Cameron Winter had one last knife to twist for the Dodger faithful in the audience at Hollywood Forever on Thursday night.
“My husband lost everything but the kitchen sink, because he spent it all on DraftKings,” Winter deadpanned during the band’s closing hit “Trinidad,” where he typically sneers ad-libs about domestic nihilism. “He bet everything on the Dodgers, and they f—ing lost.”
The crowd cracked up in grim commiseration (as a Mets fan, Winter could probably sympathize). It felt cathartic when he hit that song’s freaked-out chorus — “There’s a bomb in my car!” — in a hail of guitar noise.
Geese had an atypical, if kind of old-fashioned, run on the hype train for a young rock band. Structured around Winter’s twitchy, stentorian vocals with contortions of feedback and meditative jams, the New York City quartet is, to paraphrase something Brian Eno said about My Bloody Valentine, “The vaguest music ever to have been a hit.” A group rooted both in Sonic Youth’s avant-garde pedal squalling and haunted, pre-Beatles rock ’n’ roll, they can still play “Saturday Night Live” and get its frontman a luscious prestige concert doc filmed at Carnegie Hall directed by Paul Thomas Anderson.
That sudden ascent, for a band spiritually in league with the Velvet Underground and Suicide, led some to wonder what exactly happened behind the social media scenes to get them there (one conspiratorial phrase got thrown around in particular). Geese were always an odd band to pin to anxieties about fabricated culture — if a label had resources and abilities to manufacture stars, why not do it for a 100x-hyperscaling pop act instead? But if they didn’t have the goods after three LPs so far, they’d fade out soon enough.
At Hollywood Forever, Geese showed they did indeed have the mettle to run their scabrous noise into arenas. Much has been made of Winter’s idiosyncratic star power, and as an extremely tall, wet-dog-handsome instrumental virtuoso with a one-of-a-kind voice and just enough self-aware wit and lacerating lyricism to keep it relatable, that’s indisputable.
Geese perform at Hollywood Forever on Oct. 15.
(Lewis Evans)
But Geese is also a band, in the sense that every musician matters to a distinct aesthetic. I was just as compelled by guitarist Emily Green’s swells of reversed reverbs and sad-eyed, contrapuntal melodies, or drummer Max Bassin’s patience in building moods before firing off a relentless, redlining backbeat halfway between outlaw country and krautrock. Bassist Dominic DiGesu brought gnarled ballast to everything, and even touring keyboardist Sam Revaz added texture and levity (what was up with that twenty-second, heavily filtered sample of Randy Newman’s “I Love L.A.” halfway through “2122”?)
Last year’s LP “Getting Killed” raised the stakes formidably, both for the band’s fame and their songwriting prowess. From “Long Island City Here I Come” onward, the band were merciless but measured in their attack. The slinky, lurching “Husbands,” “Islands of Men” and frantic “Bow Down” sounded meaner and more electric than on the record. “Au Pays du Cocaine” hit even more mournful and lonesome in an actual cemetery — “You can stay with me, and just pretend I’m not there” never felt so apropos.
A few tracks from 2023’s “3D Country” like “Cowboy Nudes” and “Gravity Blues” showed their insouciant Americana streak — you can easily imagine Bruce Springsteen getting wind of another grimy New York noise-rock act to champion. To judge from the lines of young, very devoted fans snaking around the cemetery, Geese has already built the requisite subculture to thrive longer-term. In decades past, some greasy label dude would probably tell them to go write a real hit next. These days, what they’re doing now already feels like one.
Winter will have some tough choices about how to balance both Geese and his regal piano-centric solo career (his late 2024 solo LP “Heavy Metal” is fantastic, and captivated no less an authority than PTA himself). You can see why Olivia Rodrigo wanted to get dinner with him. But for the next couple of nights in L.A., a genuinely beguiling and astringent new rock band is at the height of its powers and has captured the zeitgeist. Savor that.
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