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Live Local Music

Electric Lemonade Stand Review

Posted by Nathan Etter on 10/11 at 11:04 AM

In front of a mud-caked yet eager crowd of festival-goers, local rock trio Electric Lemonade Stand made their impression felt last Friday, October 2 at the annual weekend event Chucks Farm.  The two-day festival, located on a privately owned farm in Rebersburg, PA, featured a multitude of local acts and drew hundreds of campers despite rain throughout the day on Friday and minimal promotion.

The band, featuring Eric Goeller on guitar and lead vocals, JT Dubosky on drums and vocals, and Mark Holland on bass, displayed an impressive ability to draw on a wide, eclectic mix of covers and provide a little something for everyone.

The band immediately established themselves to the crowd as a fun, genre-blending experience by opening with an original song entitled Dirty Bad Habits, a ska-inspired high-energy track that quickly inspired a dance pit in the front of the stage.  Upon first listen, the band struck me as having a Long-Beach sound similar to Sublime or the RX Bandits—effortlessly shifting between aspects of punk, reggae, and progressive rock.  These attributes remained consistent throughout the six original tracks the band played during the set.

But what was most impressive about Electric Lemonade Stand’s performance was their ability to appeal to the musical sensibilities of the crowd.  One of the most memorable climaxes of the show occurred when Goeller played the heavy and instantly recognizable opening two notes of Phish’s crowd-favorite Wilson.  After a minute of call and response between Goeller and an echoing crowd, Dubosky and Holland broke in and proceeded to mimic the song’s complex riffs and unorthodox syncopation to near perfection. 

Throughout the set, Electric Lemonade Stand proved their jam roots and displayed their improvisational chops.  Their improv abilities were shown when an on-the-spot battle ensued between bass and drums while Goeller dealt with equipment complications, and their experimentations resulted in a soaring dance beat reminiscent of electronic Philly jam-bands like Lotus or The Disco Biscuits.

The band had a continuous reggae feel accentuated most by Holland’s rolling bass lines and Dubosky’s impressive drop-beat drum work.  Sublime cover Ball and Chain and The Police cover Walking on the Moon were both excellent examples of this style.  While the band’s weakest moments came when covering more straight ahead rock, like The Grateful Dead’s Shakedown Street (despite impressive vocals by the drummer Dubosky), there was never a shortage of variety.

The abilities and musicianship of the members of the Electric Lemonade Stand were remarkable.  Sporting a Derek Trucks-like ponytail and a calm demeanor, bassist Holland held a deep pocket-groove that provided a backbone for the band despite the stylistic changes.  Drummer Dubosky always maintained excellent communication with the other band-mates in the midst of improvisational explorations.  Perhaps most impressive, Goeller’s passionate guitar solos and instant connection with the crowd made him a stand-out leading man.

The Electric Lemonade Stand was a catchy, thoroughly enjoyable band to see live.  What flaws the band did have were overshadowed by a well planned set list, high-energy stage presence, and eye-catching musicianship.  It is hard to ask for much more.