Hype is a funny thing. When an artist (or any creative project) encounters a sudden rush of excitement, they can just as easily surf the wave of newfound attention with grace as they can succumb to the riptide of rising expectations, washing up on the shores of disappointment. Luckily, on a scale of midwestern tourist visiting the West Coast for the first time to Big Kahuna, Geese are much closer to the latter, as proven by the launch of their triumphant “Getting Killed Tour.”
Celebrating the release of their acclaimed third album, Getting Killed, the buzzy New York indie rockers have embarked on a sold-out jaunt, hitting various theaters and halls across the country. Last night, Cameron Winter and company wrapped up a two-show stint at Chicago’s Thalia Hall with rising art-rock act Racing Mount Pleasant. To put it crudely, it fuckin’ rocked.
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Which, to check Geese’s ego just a bit, had just as much to do with the crowd’s energy as it did with the band’s impressive rock ‘n’ roll display. After Racing Mount Pleasant’s opening set, the pit, the bar, and the lines for the bathrooms were all alive with the same electrifying anticipation. “I think this night might be something really special,” I heard one attendee tell another before they joyously high-fived. Thanks to their well-crafted mystique and the excellent collection of songs that is Getting Killed, Geese had already won half of the battle before ever stepping onto the stage.
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Once they were on stage, the crew managed to match the audience’s energy. Almost exclusively backlit via lights resting on the floor, Geese ripped through every single song of Getting Killed (albeit not in order), a handful of favorites from their sophomore effort 3D Country, and even a lone deep cut from their debut Projector. Regardless of which project the cuts came from, there wasn’t a tune they launched into that wasn’t met with rapturous cheers.
That response was warranted — these kids can play. Not to say that there wasn’t the odd flubbed note or rushed section, but Geese have successfully incorporated looseness into their charm. It’s a main reason why Getting Killed is such an exciting listen, and it has been a large part of their live show for the past few years. The quartet (plus the one touring member) are all highly proficient musicians — particularly drummer Max Bassin, who was going absolutely nuts on the kit for the entire 90-minute set. They just also happen to prioritize atmosphere and fun over perfection in performance. That decision works wonders for them, especially as a band so clearly inspired by the raucous energy of classic rock and eccentric, charged indie.
Whether they were bringing the house down with rippers like “2112” and “Trinidad” or serenading us with melancholic heartbreakers like “Au Pays du Cocaine,” Geese presented themselves simultaneously as a confident band entering their prime and as a group of longtime friends who can’t believe they have made it so far. Bassist Dominic DiGesu grinned as he swapped between laying down melodic bass lines and bongo grooves, while guitarist Emily Green fittingly emulated the stylings of figures like Jonny Greenwood, letting her hair cover her face as she hunched over and delivered her wildly creative guitar parts. Winter, for his part, lived up to his reputation, showcasing his off-kilter sense of humor, signature baritone voice, and delicately devastating skills on the keys.