Geordie Greep’s New Live Sound

Graphic by Sofia Giarrusso

by Sophie Parrish

This past Friday night, I had the honor and privilege of witnessing the enigma, the self-proclaimed emperor himself, Geordie Greep. I’ve been an avid fan of Greep since 2022 when he played the Neptune Theater in Seattle. Though I couldn’t make it to that show then, I was eager to see him almost three years later in Boston at Paradise Rock Club. 

NNAMADÏ, Greep’s opener, began promptly with an electrified set that consisted of a notable discussion of…mental breakdowns? These made the crowd, myself included, blatantly confused. He evidently had a unique stage presence that surpassed the initial lack of energy from the audience of millennial men in man-buns who seemed to talk over the majority of his set. When it came to performing “Dedication” from his latest album Please Have A Seat (2022), everyone got to chanting along with him, willingly and excitedly. Despite his short set, NNAMADÏ made a distinct impression on me. As someone who had never heard of him until Geordie Greep’s tour announcement, I was surprised by both the crossovers and clear disparities between the two. Both Greep and his opener clearly value the multi-compositional elements and both embraced experimentalism in their art. Yet, their back-to-back performances clashed as the transition from avant-pop rap to jazz infusion math rock was slightly jarring. Regardless, NNAMADÏ set the crowd up for the unmistakable energy of Geordie Greep’s stage presence.

There were only a few short moments of anxious anticipation until the lights suddenly dimmed and the cheering poured out from every corner of the venue. As soon as I saw Greep’s silhouette appear in the midst of purple and blue lights, the crowd instantaneously pushed and pulled until each and every person was packed like sardines. Starting off with “Walk Up” from The New Sound (2024), Greep immediately set the stage for anyone in the audience who was not familiar with his extensive body of work. Though this is his first official release and tour after his separation from his former trio Black Midi, many of the songs, including the set’s introduction, were new interpretations of unreleased songs he had formerly performed. 

Despite their existence in YouTube uploads and SoundCloud files, Greep’s solo songs are refreshed and captivating in new lyrical adjustments and development of a distinct backing saxophone. Greep instantly charmed me as he danced around his bandmates, showcasing his range through his curiously displaced accent in smooth vibrato and his vigorous chanting. The next track on the setlist, “Terra,” was much more subdued in comparison to the angry banter of Greep’s fictionalized encounters with prostitutes- the unique subject of The New Sound’s exploration. I couldn’t help but dance as the samba influences electrified the air and carried my heart into the pit where everyone bobbled their shoulders and shimmied their hips. This performance of “Terra” extended beyond the officially released version as the grooves of the synthesized keyboard and bongos continued into a flow that perfectly introduced the album’s title track. Throughout the five minute instrumental, I found myself with wandering eyes, taking in the scenery of the venue. I saw people with eyes glued to the stage, couples twirling in the back of the pit, and best friends hugging and swaying side to side. Yet, as the song picked up, I noticed everyone squished back in towards the stage and all collectively clapped along with genuine amusement. 

This collaborative energy of the rambunctious crowd continued throughout the next few songs and peaked as the unmistakable intro to “Holy, Holy” rang between the walls and sent everyone scrambling to form several miniature mosh pits. Standing towards the back of the crowd, I was able to feed off of the energy of the active audience and Greep himself who danced stationary with his mic. When it came time for the electric guitar and backing vocals to die down into the stripped back bridge, everyone was screaming along to Greep’s creep manifesto. It was a definite highlight of the night to find myself surrounded by flannels and Carhartts professing the hilariously aware lyrics: “When I tell you your pussy is holy/ I want you to slap me and then kiss me.” Being my favorite song on the album, I was beaming from ear-to-ear as the band extended it into a comprehensive jam session that encompassed “Blues,” “Bongo Season,” and “The Magician.” 

As the intense instrumental breakdowns continued, I made my way to the upstairs balcony where I remained for the rest of the show. With a birds-eye view of the stage, I watched Greep impressively dominate the room and demand its attention as teenage boys in the pit raised their hands up towards him in praise. Those who crowd-surfed blew kisses to the musician and clumsily bounced between audience members. During the last song of the night, “The Magician,” I found myself reminiscing on the almost two-hour set. Despite its impressive length, with the aid of Greep’s cohesive band and dynamic stage presence, the night moved like a fever-dream sequence and one that I am grateful to have experienced. 

I truly admire Greep for his ability to blend evocative storytelling with masterfully curated rhythms and beats. It’s what drew me to Paradise Rock Club this Friday night and his execution of such is what left me satisfied yet still wanting more. I look forward to witnessing the flourish of Geordie Greep’s career as he continues to simultaneously shock and satisfy audiences.