation of fans, many of whom weren’t even born when Jerry Garcia died, in 1995. Dead & Company and Phish are now packing audiences into the Sphere , the towering orb just off the Las Vegas Strip, whose spectacle is made for social-media sharing.

Read: Sphere and loathing in Las Vegas

One reason for this renaissance is the stultifying nature of listening to music in the era of streaming dominance. Platforms such as Spotify seek to identify users’ tastes and then serve up more of the same. Jam bands, in contrast, are unpredictable by definition. In the mid-’60s, the Grateful Dead established an ethos of constant experimentation: No two live shows are ever the same, and, indeed, no performance of a given song is ever repeated. Each show is a feat of improvisation, and part of the appeal is witnessing this high-wire act alongside fellow travelers. Unlike the atomized experience of streaming music through a set of earbuds, following a jam band is a communal adventure. The music, in other words, is a powerful rebuke to the idea that our tastes can be analyzed, quantified, and satisfied by a computer.

Goose has been especially well positioned to benefit from a newfound openness to the jam scene. Whereas the Dead is a band with decades of esoteric lore and a sound forged in the ’60s, Goose is accessible and modern. The band’s influences are rooted in the indie and rock acts its members grew up admiring: the Red Hot Chili Peppers, Fleet Foxes, Bon Iver, Radiohead, and, yes, Phish.

Onstage, Goose builds little worlds. “I’m constantly looking to create something that I feel like I could get lost in,” Mitarotonda told me recently. In the middle of a song, he will conjure winding, hypnotic melodies, then weave them together with the notes and rhythms the four other men are playing. The band composes ephemeral songs within songs, bending genres along the way—plodding organ funk may give way to bright, searching major-key bliss rock. A distorted, menacing series of guitar riffs and bass lines may build to gnarly peaks before landing softly and ethereally. Or the band might break into one of its trademark reinterpretations of ’80s pop: Kenny Loggins’s “Danger Zone,” from the Top Gun soundtrack; Eddy Grant’s reggae-fusion hit “Electric Avenue.”

Jerry Garcia’s death tore a hole in the jam-band scene, creating a vacuum no one was ready to fill. Former members of the Grateful Dead played on, as did Phish and bands such as Widespread Panic, but no rightful heir had been named. The result was an immense pressure, especially on Phish and Anastasio, to absorb the audience and legacy of the Dead while preserving their own sound. In championing Goose, Anastasio was perhaps attempting to point a way forward, not just for the band, but for the now-resurgent genre. Dead & Company, too, has collaborated with Goose, offering the group its own imprimatur.

For all their recent success, Phish and Dead & Company are the past and present, not the future, of the scene. It may fall to Goose to be the group that escapes the confines of the old tie-dyed traveling circus, reimagines what a modern jam band can be, and awakens a wider audience to the endless possibilities and pleasures of improvised rock.

G oose officially became a band in 2014. The group slowly assembled its lineup by cobbling together Mitarotonda’s friends from Boston’s Berklee College of Music (founding drummer Ben Atkind) and his hometown of Wilton, Connecticut (the multi-instrumentalist Peter Anspach as well as the bassist Trevor Weekz, who looks like the chillest employee at your local ski shop). Anspach started as a Goose fan—and rival band leader—before joining in 2017. He embodies Goose’s nerdy energy: Onstage, he can be found behind an array of keyboards, a guitar slung over his back, bobbing up and down to the music. But Goose didn’t settle fully on its trademark sound until 2020, when it invited a longtime collaborator, the percussionist Jeff Arevalo, to come on full time. Arevalo can complicate a rhythm in a way that pushes a song into new territory.

The early days were a grind. Jam bands prove themselves on the road, and Goose spent multiple years playing 100-plus shows. There’s a word-of-mouth element to the scene: When fans hear the genuine article, the news travels. A bar gig can lead to a small college-town show, which can garner an invite to a festival—and the fan base grows.

Even when Goose was playing the smaller festival circuit, it maintained a prolific online presence, posting concert clips on YouTube, livestreaming almost daily via a subscription service, and making soundboard recordings of shows available, many of them for free, on platforms such as Bandcamp. Much of this was originally Anspach’s doing: He mastered the soundboard audio from shows and dutifully posted it to Bandcamp not long after coming offstage. As it’s grown, Goose has built out a team of videographers and directors who continue to livestream most shows—a concert film released nearly every night the band is on tour. In its own way, the band is updating a tradition started by the Dead, of making the band’s central output—live music—as available as possible.

From the March 2010 issue: Joshua Green on the management secrets of the Grateful Dead

The coronavirus pandemic arrived at a hinge point for the band’s popularity. Live music was essentially canceled—Goose, however, continued to play. It booked a slate of socially distanced shows at drive-in theaters, and streamed “bingo” nights, in which the band picked songs and musical challenges (20-minute jam; rotation jam, where band members swapped instruments) out of a bingo cage.

Goose’s sense of play has been at the heart of its ascent. One Halloween, the band performed an Austin Powers concert, in costume; Mitarotonda delivered Dr. Evil’s Mini-Me rap. Last year, I was in the audience at a concert at Seattle’s Paramount Theatre. The official theme for the evening was “Sleeveless in Seattle”; the entire band was clad in tank tops. Minutes into the performance, the venue’s PA system malfunctioned, flooding the room with gnarly static. When Goose finally went back on, following two unsuccessful attempts to start, the band responded with a 45-minute improvisation—an immediate Jam of the Year contender. “It was like, We don’t know if it’s going to crap out again, so let’s just send it ,” Mitarotonda told me.

T racking Goose’s rise over the past five years, it’s tempting to see a story of linear success, of good vibes only getting better. But it hasn’t always felt that way to the members of the band.

I first met them in 2022, outside Denver, where the band was playing that year’s Goosemas concert, an annual holiday tradition that had started eight years earlier in a Norwalk, Connecticut, basement. Backstage, about two hours before the band would play one of its biggest shows to date, I stumbled upon Mitarotonda alone in the greenroom. We had an interview planned for later, but he seemed eager to talk then and there.

The early years of Goose weren’t always easy for Mitarotonda. He wasn’t sure he could deliver what audiences were coming to expect from him. “I just felt so toppled by the notion of these big crowds and going out there,” he told me. The nerves are understandable—improvisation, even for the most seasoned practitioners, carries genuine risk.

A great jam is an art form, and the most crucial skill is listening—it’s about “locking in on what somebody else is doing, and making them feel like their idea is super valuable,” as Anspach put it to me. Occasionally, in a live show, you’ll hear Anspach whoop and holler during a solo, as if he were still just a fan. When I asked him about these bursts of encouragement, he told me that he does it because, onstage, it’s hard for the other musicians to hear the crowd’s cheers. “But they can hear me,” he said.

The highs are high, but every jam band has to live with the reality that it will sometimes swing and miss. The occasional off night or bad run is not uncommon; even die-hard Dead and Phish fans will dismiss entire years of the bands’ live music. But Mitarotonda’s anxieties were persistent. I brought up a show I’d seen that summer, in Portland, Oregon, where I watched Mitarotonda practically liquefy the strings of his guitar over the course of three hours. He looked at me with fascination. We’d had two completely different experiences that evening, he told me: What I saw as virtuosity, he described as fighting to get the notes out of the guitar.

The inevitable comparisons to Phish and the Dead, while flattering, can also be exhausting. And they can stoke rivalries between the bands’ fan bases. Detractors argue that Goose is an overrated “pop jam band”—some songs do have a pop-inflected sound, especially compared with Phish or the Dead—or that its improvisations tend to fall into same-sounding ruts. Mostly, the band’s critics take issue with the idea that it’s been crowned as the next big thing in the scene, when there are other contenders for that crown. At a recent show, I saw numerous Goose fans wearing shirts bearing the phrase not 100 percent sold on Goose —a jab at holdouts from other camps. As intense are the expectations of the already-won-over fans, who can make contradictory demands. They want to see the band evolve, yet at the same time, there’s already a sense of nostalgia for the scrappy experimentation of the early days.

For Goose, this has meant pressure to keep up a near-constant touring schedule while also perpetually reinventing itself. In the jam-band tradition, the set lists are different each night. Over dinner one evening, I watched Anspach and Mitarotonda concoct a plan for the night’s show and learned that the pair review lists of songs they’ve played in each city, to make sure local crowds get something new every time the band comes through. I watched them throw out songs and then whittle the list down using a shared iPhone Note—to my dismay, “Madhuvan,” a great vehicle for Goose’s darker jams, was nixed, having been played during the band’s summer run in Colorado.

Over time, the demands of the road exact a toll, as the band becomes so focused on performing that it has no time to work toward something new. Mitarotonda refers to touring and performing as creative outputs , and to writing and practicing as creative inputs . There have been times, he said, when the band was putting out much more than it was taking in.

It was at a moment when road life had started to weigh a little heavier on Mitarotonda that Anastasio took an interest in the band. After the Radio City show, he invited Goose to co-headline a fall tour with the Trey Anastasio Band. A childhood friend of Mitarotonda’s told me that during a Phish show in 2009, Mitarotonda, then about 18 years old, turned to him mid-jam, pointed to the stage, and said, I think I want to do that. Thirteen years later, he was on tour with Anastasio.

The collaboration helped Mitarotonda figure out some things as a musician. In their free time backstage, Mitarotonda and Anastasio geeked out on the craft of making live music. In one video the band released on YouTube, Anastasio enthusiastically describes his amp settings. But Anastasio bestowed nontechnical advice too. Minutes after their first show of the tour, he asked Mitarotonda how he thought Goose’s set went. “I told him it was fine and that we eased into the evening,” Mitarotonda recounted. “And Trey was like, That’s interesting. I don’t ease into it. ” The offhand remark was a revelation. “It’s like, Oh, of course you should go out there and just punch the audience in the face with it ,” Mitarotonda said. “I feel like I’ve been both living life and playing guitar so defensively for so long. And now I am thinking about how to go on the offensive.”

Sure enough, when I went back and listened back to the second show on the tour with Anastasio, the difference was clear: a high-intensity opener that set the tone for the evening.

F ew bands can experience an ascent like Goose’s and emerge unscathed. Creative differences led to the departure of Ben Atkind late last year. For fans, the first few weeks of 2024—one of the rare times that the band went off the grid—seemed to signal that the fairy tale was over. But when I spoke with Mitarotonda a few months later, he argued that it was during this quiet period that the band once again found its way: It used the downtime to stock up creatively and practice obsessively so that it could head back on the road with something the members felt good about sharing.

In early February, the band announced Atkind’s replacement, Cotter Ellis, by releasing a video of his final audition—a 32-minute jam. Over the next month, the band introduced Ellis to a legion of concerned fans, culminating in two long YouTube concerts recorded in Mitarotonda’s Connecticut barn. In the videos, the band cycles through classic songs with a new enthusiasm: Weekz’s bass is louder; Arevalo tries his hand at rhythm guitar; Anspach plays the keys so hard that his glasses fly off his face. The cameras linger on Ellis too, who bounces in his seat. The subtext of the videos is clear: Don’t worry, we can still rip.

When I asked Mitarotonda what this iteration of the band would be like, he demurred, arguing that it wasn’t for him to say. Yet it’s clear—both from speaking with Mitarotonda and from observing the band play—that Ellis’s playing style and technical prowess have inspired the band. A few weeks after our conversation, in early April, Goose played its first live shows in its new configuration—a sold-out four-night run at New York’s Capitol Theatre, a storied jam venue. With Ellis, the music is more patient, more mature, but also more energetic than it’s been in years.

The band may be at another hinge point. In many ways, this is what’s appealing about not only Goose but also the entire jam genre. Being a fan links you to the past—to this long, painstakingly documented history of improvisation and evolution—but you’re always focused on what’s coming next. The future may be unpredictable, but one thing is constant: There is always the next show.

Near the end of my last conversation with Mitarotonda, I reminded him about our first meeting and his candid uncertainty about Goose’s rise and his own standing as a front man. Had his outlook changed? “It sounds like you’re asking, ‘Does it feel like you’ve arrived?’ … And it’s like, I don’t feel like I’ve arrived,” he said. “I feel confident in the direction I’m moving in, you know, and that’s maybe all that matters.”

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Goose Announces Cabo Destination Fest Viva El Gonzo

Headlined and curated by Goose, the May 8-10 event includes performances by The War on Drugs, Tycho, Dawes and LA LOM.

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“We’re stoked to be headlining Viva El Gonzo in such a beautiful spot like San José del Cabo,” says Rick Mitarotonda of Goose. “This festival is going to be something special — a chance for us and our fans to dive into the music, the vibe and the incredible surroundings. We’ve got some wild stuff planned, and we’re really looking forward to sharing this adventure with everyone who takes the ride with us.”

Each night, fans can take a short walk from the El Gonzo Oasis leads to Crania, a beachside club that transforms into “a post-apocalyptic neon world of art and music,” the band explains, noting “festival-goers can explore immersive installations and dance to rhythmic music that channels the vibrant energy of the West Coast, creating a unique late-night experience.”

Visit VivaElGonzo.com to learn more.

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Goose Cement Their Rep as the Hottest New Jam Band During an Epic Tour with Trey Anastasio

By Garret K. Woodward

Garret K. Woodward

“There were definitely a lot more waffles than people that night,” says Rick Mitarotonda, the lead singer and guitarist for Goose . He’s reflecting on the band’s 2017 gig at Funk N Waffles, a 200-capacity venue in Syracuse, New York, just a half mile from where he and his bandmates are gathered on this November Friday night — at the 7,000-seat Oncenter War Memorial.

Earlier this summer, Rolling Stone talked to Goose — the country’s hottest jam band — about adapting their live sound for the studio to record their album Dripfield . This past weekend, we caught up with the band on the road during their tour with Trey Anastasio Band , a double bill that had jam fans spinning in the aisles.

Syracuse was the second-to-last show of an eight-date northeast run with Anastasio, the Phish frontman who arguably became the de facto leader of the jam scene since the 1995 death of Grateful Dead guitarist Jerry Garcia .

“Even two years ago, we wouldn’t have pictured any of this,” says Peter Anspach, the band’s keyboardist and guitarist. “Growing up being a fan of Trey and Phish, playing next to him onstage is pretty ridiculous. When you’re in the crowd at a Phish show, you never would think that’s going to happen.”

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“The takeaway from this tour has been this amazing learning experience of what can happen through the stages of your career,” Anspach says. “And how to approach all those things, those changes, and evolve musically.”

Anastasio first came into the fold when he watched one of Goose’s mesmerizing livestreams last year and reached out. They crossed paths last spring in Atlanta at the Sweetwater 420 Festival and brainstormed ideas to collaborate. In June, Anastasio jumped onstage at Goose’s sold-out Radio City Music Hall and talks got underway for the “Taboose” fall tour soon after.

“For whatever reason, [Trey] wanted to do something [with us],” Mitarotonda recalls. “Even if it wasn’t us, the fact he wanted to take the next generation under his wing is a pretty cool thing.”

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“[Trey] was talking to us about the 1990s when [Phish] was coming up and there was so much competition — a lot of different, very creative people doing a lot of things,” Mitarotonda says. “And he was saying there was a stint [after that], where he was feeling like that wasn’t happening, and he was getting nervous about the creativity and future of the [jam] scene.

“I’ve been kind of seeing that across the board [nowadays], with creativity not trending upwards. Technology is making it harder to be genuinely original and creative,” Mitarotonda continues. “So I think [Trey] is wanting to draw attention to creativity, and to encourage creativity [with this tour].”

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Before the year is up, the band will host its annual “ Goosemas ” holiday blowout at the 1stBank Center in Broomfield, Colorado, and will ring in the New Year with a pair of sold-out shows at the Andrew J. Brady Music Center in Cincinnati. They also have an already sold-out five-night spring run at the Capitol Theatre in Port Chester, New York.

“Whatever impact we’re having, we’re doing everything we can to make it a positive impact. Anything beyond that? Being the next ‘torchbearers’? It doesn’t matter,” Mitarotonda says. “[The jam scene] has always been an ecosystem, and it always should be an ecosystem — all we can really hope for is to be part of the ecosystem.”

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Goose consists of Peter Anspach, Jeff Arevelo, Cotter Ellis, Rick Mitarotonda and Trevor Weekz. The band is playing back-to-back nights at Saratoga Performing Arts Center on Sept. 6-7.

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Jam band favorites Goose set for two-night stand at SPAC

Adam Shinder

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• Sep 3, 2024
• Sep 3, 2024 Updated Sep 6, 2024

Goose’s first headlining gig at Saratoga Performing Arts Center was so nice that this time, they’re doing it twice.

After making their smashing debut at the Saratoga Springs amphitheater in July 2023, the jam band favorites are back at the venue on Friday and Saturday at 8 p.m. for a two-night stand. It’s an ascendancy similar to their spiritual forefathers and long-time SPAC icons, Phish — something that neither singer/guitarist Rick Mitarotonda nor keyboardist Peter Anspach takes for granted.

“I had an awesome time last year,” Anspach said in a recent interview with Nippertown. “That place is so special, and it was really awesome. I feel like I connected with a lot of old friends at that show — just by chance, we had like, a lot of homies come out.”

“It’s such a staple place in the world of all the bands that we grew up being inspired by,” Mitarotonda said. “Playing there last year was wild, and it felt right. It felt great, and yeah, we’re stoked to be back.”

Started in Connecticut by Mitarotonda, bassist Trevor Weekz and former dummer Ben Atkind, Goose has been on the scene since 2014, but has gained major traction in the jam band community in the last half-decade. Joined by Anspach in 2017 and percussionist Jeff Arevalo in 2020, Goose started pushing into larger venues following the COVID-19 pandemic, playing Radio City Music Hall in New York City and Red Rocks Amphitheatre in Colorado in 2021 and 2022.

Also in 2022, Goose joined the Trey Anastasio Band for a co-headlining tour that included a stop at Cool Insuring Arena in Glens Falls.

Anastasio, the legendary Phish guitarist and lead vocalist, has played a major role as a mentor and advocate for the band.

He’s also a major inspiration, something Anspach discussed as he recalled an experience from when he was in high school getting lawn seats to watch Anastasio and Phish in concert at SPAC.

“Seeing Phish at SPAC was definitely a monumental experience for me when I was in high school,” Anspach said. “I have amazing memories from that. There was one show that I went to early on where Trey, during the show at some point, just went, ‘Hey, if there’s any musicians out there, this is a pretty good job. Keep going.’ I was like, ‘What the hell? That’s crazy,’ because I was there with my friends who also played music.

“I was like, ‘Guys, this is it. We’ve got to do it, you know?’ It’s such a special thing. He’s always really been a steward of creativity and musical expression, and that band is really a great inspiration. So yeah, [we are] excited to get back to SPAC and keep following those footsteps.”

Goose’s July 2023 appearance in Saratoga Springs was a major part of the band’s evolution, Mitarotonda said. It was part of the first tour where the band regularly headlined larger amphitheaters and outdoor venues. After the Saratoga show, photos of a jam-packed SPAC lawn circulated on social media along with rave accounts of the concert.

The surge in attention and attendance took some getting used to, he said, but it’s helped the group find the next step in its progression.

“Last year was the first time we played a place like that,” Mitarotonda said. “There’s obviously a lot of nerves around that. This year, we’re playing more outdoor amphitheaters, getting more comfortable in that environment. Every step of the way, from playing bars to bigger clubs to the theaters, it’s a process of adapting and getting comfortable playing in those types of spaces. With outdoor amphitheaters and venues, it’s been the same thing.

“It feels like we’re in a place now where we’re not as nervous about it, and able to really just enjoy it.”

Goose’s lineup will look a little bit different this time around at SPAC, as founding drummer Atkind departed the band last December, with Cotter Ellis joining in February.

“There’s been a lot of development happening this year,” Anspach said. “It’s been awesome getting to know [Ellis] and developing a new musical language with him. We’ve been working super hard in the practice room, and a lot of songs are taking on a new musical life. That has been amazing, and it’s exciting to go back on tour right now.”

In doubling up their SPAC stay this time around, Anspach and Mitarotonda are excited to stretch their legs. They’re one of just three acts to do a multi-night run at SPAC this summer, along with Dave Matthews Band in July and Tedeschi Trucks Band this past weekend.

Goose’s freewheeling, jam-band sensibilities means that no two shows are ever exactly alike — in fact, they’re often wildly different.

That’s a benefit, Anspach and Mitarotonda said, for both the band as they play the two-night run and for fans who will be attending both shows.

“It’s going to be great coming back a second night in a row,” Mitarotonda said. “You just kind of feel more rooted in a place.”

“Every show for us is different,” Anspach added. “The setlists are constantly changing. You’ll never see the same show twice.”

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Goose Announce 2023 US Tour

The post Goose Announce 2023 US Tour appeared first on Consequence .

Goose are hitting the road in the US in 2023.

After completing their remaining dates this month and a whopping five nights at Port Chester, New York’s Capitol Theatre, the Connecticut rock quintet will embark on a five-week tour beginning March 23rd at Boston’s Roadrunner. The 14-city trek will then see them travel across the US through late April, including two-night stands at iconic venues like Philadelphia’s Met, Nashville’s Ryman Auditorium, Chicago’s Salt Shed, Seattle’s Paramount Theatre, and San Francisco’s Warfield. As of now, Goose’s final headlining date is April 29th in San Diego.

A ticket request lottery for all newly announced Spring Tour 2023 shows is ongoing through the band’s website , and will continue through Wednesday, December 7th at 5:00 p.m. ET. Lottery winners will be notified via email before the start of venue pre-sales, set to run Thursday, December 8th from 10:00 a.m. to 10:00 p.m. local time. All remaining tickets go on sale to the general public beginning this Friday, December 9th at 10:00 a.m. local time, and you can get yours at Ticketmaster . See the full list of Goose’s 2023 tour dates below.

Goose also spent a good chunk of 2022 on tour , including a handful of co-headlining dates with Trey Anastasio. They shared the live EP  Undecided   last month.

Goose 2022-2023 Tour Dates: 12/16 – Broomfield, CO @ 1STBANK Center 12/17 – Broomfield, CO @ 1STBANK Center 12/19 – Boulder, CO @ The Fox Theatre 12/30 – Cincinnati, OH @ The Andrew J. Brady Music Center 12/31 – Cincinnati, OH @ The Andrew J. Brady Music Center 01/14-17 – Riviera Cancun, MX @ Playing in the Sand 03/02-05 – Okeechobee, FL @ Okeechobee Music x Arts Festival 03/08 – Port Chester, NY @ The Capitol Theatre 03/09 – Port Chester, NY @ The Capitol Theatre 03/10 – Port Chester, NY @ The Capitol Theatre 03/11 – Port Chester, NY @ The Capitol Theatre 03/12- Port Chester, NY @ The Capitol Theatre 03/23 – Boston, MA @ Roadrunner 03/24 – Philadelphia, PA @ The Met 03/25 – Philadelphia, PA @ The Met 03/26 – Cleveland, OH @ Agora 03/31 – Nashville, TN @ Ryman Auditorium 04/01 – Nashville, TN @ Ryman Auditorium 04/02 – Birmingham, AL @ Avondale Brewing Co. 04/13 – Madison, WI @ The Sylvee 04/14 – Chicago, IL @ The Salt Shed 04/15 – Chicago, IL @ The Salt Shed 04/16 – St. Paul, MN @ Palace Theatre 04/18 – Bozeman, MT @ The Elm 04/19 – Bozeman, MT @ The Elm 04/21 – Boise, ID @ Knitting Factory 04/22 – Seattle, WA @ The Paramount Theatre 04/23 – Seattle, WA @ The Paramount Theatre 04/25 – Eugene, OR @ The McDonald Theatre 04/27 – San Francisco, CA @ The Warfield 04/28 – San Francisco, CA @ The Warfield 04/29 – San Diego, CA @ CalCoast Credit Union Open Air Theatre 06/22-25 – Rothbury, MI @ Electric Forest 06/29-07/01 – Garrettsville, OH @ Resonance Music and Arts Festival 07/26-30 – Floyd, VA @ FloydFest

Goose Announce 2023 US Tour Abby Jones

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Goose Confirm 2024 Summer Tour with New Drummer Cotter Ellis

The jam band has also shared Ted Tapes 2024, an album comprised of instrumental improvisations captured during Ellis' auditions on drums

The jam band Goose have detailed a 2024 summer tour, which mark their first extended run of shows with new drummer Cotter Ellis.

Kicking off in June, the tour includes multiple nights in St. Louis, MO; Greenwood Village, CO; Atlanta, GA; and Portland, ME. The itinerary also includes shows in Omaha, NE; Kansas City, MO; Cleveland, OH; Philadelphia, PA; and New York, NY. Additional dates will be announced soon, according to a press release.

Get Goose Tickets Here

Fans can look for deals and tickets to sold-out Goose concerts via StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

Ellis replaces founding drummer Ben Atkind, who departed the band in December due to “fundamental personal and creative differences.” Ellis, hailing from Vermont, is known for his work with several covers bands, including Zach Nugent’s Dead Set. To introduce him to Goose fans, the band has shared   Ted Tapes 2024 , an album comprised of instrumental improvisations captured during Ellis’ auditions on drums. Stream it below, along with a live video of the new Goose lineup in action.

Goose 2024 Tour Dates: 05/24-05/26 – Chillicothe, IL @ Summer Camp Presents Solshine: A Music & Arts Reverie 06/04 – St. Louis, MO @ The Factory 06/05 – St. Louis, MO @ The Factory 06/07 – Greenwood Village, CO @ Fiddler’s Green Amphitheatre 06/08 – Greenwood Village, CO @ Fiddler’s Green Amphitheatre 06/10 – Omaha, NE @ Steelhouse 06/11 – Kansas City, MO @ The Midland 06/12 – Indianapolis, IN @ Everwise Amphitheater at White River State Park 06/14 – Swanzey, NH @ Northlands Music & Arts Festival (Two Sets) 06/15 – Canandaigua, NY @ CMAC 06/16 – Cleveland, OH @ Jacobs Pavilion 06/18 – Raleigh, NC @ Red Hat Amphitheater 06/20 – Atlanta, GA @ Fox Theatre 06/21 – Atlanta, GA @ Fox Theatre 06/22 – Atlanta, GA @ Fox Theatre 06/23 – Charlotte, NC @ Skyla Credit Union Amphitheatre 06/25 – Portland, ME @ Thompson’s Point 06/26 – Portland, ME @ Thompson’s Point 06/28 – Philadelphia, PA @ Mann Center 06/29 – New York, NY @ Forest Hills Stadium 06/30 – New Haven, CT @ Westville Music Bowl

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Goose Welcomes Actor Will Forte For Black Sabbath “War Pigs” Cover In West Hollywood [Watch]

Goose tapped into the Hollywood talent pool on Tuesday during a charity show at L.A.’s  The Troubadour for a surprise guest appearance by beloved comedic actor  Will Forte on a first-time-played cover of Black Sabbath classic “War Pigs”.

Forte took the stage toward the end of the night’s first set and howled the song’s famed  Ozzy Osbourne lead vocals as the crowd shouted along. Following the extended take, which featured guitar solos from both  Rick Mitarotonda and  Peter Anspach , Forte expressed his gratitude to the band for the invitation. “Thank you, Goose, for letting me be up here,” he said. “They learned this song today .”

Watch a few different angles of fan-shot video of the Will Forte-led “War Pigs” from the Goose charity show at The Troubadour below, view a gallery of photos from the night, and scroll down to view the full setlist.

  View this post on Instagram   A post shared by Goose (@goosetheband)

The charity underplay at The Troubadour, which followed the band’s recent run of West Coast amphitheater gigs , was billed as  Goose: El Ganso Live at The Troubadour , raised money for La Playa Centro Comunitario in San José del Cabo, Mexico. La Playa Centro Comunitario opened its doors in 2015 with the vision of creating a unique space where children in the community could explore and engage with art in all its forms. As their community’s needs continued to grow, the organization expanded its programs and diversified its activities to better serve and nurture the environment. The band is also hosting a silent auction to benefit the cause. Browse the available auction items here . Bidding ends on Thursday, October 3rd at noon PT.

Related: Goose Caps West Coast Run With A Little “California Magic”, Full ‘Autumn Crossing’ Suite [Photos/Video]

In other Goose/San José del Cabo news, the band on Tuesday shared a video announcing a new festival, Viva el Gonzo , set to take place in the beach town on the southern tip of Baja California from May 8th–10th, 2025. Watch the teaser video for the festival below. Find ticketing information and the full artist lineup here .

Goose is due to appear next at Mempho Music Festival in Memphis, TN on October 4th. From there, the band will take a few weeks off the road before resuming touring operations for an October 24th show at Nashville, TN’s  Ascend Amphitheater . While the two ensuing Asheville, NC shows originally set for October 25th and 26th have been canceled as the Western North Carolina city attends to the devastation caused by Hurricane Helene and its subsequent flooding, the tour will resume on October 29th and 30th in Miami Beach, FL and continue through mid-November. Find tickets to upcoming Goose tour dates here .

Setlist [via elgoose.net ]: Goose | The Troubadour | West Hollywood, CA | 10/1/24 Set One : Drive, All I Need [1], Indian River [2] -> Cantaloupe Island [3], Borne, Seekers on the Ridge pt I > Seekers on the Ridge pt II, War Pigs [4], Tumble Set Two : Creatures -> Shama Lama Ding Dong [5] > Sinnerman [6], Jeff Engborg, Everything Must Go, Ship Of Fools [7], Pancakes Encore : Slow Ready > (dawn) Notes : This was a benefit show for La Playa Centro Comunitario. [1] Slow, melodic version. [2] 80s synth version. With Welcome to Delta jam. [3] Herbie Hancock. [4] Black Sabbath. FTP. With Will Forte on vocals. [5] Otis Day & The Knights. [6] Nina Simone. [7] Grateful Dead. FTP as Goose.

BOSTON'S PREMIER ONLINE ARTS MAGAZINE

Concert Review: Goose Earns Its Indie-Groove Wings

By Paul Robicheau

Goose has seen its stock in the jam-band world soar at a pace unseen since… well, Phish.

Rick Mitarotonda of Goose at Roadrunner. Photo: Paul Robicheau

The line stretched around the corner for blocks, forcing a lot of fans to miss the start of the first set. Others got in early to hoist microphones in the tapers’ section, even though the band posts live recordings online.

The buzz surrounding the sold-out opening night of Goose’s spring tour at Roadrunner on Thursday reminded of an early ’90s Phish show even before the Norwalk, Conn., quintet began to play. It was the group’s first local headlining date since a 2019 gig at the Middle East’s Sonia room. But similar to Billy Strings, over the past year, Goose has seen its stock in the jam-band world soar at a pace unseen since… well, Phish. That band’s Trey Anastasio even jammed with Goose from Radio City Music Hall to a co-billed fall tour that hit Lowell ‘s Tsongas Arena, sort of like the passing of a torch.

“You looked a little tight out there,” Goose keyboardist/guitarist Peter Anspach said before Thursday’s encore to the crowd that stuffed the 3,500-capacity Roadrunner. “Hopefully next time y’all can get us to a bigger place!”

Peter Anspach of Goose at Roadrunner. Photo: Paul Robicheau

So, what warrants this devotion from a younger generation? Eschewing the abstract, spacey improv of predecessors like Phish, moe. and Disco Biscuits, Goose favors more straightforward, taut-yet-fluid grooves that rise and fall through exhaustive jams, morphing through sometimes same-sounding songs that seem like incidental frameworks. And all the energy stems from lead guitarist/singer Rick Mitarotonda’s incendiary noodling on a hollow-body electric that slightly resembles Anastasio’s trademark guitar.

A 75-minute first set surged from the chugging momentum of “Flodown” (where Mitarotonda teased “Hey Jude” on guitar) to a wild 26-minute finale of “Earthling or Alien?” Its sticky funk slowly migrated into stinging waves of rip-current guitar before he cued a classic rock crescendo that ticked back to a funky amble.

But the near-three-hour show peaked during a second set “Hungersite,” another near-20-minute jaunt begun with a wistful guitar hook over Jeff Arevado’s congas, Mitarotonda bathed at the center of criss-cross spotlights. It’s one of the band’s signature songs (from 2022 album Dripfield , which sealed Goose as an “indie-groove” outfit) and perfect for Mitarotonda’s calming vocals. He still wound his way to a throttled-guitar peak while Boston-bred drummer Ben Atkind burst from his easy anchor role to drive propulsive fills around bassist Trevor Weekz’s rubbery pulse. That flowed into “Red Bird” (laced with red lights, natch), where Anspach’s own winsome lead vocal culminated in a chorus round of “It’s time for a bird to fly.”

Goose tucked in a few covers through the night, casting Father John Misty’s “I’m Writing a Novel” (whose author sang it during the same Radio City show with the Anastasio cameo) as a Phishy country-rock bop, while David Gray’s “Please Forgive Me” assumed a faithful glide as a cheery, piano-rooted shuffle.

The night also wound to a close with new millennial influences in the indie-psych feel (evoking Tame Impala) of second-set closer “Pancakes” and a burbling synth bridge and tastefully Autotuned vocals lending different flavors to encore “Slow Ready.” With one hand on his keyboard, Anspach — a picture of jazz icon Dave Brubeck on his shirt — danced and ran in place with a big smile.

Ben Atkind of Goose at Roadrunner. Photo” Paul Robicheau

By then, the band’s reigning strengths – Mitarotonda’s nimble, shifting guitar flights and (following in Phish’s footsteps) an active if robotic light show of roving beams around a blinking grid – had both reached points of near-numbing saturation.

Nonetheless, as evidenced by acceptance from both the Phish and Grateful Dead camps (Mitarotonda also performed with the Dead’s Phil Lesh), Goose has clearly earned its wings. And as the quintet heads for its next scheduled area appearance at Marshfield’s Levitate Festival on July 8, with Anastasio’s solo band topping the lineup to foretell additional collaboration, it’s time for Goose to fly higher.

Paul Robicheau served more than 20 years as contributing editor for music at the Improper Bostonian in addition to writing and photography for the Boston Globe , Rolling Stone , and many other publications. He was also the founding arts editor of Boston Metro .

Real good to read one of Paul’s reviews after a long time.

Thanks, John. Glad you caught it.

It’s not just “young people” supporting this band! I am 65, a Phish and TAB fan of many years. As soon as I heard my first Goose tune, I knew I’d found something new and special! That said, I’m happy those “young people” can….most likely will…support these talented guys for years!

I’m with you on that, Donna. I just know that more young (as well as older) fans seem to be all in on Goose whereas an interim generation of bands like Disco Biscuits, Umphreys and moe. never seemed to fully get over the hump to such an approaching level of popularity. We’ll see where Goose ends up.

I’m 64, and haven’t been this into a band since I was 15. I think Rick Mitarotonda is the most amazing guitarist I think I’ve ever heard. And a fantastic rhythm section.

60 yo here, hooked on Goose during the pandemic. They are for real!!!

Yup, congrats to another older fan. Goose pulled smart moves to keep building a following through the pandemic and they’re rolling now.

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Goose Concert Setlists & Tour Dates

• Goose ( Norwalk, Connecticut jam band )
• GOOSE ( dance/electro rock band; Skint; Belgium )
• Goose ( folk band; Montreal, Canada )
• Goose ( guitar, Thomas Laguerre )
• Goose ( jazz band; Adelaide, Australia )
• Goose ( uk rapper )
• Goose ( Atlanta, hiphop producer )
• Goose ( work with Quelle Chris )
• Goose ( GOOSE a.k.a. Scott Dambrot )
• Goose ( dark ambient project of Brett Lunceford )
• Goose ( Ohio‐born, Chicago based rapper )
• show 8 more

September 2024 Tour

Upcoming shows.

• Date and Venue Doors Scheduled
• Oct 24 2024 Ascend Amphitheater Nashville, TN, USA Add time Add time Add times
• Oct 25 2024 ExploreAsheville.com Arena Asheville, NC, USA Add time Add time Add times
• Oct 26 2024 ExploreAsheville.com Arena Asheville, NC, USA Add time Add time Add times
• Oct 29 2024 The Fillmore Miami Beach at Jackie Gleason Theater Miami Beach, FL, USA Add time Add time Add times
• Oct 30 2024 The Fillmore Miami Beach at Jackie Gleason Theater Miami Beach, FL, USA Add time Add time Add times
• Oct 31 2024 Spa Beach Park @ St. Pete Pier St. Petersburg, FL, USA Add time Add time Add times
• Nov 01 2024 St. Augustine Amphitheatre St. Augustine, FL, USA Add time Add time Add times
• Nov 02 2024 St. Augustine Amphitheatre St. Augustine, FL, USA Add time Add time Add times
• Nov 07 2024 Petersen Events Center Pittsburgh, PA, USA Add time Add time Add times
• Nov 08 2024 The Andrew J. Brady Music Center Cincinnati, OH, USA Add time Add time Add times
• Nov 09 2024 The Andrew J. Brady Music Center Cincinnati, OH, USA Add time Add time Add times
• Nov 10 2024 The Andrew J. Brady Music Center Cincinnati, OH, USA Add time Add time Add times
• Nov 12 2024 The Anthem Washington, DC, USA Add time Add time Add times
• Nov 13 2024 The Anthem Washington, DC, USA Add time Add time Add times
• Dec 13 2024 North Charleston Coliseum & Performing Arts Center North Charleston, SC, USA Add time Add time Add times
• Dec 14 2024 North Charleston Coliseum & Performing Arts Center North Charleston, SC, USA Add time Add time Add times
• Dec 30 2024 Moody Center Austin, TX, USA Add time Add time Add times
• Dec 31 2024 Moody Center Austin, TX, USA Add time Add time Add times
• May 08 2025 Viva El Gonzo 2025 San José del Cabo, Mexico Add time Add time Add times
• May 09 2025 Viva El Gonzo 2025 San José del Cabo, Mexico Add time Add time Add times
• May 10 2025 Viva El Gonzo 2025 San José del Cabo, Mexico Add time Add time Add times

Goose at Mempho Music Festival 2024

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Goose at Troubadour, West Hollywood, CA, USA

• Indian River
• Cantaloupe Island
• Seekers on the Ridge pt. I
• Seekers on the Ridge pt. II
• ShamaLamma Ding Dong

Goose at Frost Amphitheater, Stanford, CA, USA

• California Magic
• Silver Rising
• Feel It Now
• Fish in the Sea
• Elmeg the Wise
• The Empress of Organos

Goose at Greek Theatre, Los Angeles, CA, USA

• Dr. Darkness
• Hot Love & the Lazy Poet
• Turned Clouds
• Echo of a Rose
• No California
• Big Modern!
• Give It Time
• Eminence Front
• Pumped Up Kicks

Goose at Cal Coast Credit Union Amphitheater, San Diego, CA, USA

• Turbulence & The Night Rays
• Mas que nada
• Draconian Meter Maid
• One In, One Out
• Weird Fishes/Arpeggi
• Into the Myst
• This Old Sea
• Factory Fiction

Goose at Cuthbert Amphitheater, Eugene, OR, USA

• Lead the Way
• Draggin' the Line
• Butterflies
• The W.S. Walcott Medicine Show

Goose at McMenamins Historic Edgefield Manor, Troutdale, OR, USA

• Look Out Cleveland
• Tomorrow Never Knows
• A Western Sun

Goose at Remlinger Farms, Carnation, WA, USA

• Earthling or Alien?
• Everything Must Go
• Electric Avenue

Goose at KettleHouse Amphitheater, Bonner, MT, USA

• My Mind Has Been Consumed by Media
• One More Day
• Milestone 2 (Skux Life)
• Interlude II
• Wysteria Lane
• True Love Waits
• Rosewood Heart

More from this Artist

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Most played songs

• Arcadia ( 169 )
• Madhuvan ( 141 )
• Flodown ( 136 )
• All I Need ( 131 )
• Hot Tea ( 129 )

More Goose statistics

Animal Liberation Orchestra Peter Anspach Corduroy Cat Dead Weight Dogs in a Pile Joey Fatone Great Blue Slodeo Man’s Mother The Mountain Grass Unit Ordinary People Orebolo Straight Up Chumps The String Cheese Incident Underground Springhouse Vasudo

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Artists covered

[traditional] 4 Non Blondes a-ha Alessi The Allman Brothers Band Arcade Fire Burt Bacharach Bad Company The Band The Beatles Jorge Ben Jor Pat Benatar Elmer Bernstein Chuck Berry Black Sabbath Bobby “Blue” Bland Blind Melon Boffalongo Bon Iver Mars Bonfire David Bowie Michelle Branch Laura Branigan The Brothers Johnson Bobby Brown Jackson Browne Robert Burns The BusBoys John Cafferty Clarence Carter The Challengers The Clash Sherman Clay & His Orchestra Eddie Cochran Leonard Cohen Creedence Clearwater Revival Bing Crosby Billy Ray Cyrus Daft Punk Otis Day & The Knights DEVO Neil Diamond Divinyls Carl Douglas Duran Duran Bob Dylan Earth, Wind & Fire Echo & the Bunnymen Electric Light Orchestra The Eleventh Hour

Showing only 50 most recent

View artists covered statistics

Gigs seen live by

2,386 people have seen Goose live.

jaffasours wildman082 KnowWonder Harryhood84 morganhinkle17 deadheadharry ryandemotte RacquettRoadie Aidentaylor cmeiklejohn WakeNowDiscover lejab byzantine_art Rickbeal maltymalt honkytonkhero omcarey Treebeard420 fogelnet coldpizza Garciafan -JBK- Rnwyjim JAHLuv kafka72 mrubin parkcitygolfer vernonvision asevillia mccormickex jmcslammer Phillipleonard Must_Have_Media jwnorrish randolo Birdleson itsjoshuak Mark_detroit coachella revdrj dustindrury DFXN hoopsmccann Mforte jaydb FluffHead418 Martinb dhollister JohnnyCarnevale claptonisgod909

Goose on the web

Music links.

• Goose Lyrics (de)
• Wikipedia page
• Official Homepage

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Goose Announce Viva El Gonzo, Inaugural Destination Event with The War on Drugs, Pigeons Playing Ping Pong, Dawes, LA LOM and More

In June, Goose made waves with a highly publicized cryptic announcement: “Buy the ticket, take the ride.” These words, written by Hunter S. Thompson in Fear and Loathing in Las Vegas , were speculated to be related to a potential concert getaway, a recent institution for bands of Goose’s caliber. Today, the indie groove stars have confirmed suspicions with the grand unveiling of Viva El Gonzo, their inaugural destination event, set to stage from May 8-10 of next year in San José del Cabo, Mexico.

While Goose’s first festival follows the early months flyaway format of other jam scene favorites like Phish’s Riviera Maya, The String Cheese Incident’s The Mexico Incident and Gov’t Mule’s Island Exodus, Viva El Gonzo is distinguished by its scale and customizable program. The festival is centered around three nights of performances, with 6 sets from Goose and an eclectic mix of 13 other high-profile acts including The War on Drugs, Tycho, Dawes, LA LOM, LP Giobbi and more. Offstage, attendees will have their pick of 12 residences, from boutique stays to luxurious resorts, each offering their own range of amenities and adventures with tickets in a single transaction.

All hotels are within five miles of the main festival grounds at Cabo’s El Gazo Oasis, the lushly vegetated and scenic tropical preserve surrounded by the city’s rich cultural heritage. The venue will host multiple stages, wellness-oriented events and activities and a vibrant array of craft and culinary vendors, just steps from the Sea of Cortez. After hours, the action will move on to Crania, a beachside club to be decked of in neon-drenched post-apocalyptic theming.

“We’re stoked to be headlining Viva El Gonzo in such a beautiful spot like San José del Cabo,” says frontman Rick Mitarotonda in a release. “This festival is going to be something special—a chance for us and our fans to dive into the music, the vibe, and the incredible surroundings. We’ve got some wild stuff planned, and we’re really looking forward to sharing this adventure with everyone who takes the ride with us.”

A presale for travel packages to Viva El Gonzo will open on Tuesday, Oct. 8 at 1 p.m. ET; fans can get access by registering now at vivaelgonzo.com . General on-sale will begin on Wednesday, Oct. 9 at 1 p.m. ET.

Watch Goose’s Fear and Loathing in Las Vegas inspired announcement video below.

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Published: 2024/10/04

• National Independent Venue Association Calls for Congressional Action After Mass Sale of Fake Oasis Tickets

The National Independent Venue Association (NIVA) has presented a letter to senators on both sides of the aisle, including Senate Committee on Commerce, Science and Transportation Chair Maria Cantwell and U.S. Senator Ted Cruz, requesting immediate action after evidence supported the staggering sale of 9,000 fake tickets for Oasis’ much-anticipated U.S. tour. Notably, the tickets in question were not released per the band’s plan, arriving before yesterday’s pre-sale and today’s official on-sale date. As an added factor of concern, prices exceeded face value. 

In the letter published by NIVA Executive Director Steph Parker, the prominent need to address the issue at hand was forecasted by providing a breakdown, which frontlines the urgent nature to fortify change. Writing on behalf of U.S. independent venues, festivals, promoters, artists, and fans, the letter outlines evidence of the deceptive practices of so-called “predatory brokers and resale platforms,” collected between 8 p.m. and 11 p.m. on the evening of Oct. 1. 

The NIVA letter highlighted resale involvement: “Stubhub had 2,177 fake ticket listings across the three U.S. Oasis shows. The listings ranged in number of tickets for each listing from one to 20, with the overwhelming majority of listings selling two “tickets” (Exhibit A, B, and C). We found no listings with any warnings or messages that the “tickets” listed were not in the possession of the seller (Exhibit D, E, and F). We estimate that – conservatively – there were approximately 4,354 fake tickets listed on Stubhub across all three shows as of the evening of October 2nd.”

Outlining further data, “Vividseats had 1,725 fake ticket listings across the three U.S. Oasis shows. The listings ranged in number of tickets for each listing from 1 to ‘8+’ with the overwhelming majority of listings selling 2 tickets (Exhibit G, H, and I). We found a significant number of listings with no warning or messages that the tickets were not in the possession of the seller, including the most expensive tickets across all three nights (Exhibit J, K, and L). We estimate that – conservatively – there were approximately 3,450 fake tickets listed on Vividseats across all three shows as of the evening of October 2nd.”

Contributing to the mass grab and pressurized feel to purchase tickets, Vivid Seats shared further misinformation with fans, suggesting only 1% of tickets remained, void of the fact that approved sales had yet to begin. 

As an added update, 40 minutes into Oasis’ official general on-sale, which featured two new cities in the concert mix: Pasadena, Calif. and East Rutherford, N.J., more fake tickets were listed on Subhub, totaling over 600 seats and (268 tickets for Pasadena and 398 tickets for East Rutherford). 

Striking the mission of their letter, Parker imparts, “This letter is a defense of consumers and artists everywhere. It is not a defense of the publicly-traded, multinational conglomerate that’s promoting the tour, as they are under legal scrutiny by the U.S. Department of Justice and 40 state attorneys general – important work to level the playing field for the live entertainment ecosystem.”

Continuing, “We call on the Senate Commerce Committee to hold a hearing on predatory practices in the live space, including the sale of speculative or fake tickets, when Congress returns from recess following the election. We urge Congress to probe the ticket brokers and resale platforms empowering those brokers to sell fake tickets and use deceptive practices that victimize fans every day, including around the sale of Oasis tickets in the U.S.” 

Read the full NIVA letter here .

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Summer Tour Leg Two Announced!

We are pleased to announce the second leg of our Summer Tour! Pre-sale begins tomorrow at 12PM local time using the code ‘SHENANIGANS’. A general on-sale will follow this Friday at 10AM local time. All tickets available at goose.es/snctour

**New Haven Ticket Update**

Thank you all for your continued patience, we are still ironing out some details regarding our New Haven shows at the Westville Bowl. There will be no general on sale or tickets available tomorrow for New Haven. 

Next week we will make tickets available through a lottery system that will allow all fans an equal opportunity to purchase tickets. That lottery will run in the early part of the week, stay tuned for more details. After the lottery period there will be additional tickets available through a general onsale, more details to come regarding that onsale date and time.

New Album: 'Shenanigans Nite Club' out June 4