By Louis O’Sullivan, Second Year, English and Philosophy
When I arrived at the Prospect at 6pm and saw a queue of people stretching down from the entrance already, I knew that this would be a little less of a chill concert than most. I thought I was early, but there’s always somebody– or in this case, many bodies– earlier. However, one pricey smash burger and a pint later, I wasn’t feeling too pessimistic about my place in the line. After all, the upgraded venue size can’t have been for nothing, with the industrial Prospect Building holding 1,200 more spaces than the humble Electric in the city centre.
As all of us filtered in, I felt satisfied with my spot in the crowd, but I’d soon learn that fighting for a spot at the front had a high cost when it comes to Geese. Westside Cowboy brought a high energy opening into life straight away, leaving hardly enough space between songs to breathe as they listed off their greatest hits so far. Then, as the lights dipped for the main event, anticipation rose steadily in the crowd, reaching a fervour as each band member took their place.
‘Husbands’ was a strong opener, one that eased us in, but with enough groove to get everyone excited. Cameron Winter stood front and centre, hood up as his crooning groans of ‘Will it wash your hair clean/ When your husbands all die?’ were almost completely drowned out by the crowd shouting the words back at him. However, when the first millisecond of the titular ‘Getting Killed’ began, I realised the price of my position and staggered around in the chaos of the surging horde whilst futilely trying to scream out ‘I’m trying to talk over everybody in the world’, which is truthfully a bit what it felt like.
The setlist seemed structured to provide well-needed breaks in the more mellow elements of their discography, ‘Islands of Men’ showcased Emily Green’s flawless and punchy guitar, and ‘Half Real’ placed touring member Sam Revaz’s piano in the spotlight, whilst we all caught our breath just enough to whoop when they were done.
The breaks never lasted for too long though, as before we knew it, we were plunged back into a raging ocean of bodies as 3D Country’s opener, ‘2122’ began. The stop-start nature that defines the apocalyptic anthem made for an interesting moshing pattern, in which all would stop and holler the words, before throwing themselves at each other once more. ‘100 Horses’ followed, and though it’s less of a heavy track, nobody really minded, and I soon found myself standing a few feet away from where I first was once it had ended.
Winter had his hood down by now, which felt wise as it seemed the room temperature had risen by more than a few degrees. Satisfying more fans of 3D Country, ‘I See Myself’ and ‘Mysterious Love’ reminded me just how good their previous work was, even if Getting Killed seems to have eclipsed the 2023 record in the public eye.
‘Bow Down’ never fails to showcase drummer Max Bassin’s electric talent, and it was hard not to get carried away in the relentless drive he supplied behind Winter’s religiously charged lyrics. ‘Au Pays du Cocaine’ was always going to be a must, as well as the first single of Getting Killed, ‘Taxes’. What was not a given, however, was a personal favourite. I told myself I would not be disappointed in the whole show if ‘Long Island City Here I Come’ was not played– as some nights it is omitted from the setlist– but when Winter sat at the piano and played a few nondescript chords and commented on Massive Attack, I was hoping I didn’t have to worry.
‘Long Island City’ is an odyssey of a number, the closer of Getting Killed and a track that I feel is under-recognised, as the two songs that precede it on the album are so widely loved. I danced along to its manic rhythm, led by bassist Dominic Digesu, in a style I could only describe as seizure-like; possibly the sweatiest I’ve ever been in a crowd that was not quite exhausted enough to give up yet. As those who had vocal cords left belted out ‘I have no idea where I’m going/ Here I come’ at the very end, I knew there was still one more song that couldn’t be left out.
Eve Davies
Epigram Music
‘Trinidad’ as an encore song is an equally exhilarating and exhausting experience, but there was no way I was going to pass up an opportunity to roar ‘There’s a bomb in my car!’ at the top of my voice, even though I’m still not sure if my throat has recovered. Everyone else seemed to be of the same mind, and so when the whine of Green’s guitar faded away at last, and the lights turned on, I joined them in a desperate search for a bottle of water.
The term ‘the hottest ticket of the night’ was true in every sense of the word, but I would sacrifice the comfort of a t-shirt not soaked through with sweat again in a heartbeat to go back and watch Geese play again, and I’ll always be excited to see what both the band and their cryptic frontman on his lonesome will offer up in the future.
Featured image: Epigram / Louis O’SullivanDid you get the chance to see Geese at Prospect?
