In the band My Goodness, Joel Schneider’s hot-wired guitar and 70s velveteen vocals and Ethan Jacobson’s semi-funkified drums make for a classic super-duo, surprisingly aggressive and humming like a garage haunted by the blown out amps of a thousand died-young bands. There’s no sense of bass-lessness on the twosome’s self-titled debut from Sarathan (recorded and mixed at Chris Common’s Red Room studios), just sonically seductive and stirring mojo-textures about “long nights of drowning in covers” through tracks like “Black Out Baby” and “Cold Feet Killer.” It all crests on Jacobson’s strong beats and wiry fills, leaving plenty of space for his partner’s blooze-warble and guitar raves. Schneider already rocks it howlingly hard in Absolute Monarchs, and this somewhat Black Keys-flavored black licorice whips loose an ooze of deja vu in its punk roar, but it’s exactly the kind of thing you want to hear loud and live, so thus perfect for the CHBP 2011.
By the time My Goodness was getting ready to take the stage, the temperature inside the Bean Room had risen and the air had turned thick. And like for The Cave Singers, a crowd of people had accumulated on Pike Street, hoping to get lucky enough to be let in to see the up-and-coming blues rock duo. My Goodness had already played on the Main Stage earlier in the day, and if that set was to be any indication, we were going to be in for a treat in the more intimate Bean Room. And, of course, it was. They played a furious four-song set, their instruments turned up and their hair flailing as their heavy-handed blues rock had the Bean Room crowd doling out some of the most enthusiastic ovations of the day. Schneider was noticeably out of breath as he thanked the crowd and introduced their final song, “Un Poco.” The closing number culminated with Schneider unleashing a series of his most forceful wails of the afternoon as Jacobson brought the song and the set to an abrupt conclusion with a final crack of the snare drum.