Goose walked into MGM Music Hall in September 2024 with the quiet confidence of a band that knows exactly where it stands in the jam world right now. Not as scrappy upstarts anymore, but not weighed down by legacy expectations either. This was a room-sized Goose show — not a sprawling outdoor blowout — and that intimacy mattered. MGM Music Hall can feel cavernous or cozy depending on who’s playing it, and Goose managed to pull the crowd right up to the stage, even from the back rail. From the jump, the vibe felt locked in: a crowd ready to listen, dance, and follow the band wherever they wanted to go.
There was no grand entrance or theatrics, just Goose stepping out, plugging in, and letting the music do the talking. That approach has become part of their identity. They don’t need to announce the moment; they just play their way into it.
Set One
“The Whales” was a smart opener, easing everyone into the night with its patient build and melodic sense of space. It’s one of those songs Goose uses to stretch the room before they really lean in, and the band took their time with it here. Rick Mitarotonda’s guitar tone was warm and conversational, not flashy, while Peter Anspach’s keys filled the gaps with gentle flourishes. It felt like the band checking the temperature of the room — and getting a very positive response back.
Things loosened up immediately with “Mas Que Nada,” a Jorge Ben Jor cover that continues to feel like a victory lap every time Goose pulls it out. The rhythm section locked into that infectious groove, and suddenly MGM Music Hall felt less like a Boston venue and more like a dance floor somewhere tropical. Jeff Arevalo’s percussion work really shined here, pushing the song forward without overcrowding it. The crowd ate it up, clapping along and smiling like they’d just been given permission to move.
“Doc Brown,” credited here as a Great Blue cover, kept the momentum rolling while shifting the emotional tone slightly inward. It had that familiar Goose blend of melodic lift and jam potential, and the band explored it without rushing. This was one of those moments where you could feel the band’s trust in each other — no one forcing a peak, just letting the song breathe and evolve naturally.
Then came “Indian River,” and things got interesting. The 80s synth version gave the song a slick, retro sheen, but what really stood out was the “Welcome to Delta” jam section. The band leaned into a moody, almost cinematic space, with Peter’s synths creating a shimmering backdrop while Rick threaded lines through it like he was telling a story. This wasn’t about speed or volume; it was about atmosphere, and Goose nailed it. You could feel the room collectively leaning in.
“Wysteria Lane” flowed seamlessly out of that space, marked by a smooth segue that showcased Goose’s growing confidence in transitions. They didn’t announce the shift — they just let it happen — and the crowd followed effortlessly. The jam here stayed tight and focused, with Trevor Weekz anchoring everything from the low end while Ben Atkind pushed the groove just enough to keep it from floating away.
The ending-only finish of “Echo of a Rose,” completing a version from the previous night, felt like a nod to the devoted fans who track these things closely. Even if you didn’t catch the earlier half, the emotional payoff still landed. There’s something satisfying about hearing a song brought full circle, and Goose delivered that sense of closure without making it feel overly precious.
“Slow Ready” closed the first set on a relaxed, soulful note. It’s a song that thrives on feel more than fireworks, and Goose leaned into that strength. Rick’s vocals were smooth and unforced, and the band let the groove simmer rather than boil. It was a perfect way to send the crowd into set break — content, engaged, and eager for more.
Set Two
Set two opened with “Thatch,” and immediately you could feel the energy shift. This was Goose turning up the dial. The song’s rhythmic bounce got heads nodding right away, and the jam stretched out with confidence. Rick pushed his guitar lines harder here, dancing between melody and texture, while the band responded with quick, intuitive shifts. It felt playful and purposeful at the same time.
“Creatures” followed, sliding out of “Thatch” with another clean transition. This pairing worked beautifully, with “Creatures” offering a more expansive, exploratory canvas. The jam wandered into darker territory, pulsing and hypnotic, before slowly climbing back toward the light. Goose has gotten very good at these long arcs, and this was a textbook example of patience paying off.
The room erupted a bit when “Doobie Song” started up, and rightly so. It’s one of those tunes that immediately changes the energy in the building. The groove locked in fast, and the crowd was fully on board, dancing and singing along. This was Goose at their most accessible, but never cheap — fun without being fluffy.
“Fish in the Sea,” a Fat Freddy’s Drop cover, kept the groove-heavy section going while adding a touch of soulful depth. Peter’s vocals and keys gave the song a laid-back swagger, and the band resisted the urge to overjam it. Sometimes the best move is to sit in the pocket, and Goose understood that perfectly here.
“726” ushered the set into deeper waters. The song’s emotional core came through strongly, with Rick delivering one of his more heartfelt vocal performances of the night. The jam that followed was restrained but powerful, slowly building tension without rushing toward a release. When it finally resolved, it felt earned.
That momentum carried straight into “Dripfield,” which served as a proper second-set centerpiece. This is a song Goose clearly loves to stretch, and they took full advantage of the space. The jam moved through multiple phases — funky, atmospheric, and finally triumphant — without ever feeling disjointed. Each band member had moments to shine, but it always felt like a collective effort rather than individual showcases.
Encore
For the encore, Goose went with pure joy: “ShamaLamma Ding Dong,” the Otis Day & the Knights classic. It was impossible not to smile. The crowd sang along loudly, arms in the air, as Goose leaned into the silliness and fun of it all. After a night of thoughtful jams and careful pacing, this felt like the perfect release — a reminder that at the end of the day, this is supposed to be fun.
Final Thoughts
Goose’s September 2024 show at MGM Music Hall was a strong statement of where the band is right now. Confident, relaxed, and increasingly comfortable with both their improvisational depth and their crowd-pleasing instincts. They didn’t try to overwhelm the room; they invited it in. The setlist balanced exploration and accessibility, the jams felt intentional, and the vibe never wavered.
This wasn’t a headline-grabbing, history-making night — and it didn’t need to be. It was a solid, deeply enjoyable Goose show that reinforced why so many people keep showing up. Sometimes that’s more than enough.
Setlist
Set 1:
The Whales
Mas que nada (Jorge Ben Jor cover)
Doc Brown (Great Blue cover)
Indian River (80s synth version) (with “Welcome to Delta” jam)
Wysteria Lane >
Echo of a Rose (ending only, finished from previous night)
Slow Ready
Set 2:
Thatch
Creatures >
Doobie Song
Fish in the Sea (Fat Freddy’s Drop cover)
726 >
Dripfield
Encore:
ShamaLamma Ding Dong (Otis Day & the Knights cover)