LIVE REVIEW + PHOTOS: Goose in Providence, RI (12.13.25)
Goose’s annual Goosemas celebration has become something of a modern jam-band rite of passage. On Saturday, December 13, the band raised the bar yet again with night two of Goosemas XII at Amica Mutual Pavilion in Providence, Rhode Island. Traditionally, their biggest shows of the year, outside of their destination festival in Mexico, Goosemas, have evolved from a hometown experiment in Norwalk, Connecticut, back in 2014, into a full-scale, arena-sized spectacle. This year marked the first time the event landed in Providence, and for New England fans—especially those in Massachusetts—it felt like a gift dropped right in their backyard.
As Phish’s legendary New Year’s Eve runs, Goosemas has long leaned into theatrics and narrative. Past editions have featured everything from “Christmas in Space” to last year’s interactive “Bingo Live” game-show format. For 2025, Goose unveiled “Barnaby Glimpse’s Show Upon Time,” a surreal, old-timey carnival fever dream complete with puppets, clowns, folklore, and more questions than answers. An eight-minute teaser video released ahead of the weekend hinted at a missing child, a strange mythos, and the oddly specific time of 7:46 p.m.—the exact moment the show was meant to begin. After technical hiccups delayed night one, night two hit that mark precisely, the lights dimming on cue as the crowd roared in anticipation.
The stage itself was a jaw-dropper. A giant inflatable eyeball loomed overhead, candles and tranquil stone arrangements lined the floor, tufts of tall grass framed the band, and a massive tree stood watch behind them. Off to one side sat a traveling circus-style stagecoach crowned with a glowing orb, completing the eerie, whimsical atmosphere. The band leaned fully into character, dressed in vintage carnival attire, top hats, face paint, and full-on clown gear.
The show opened in a plume of smoke with an unexpected and striking addition: members of the Providence College Chorus, dressed in white, angelic robes. Their voices lifted the traditional “Wild Mountain Thyme” into a haunting, reverent opener before carrying into “Give It Time.” From there, Goose pivoted into deep-cut fan favorites and thoughtfully chosen covers, weaving the theme into the music rather than letting it overshadow the band’s core strength—tight, adventurous playing.
Visually, this may have been the most overwhelming lighting production Goose has ever rolled out. The massive rig above the stage delivered a nonstop barrage of color, motion, and texture—psychedelic without being chaotic, immersive without being distracting. With a press floor GA pass, I moved throughout the arena, and no matter where you stood, the show felt enormous, meticulously designed to reward every vantage point.
If the first set was a carefully constructed world, the second set blew the doors off it. A sharp, punchy horn section joined the band for a stretch that included a joyous “Life Is a Carnival” (The Band cover) and turbocharged versions of “Thatch,” “Big Modern!,” and “Hot Tea.” The mood then took a hard left into something altogether different: a jam featuring DJ Marb Menthols on turntables beneath a glowing, It-like clown archway. What followed was a startling transformation—jam-band improvisation melting into a funky, electronic, club-style groove, complete with laser beams slicing through the arena in time with the beat.
The second set kicked things off into an even higher gear. With the sold-out crowd, adorned in Christmas wear and fun old-timey outfits (there was even an early-century carnival blackjack table in the hallways), the place was packed with a very energetic crowd, bouncing and dancing with frenetic euphoria. While many of the songs played this evening weren’t too familiar, at least to me, it almost didn’t matter. It was all about the overall feel and the party mood the night brought. Definite highlights were “Wysteria Lane” and “Hot Tea”.
The encore pushed things into complete sensory overload. Balloons and confetti rained down as giant animal puppets—monkey, peacock, cat, and other woodland creatures—flooded the pit, dancing wildly as massive inflatable balls bounced through the crowd. The collective energy was unlike anything I’ve seen all year: pure, joyful mayhem. When the puppets exited during “The Empress of Organos,” it seemed like the curtain call—until Goose launched into “Empress of Organos Reprise,” bringing the puppets back out alongside the horn section and the Providence College Chorus for one final, euphoric release.
All of this unfolded against a sobering backdrop. Earlier that same day, a mass shooting at Brown University left two dead and at least eight others wounded, with suspects still at large as fans headed into the show. While most concertgoers chose to immerse themselves in the escapism Goose provided, the reality hit hard on the way out. A heavy police presence surrounded the venue, officers posted with large firearms as the crowd filtered into the night. The contrast was jarring—almost cinematic—recalling the uneasy tension of a thriller like Trap (movie starring Josh Hartnett), where celebration and danger existed side by side.
Even with that weight hanging in the air, Goosemas XII was an unforgettable triumph. Goose has firmly established itself as a band willing to think bigger, risk more, and blur the line between concert and theatrical experience. Between the audacious stage design, unmatched lighting, and fearless musical exploration, this was one of the most over-the-top shows I’ve ever witnessed. This concert was absolutely bonkers, my favorite kind of epic theatrical spectacle. If this is the standard moving forward, next year’s Goosemas—hopefully somewhere in New England again—can’t come soon enough.
Photos – Goose at Amica Mutual Pavilion in Providence, RI on December 13th:
