Rick Mitarotonda, guitarist and lead singer of the progressive jam band Goose, recently opened up about the creative ethos driving the band’s musical evolution. He acknowledged the 1970s West Coast soft-rock influence in Goose’s recent single “Your Direction,” admitting with a wry smile that the label “yacht rock” has followed them lately. “We’ve been called worse,” Mitarotonda quipped, while distancing himself from any firm opinion on the label. He referenced Steely Dan—another band often saddled with the term—and noted that his melodic guitar style may draw from that era, but isn’t an intentional homage. It’s simply part of his musical DNA.
Goose has undergone significant changes in recent years. The band is now an arena-level act with Madison Square Garden shows on the calendar. However, internal shifts have occurred. Co-founding drummer Ben Atkind departed in late 2023, replaced by Cotter Ellis, and earlier in 2024, percussionist Jeff Arevalo was also dismissed. Mitarotonda declined to share specifics about the exits, but emphasized that the band’s chemistry has improved. With the streamlined lineup of himself, Ellis, bassist Trevor Weeks, and keyboardist-guitarist Peter Anspach, the group has forged a more focused and communicative musical unit.
Their latest album, Everything Must Go, largely reflects this new formation. While Atkind and Arevalo contributed to parts of the record, the majority features the core four-piece. The result is a breezy, groove-rich collection characterized by sharp songwriting and sprawling guitar explorations. Tracks like “Give It Time” demonstrate the band’s deftness at weaving emotional narratives into extended musical sections, rewarding listeners with cathartic climaxes. While some songs were composed freshly for the album, others—such as “Your Direction,” “Dustin Hoffman,” “Iguana Song,” and “How It Ends”—were refined through live performances, keeping them fresh and dynamic rather than worn out.
Mitarotonda explained that selecting album versions from multiple live renditions comes down to following collective excitement. “It’s usually pretty obvious,” he said. The band embraces improvisation as a core principle, with Mitarotonda firmly identifying Goose as a jam band—though he’s not overly attached to the label. Reflecting on a past comment that sparked controversy, he clarified that his critique of “cheesy” jam bands was not meant to suggest Goose wasn’t one. “We improvise a lot. There’s no dancing around the fact that we are a jam band,” he affirmed.
Despite the jam band classification, Goose’s reach extends beyond typical genre fans. Mitarotonda expressed joy at drawing in listeners unfamiliar with long-form improvisation, delighting in the idea of people arriving for a catchy tune and staying for a 20-minute jam. He acknowledged that the departure of a percussionist has opened up new space on stage, allowing the remaining quartet to communicate more clearly and explore fresh musical territory.
His choice of instruments has evolved, too. While he’s long used Paul Reed Smith guitars, his current mainstay is a custom instrument called the Empress, crafted by California luthier Greg DeLuis. Mitarotonda praised its feel and confirmed ongoing collaborations for new designs. On the topic of soloing, especially during extended outros like the one in “Dustin Hoffman,” he admitted that earlier in his career he often got stuck. He recalled a story about jazz saxophonist Sonny Rollins, who defended his long solos by saying he kept pushing until he found something. That ethos resonated with Mitarotonda, though he acknowledged it can sometimes be counterproductive.
He elaborated that the best moments often come when a player stops forcing the music and lets the current take over. One such moment unfolded during the creation of “Iguana Song,” a track shaped spontaneously in the studio. With krautrock-inspired grooves and random ascending movements, the band embraced unpredictability. Mitarotonda explained that live performances of the song still rely on spontaneous cues, adding to its free-form appeal.
Discussing the challenges of live performance, he reflected on the unpredictability of audience engagement. Some nights, the energy is electric and everything clicks; other nights, no matter how hard the band tries, the spark isn’t there. He admitted that personal well-being can affect his perception of the music, and if he feels off, the sound might suffer. Still, the openness inherent in Goose’s music allows for constant rediscovery.
There are also moments when the crowd lifts the band, especially during exhausting stretches. Mitarotonda recalled a recent show when, despite physical fatigue, the band delivered a powerful performance fueled by audience energy. That surrender, that openness to the unexpected, is what allows Goose to transcend genre boundaries, drawing in listeners from all walks and reminding Mitarotonda why he fights for every note on stage.
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