It’s a mild March night at the Capitol Theater, in Port Chester, New York—virtually home turf for Goose, the strapping Southern Connecticut quintet that has become the fastest rising faction on the jam band scene. From note one of the opener, “Time to Flee,” the crowd is all in, their eyes and ears gravitating to the dual lead guitar line and dual vocal by frontmen Rick Mitarotonda and Peter Anspach (primarily the band’s keyboardist). What their lower half is swaying to, however, is the easy boogie groove being laid down stage left by bassist Trevor Weekz. Just past 30, Weekz is known as the quiet one in Goose. But it’s a classic case of speak softly and carry a big lick. The pocket he creates along with his rhythm mates, drummer Ben Atkind and percussionist Jeff Arevalo, is undoubtedly a large part of the group’s success. To this point that acclaim includes five studio sides, almost a dozen live records, sold-out shows at venues like Red Rocks and Radio City Music Hall, onstage collaborations with Trey Anastasio, Bob Weir, and Father John Misty, and being invited as special guests of Dead & Company at their Playing in the Sand festival in Mexico. The band’s blend of top-notch musicianship and the broad range of influences brought in by each member serves them well in their extended improvisations, live. Additionally, their commitment in the studio to producing quality-song-generated albums is what ultimately separates Goose from the plucking pack. Something Weekz can appreciate. Born in 1989, in the suburbs of Wilton, Connecticut, Trevor was surrounded by music early on. “My mom’s routine to get us up for school every day was to crank the stereo downstairs, and she always had songs playing in the car,” He recalls. “Waking up to a Bee Gees CD daily, for a year, might be my earliest musical memory.” The music continued at grade school, where he played trumpet before switching to baritone horn in the third grade. Upon transferring to a different school he stopped playing until he got his first bass guitar as a high school freshman—a used Japanese-made Fender Jazz Bass with EMG pickups. Of the attraction, he explains, “One of my best friend’s dad, Rusty Ford, was the bassist in Lothar and the Hand People [a cult ’60s pyschedelic rock band that featured a theramin and early use of synthesizers]. My friend took after his dad and played the bass, as well. I was always fascinated, watching him cover Primus songs on the original iMac computer, when we were in middle school. A couple of years later I got the Fender and that was the beginning of it all, for me. I started with some lessons but I hadn’t dived in head first yet. Around my third year of high school I had somewhat of an epiphany and I decided to take it more seriously. I would spend hours after school every day practicing and jamming with friends.” He adds, “I was fortunate to grow up in an area that was saturated with talented musicians, young and