Geese Electrify Bristol: Brooklyn Indie-Rockers Hailed as Rock's New Saviours
From a bruised baritone to fire and brimstone intensity, Cameron Winter of Geese commanded the stage at the Prospect Building in Bristol, delivering a performance that has critics and fans alike anointing the band as the new saviours of rock'n'roll. The Brooklyn indie-rockers, fresh off the acclaim of their fourth LP Getting Killed, showcased a dynamic set that seamlessly blended convulsive rhythmic thrills with shimmering introspection, defying expectations and proving viscerally of the moment.
A Precipitous Rise to Prominence
Geese's ascent since their last Bristol show in 2023 has been nothing short of meteoric. With Getting Killed receiving widespread praise last autumn, following similar plaudits for Winter's solo project Heavy Metal, the band's name is now on the lips of anyone seeking rock's next great hope. As Winter noted in a rare between-song moment, "The last time we played here, we played on a boat," referring to Thekla, a cargo ship turned venue in Bristol harbour that pales in size to the packed room they faced tonight.
Defying Expectations from the Outset
Stalking onto the stage as the crowd chanted their name in football-style unison, Geese immediately swerved expectations of a fast start. Instead, they teased out the intro to Husbands, its low rumble gradually building tension. Winter, his face obscured by a hooded sweatshirt, delivered lines with a murmured intensity before unleashing a powerful chorus, setting the stage for a surge into the riff-heavy title track from Getting Killed.
Musical Dexterity and Dynamic Shifts
The band delighted in musical switcheroos, pivoting from the shimmering introspection of Cobra into Bow Down, where bassist Dominic DiGesu and drummer Max Bassin conjured convulsive rhythmic thrills. Guitarist Emily Green covered remarkable ground, delivering dextrous blues licks, squalling feedback, and during Islands of Men, sinewy leads reminiscent of late-period Fugazi. Winter's malleable voice shifted from a bruised baritone to half-garbled fire and brimstone, adding to the visceral energy.
Historically Literate Yet Viscerally Current
In moments like 100 Horses, where Winter sang, "There is only dance music in times of war," Green and pianist Sam Revaz flooded in with a sound splitting the difference between Happy Mondays' Step On and Benmont Tench sparring with Tom Petty. This blend of historical literacy and contemporary urgency made Geese's music feel both timeless and fiercely relevant. After 90 minutes of watching them perform, it becomes clear: sometimes, the hype is entirely justified.
