Music / Reviews
Review: Geese, The Prospect Building – ‘Feral and pseudo-religious’
It’s no secret that Geese is making enormous waves in the alternative music scene, with experimental instrumentation and elements of old school rock and roll that have decisively marked the band as a somewhat unstoppable force to be reckoned with.
I, like countless others, became quickly captivated with their unique take on musicality and the unmistakable quality of Cameron Winter’s lilting, crooning vocals. So naturally, I jumped at the chance to see them in action.
The Prospect Building was full to the brim, with pseudo-moshes forming just so punters could get a glimpse of the stage.
Westside Cowboy blend post punk with country
Managing to sneak our way through, we caught the end of support act Westside Cowboy’s set.
A bucket list act for me in their own right, Westside Cowboy blend elements of British post-punk with a tinge of classic country that makes for a really interesting listen.
Was the Prospect Building’s sold out 3,000 cap room the biggest Westside Cowboy had ever played?
Regrettably we didn’t get to hear their full performance, but even the snippet I saw solidified that the band are undoubtedly going to follow a similar trajectory of popularity to the night’s main event.
After another period of packing in like sardines and trying to avoid getting stuck behind Prospect’s pillars, Geese took to the stage.
The Geese crowd had the ‘best concert etiquette’ says our reviewer
Opening with a wonderful rendition of Husbands – paired with a comical cry from a guy next to us to “put your f**king phones away, I can’t see anything” – the band had the whole audience right in the palm of their hands.
Geese were worshipped by fans at the Prospect Building – photo: Ethan Gaffiney
Every song, every instrumental: the whole crowd was singing along to every word as if the tracks formed a sacred text.
The audience felt amazingly unified, whether in a mosh or swaying to a slow song, and it perfectly demonstrated how Geese has uniquely captured their listeners.
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A clever blend of their new, widely celebrated album Getting Killed and tracks from their previous record 3D Country, this gig really felt like a spotlight of Geese’s best.
Transitioning seamlessly from the feral moshes of tracks like 2122 to lighter, more airy songs like Cobra and Taxes, the whole show was immersive, inspiring and entirely brilliant.
Guitarist Emily Green was on typically fine form
Returning for a final encore of Trinidad, which erupted in the Prospect Building, Winter’s cries of “there’s a bomb in my car” were all-consuming.
The gig felt like a real testament to both the band and the magic of Bristol’s live music scene. Combining groundbreaking music with some of the loudest crowds and best concert etiquette I have seen, it was a truly fantastic event.
All photos (except where stated): Alastair Brookes / KoLAB Studios
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