Article Contributed by Gratefulweb
Published on December 13, 2025
Photo by Adam Berta
By the time Goosemas XII arrived in Providence, Goose’s annual holiday gathering had clearly outgrown its humble Connecticut roots. What began as a scrappy hometown celebration has evolved into a fully realized theatrical universe, and on Friday night at Amica Mutual Pavilion, the band unveiled the first chapter of a two-night spectacle that felt equal parts rock opera and jam-band fantasia.
Weeks of cryptic social media breadcrumbs culminated in the reveal of “Barnaby Glimpse’s Show Upon Time,” a surreal, dark carnival narrative set in “Lovering’s Hollow” in 1734. As the lights dropped, master of ceremonies Barnaby Glimpse welcomed the crowd into this warped colonial-era sideshow, setting the tone for a night where music, character, and spectacle were inseparable.
Goose took the stage clad in colonial attire and immediately plunged into “Dramophone,” a left-field opener that doubled as a mission statement for the evening. With frequent studio collaborator Stuart Bogie adding woodwinds, the song carried a smoky, theatrical edge as towering animal-themed puppets on stilts roamed the stage, blurring the line between concert and performance art.
The transition into “Creatures” detonated the room. As the band locked into its four-on-the-floor propulsion, animal-shaped balloons rained down, igniting a crowd that instantly understood this was no slow burn. From there, the set unfolded as a marathon run of animal-centric tunes, each deepening the carnival motif while expanding the improvisational scope.
“Atlas Dogs,” “Red Bird,” and “Silver Rising” flowed seamlessly, Bogie’s woodwinds weaving around Rick Mitarotonda’s guitar like a second narrator. The set’s centerpiece arrived with “Bear,” which dissolved into Ted Tapes instrumental “Moby” before morphing into a snarling, unexpected take on Pink Floyd’s “Pigs (Three Different Ones).” The set closed with “Animal,” a fitting exclamation point that tied the evening’s themes together while sending the crowd into set break buzzing.
After establishing the theme during set one, set two explored its darker corners. “So Ready” opened confidently before the band leaned hard into improvisation on “Arrow,” leaving it unfinished as they pivoted sharply into a first-time cover of Radiohead’s “Burn The Witch.” The song’s paranoia and tension fit the carnival’s shadowy underbelly perfectly, with Bogie’s woodwinds sharpening the unease.
That tension spilled into “Madhuvan,” which stretched outward before collapsing inward, descending into a heavy, metallic jam that flirted with chaos before resolving into a soaring “Dripfield.”
After the intensity of set two, Goose opted for restraint. “Jed Stone” and “Master & A Hound” offered warmth and reflection before Rick Mitarotonda and Peter Anspach returned alone for a hushed, intimate “Sugar Mountain.” Stripped down and unguarded, the Neil Young cover brought the carnival lights down gently rather than snapping them off.
With Night Two still to come, the story of the “Show Upon Time” remains unfinished. Tonight’s conclusion at Amica Mutual Pavilion will be available to livestream via nugs.net (free for subscribers), offering fans everywhere the chance to see how Goose chooses to turn the page on Goosemas XII.
