{"id":13359,"date":"2025-11-25T01:05:22","date_gmt":"2025-11-25T06:05:22","guid":{"rendered":"https:\/\/wecb.live\/?p=13359"},"modified":"2025-11-25T01:05:22","modified_gmt":"2025-11-25T06:05:22","slug":"geese-at-paradise-rock-club","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/geese-at-paradise-rock-club\/","title":{"rendered":"Geese at Paradise Rock Club"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"410\" src=\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/GEESE-BANNERRR-1024x410.png\" alt=\"\" class=\"wp-image-13360\" srcset=\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/GEESE-BANNERRR-1024x410.png 1024w, https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/GEESE-BANNERRR-300x120.png 300w, https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/GEESE-BANNERRR-768x307.png 768w, https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/GEESE-BANNERRR-1536x614.png 1536w, https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2025\/11\/GEESE-BANNERRR.png 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p>Design by Sophie Parrish<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>By Lucca Swain<\/strong><\/h2>\n\n\n\n<p>Yeah, the show was good. Great, even. And why would anyone but the most steadfast Geese hater be inclined to believe otherwise? Possibly the fastest-rising indie band of the moment, not long into touring their spectacular latest album, with one of modern rock\u2019s most eccentric and most quietly brilliant frontman at the helm, not to mention the intense musical talent of every other member of the band \u2013 Geese\u2019s concert at Paradise Rock Club was one primed to succeed, no doubt.&nbsp;<\/p>\n\n\n\n<p>Like the best of bands, Geese possess a thorough understanding of what it is that makes a concert memorable; they know how to get the blood flowing, get the people moving, how to strain the tension in the crowd to the point of bursting, only to let go at the very last moment like a taut rubber band slingshotting away with the force of a jet engine. They\u2019ll push you to the very edge of exasperation, and then pull you right back just to get a rise out of you. Smack-dab in the middle of \u201cLong Island City Here I Come,\u201d just after Cameron Winter\u2019s nonchalant declaration of \u201cI\u2019m about to kick your ass up and down this street,\u201d and right before where the song would have dived headfirst into its hectic refrain of \u201cHere I come\u201d repeated ad infinitum, the song seemingly comes to a halt. What was only a brief moment of reprieve in the studio version instead begins to stretch out, Emily Green\u2019s pointed guitar attack scaling down into a bite-sized, hypnotic rhythm that repeats and repeats and repeats for two, three, maybe even four minutes. It\u2019s impossible to say just how long it went on for, but what is for certain is that it felt like no one on that stage or in that room dared to even breathe. At some point the looping guitar riff starts to dig into your brain, becoming more drone than melody, and you catch yourself thinking, \u201cwhen is this gonna end?\u201d But it just keeps going and going, and you may even wonder if this is all just a big joke, that the show is going to end and the band will walk offstage before they even reach that cathartic refrain and final verse. But Geese knows full well what they\u2019re doing, because in the microinstant that impatience starts to transition into annoyance, they explode into the long-awaited refrain like nothing even happened, and the whole venue goes nutty. The wait was worth it.<\/p>\n\n\n\n<p>\u201cLong Island City Here I Come\u201d wasn\u2019t the only track to receive a substantial change in form, though. On nearly every song, Geese found a way to scale the drama of their music up to mythic new levels, whether it be by slowing the intro of \u201cIslands of Men\u201d down to a crawl, or giving drummer Max Bassin a whole entire solo smack in the middle of \u201cBow Down\u201d, or watching the band stand in complete and total silence for who-knows-how-long before launching into the manic \u201cTrinidad.\u201d The excitement factor really went up, though, when the band pulled out several tracks from their previous record <em>3D Country<\/em>, which arguably hit even harder live than the <em>Getting Killed<\/em> material. There really isn\u2019t anything like listening to an entire overcrowded venue sing along to the chorus of \u201cI See Myself,\u201d or watching dozens of moshers violently collide into each other during \u201c2122.\u201d&nbsp;<\/p>\n\n\n\n<p>Perhaps the most fun part of the show was getting to see in person just how tight every individual player was on their instrument. Geese are given a deserved amount of credit for their songcrafting abilities \u2013 they make great music, duh \u2013 but what is often underdiscussed is just how much of their songwriting rests on their exceptional talent as musicians. Much of the material they played, from \u201cIslands of Men\u201d to \u201c2122\u201d to \u201cHalf Real,\u201d is distinctly, disgustingly funky in feel \u2013 it\u2019s the kind of music that requires both total confidence in your instrument and a thorough understanding of groove. Being able to watch the band\u2019s rhythm section lock so intensely into <em>Getting Killed<\/em>\u2019s interminable, hypnotic rhythms has a sort of mesmerizing effect, where the crowd and the noise disappears entirely and all that\u2019s left is the players hammering away at their instruments with the steady precision and ceaselessness of a river murmuring downstream. They can play the faux-shuffle of \u201cCowboy Nudes\u201d with the charm of the best basement bar bands, while still being able to ratchet the intensity up to eleven on a track like \u201cLong Island City.\u201d From beginning to end, every single song, Geese never take their foot off the gas, not until Cameron Winter\u2019s explosive, cathartic bellowing of, \u201cThere\u2019s a bomb in my car,\u201d at the end of \u201cTrinidad.\u201d A show to be remembered, for sure.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Design by Sophie Parrish By Lucca Swain Yeah, the show was good. Great, even. And why would anyone but the most steadfast Geese hater be inclined to believe otherwise? Possibly the fastest-rising indie band of the moment, not long into touring their spectacular latest album, with one of modern rock\u2019s most eccentric and most quietly&#8230;<\/p>\n","protected":false},"author":3669,"featured_media":13361,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[22],"class_list":["post-13359","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-concert-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Geese at Paradise Rock Club - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Geese at Paradise Rock Club - wecb\" \/>\n<meta property=\"og:description\" content=\"Design by Sophie Parrish By Lucca Swain Yeah, the show was good. 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