Nobody knows how to stand out from the crowd quite like Geese. Although they have proven through their two albums that they are effective and creative in the studio setting, their recent performance at Lincoln Hall showed that the stage is where their home is.
While their debut record, “Projector”, turned some heads, their reputation was cemented with their second album, “3D Country”, an album equipped with a diverse set of influences; such as punk and country. Bold stylistic decisions like a banjo and beautiful backing vocals that come together in a breathtakingly cohesive way, made it one of the best records of the year. With this in mind, my expectations were high to see them live at Lincoln Hall, and I’m happy to say that they were everything I had imagined; the live setting does not impact their gift for delivering surprises.
Their song “Domoto” opened the set with the first half reworked as a piano ballad, being the first indication that Geese is not interested in simply recreating what you hear in their studio albums. For example, some songs have their pace dramatically altered with every performance offering a new set of wild inflections from vocalist Cameron Winter.
Winter’s vocal stylings are the most attention-grabbing aspect of a Geese song because of his predilection for going almost too far. His sound is strange, zany, and impossible to ignore, with this particular track seeming to be one of the most personal in the whole set. As an opener, it works, because it allows them to ease into the excitement. The band continued into “Mysterious Love and Disco”, both of which were high-energy tracks that showcased the engagement of the crowd for the first time. I was lucky enough to get a spot on the balcony, and watching the crowd was almost as fun as watching the band; seeing attendees become a physical manifestation of their sound, moving with the tempo and perfectly embodying the energy.
The band moved into a slower and groovier version of “I See Myself”, it was smooth but had a strong sense of direction. For “Rain Dance” they did the opposite, making it a speedier rendition and rebooting the energy in the room. At this point, Winters mentions their new EP, “4D Country”, which was to be released later that night.
Deciding to play a song from 4D Country, “Killing My Borrowed Time”, they composed a light tune that brought to mind the image of an elderly couple dancing in their living room. The ending of the song however subverted the style set in the first half; as it became heavier with deep drums and a moodier tone.
They then blew through their biggest hits from their second record: “2122”, “Gravity Blues”, “Cowboy Nudes” and the title track, “3D Country”. The song, 2122 was electric and evoked the strongest crowd reaction of the night due to Max Bassin’s performance on the drums, with his energy and technical skill possibly being the backbone of the band’s cohesion. Cowboy Nudes was performed with stunning effortlessness, which adds up since it is probably their most popular song.
3D Country was easily the most memorable performance of the night for two reasons; first was that the audience seemed to do the backing vocals with surprising accuracy, second was that it went completely off the rails by the end in a way that was impossible to look away from, by transitioning into what seemed to be a more free-flowing version. They appear to be on the same wavelength with an effortlessness that is truly astounding.
For their encore, the band pulled out “Low Era” from their first record which featured a disco ball playfully illuminating the room, and the best efforts of the lighting department, with colorful lights that rapidly changed to the beat of the song. Winters told the audience that although they were tired from losing an hour of sleep they were going to play one more song; being St Elmo, the closer of 3D Country. This allowed for a stunning performance on the keyboard, exhibiting passion and power, followed by Winters concluding the night by casually remarking that they would “Be back pretty soon, probably.”
Seeing Geese in the live setting only makes me more confident when I tell people that they are one of the most exciting acts of today. They can move through genres and styles while putting their own spin on them to create something that is both familiar and unlike anything you’ve heard before. I don’t think I’ve ever heard a band that so thoroughly excites me with their ingenuity while still possibly appealing to my grandparents. If you get the chance to do so, please go to a Geese concert, so in 40 years you can tell people you saw them before they peaked.