Institute of Contemporary Arts, London
“Because it’s a Friday night, it’s automatically a great gig.”
The former frontman of Black Midi returns with a daring ignition of his solo career, breathing a new musical reincarnation; complete with frivolous adventures on this hotly-anticipated Friday evening.
With his back turned on the audience, Greep’s slim, gaunt figure commences tonight’s show amongst an extensive lineup of fellow musicians: percussionists, saxophonist, cellist, bassist drummer and multiple guitarists. Amidst these swelling sounds, a frantically-energised 10-minute collective jam ensues, accentuating Greep’s latest sounds which wind through consuming walls-of-sound and gradual crescendos. Imminently within ‘Blues’, Greep’s knack for scathingly repetitive lyrical refrains are retained (“Do you know what I mean?”), an enticing sign of his idiosyncratic songwriting in recent years with intriguing effect.
For the instrumental arrangements, however, Greep has a clearly-defined, newly-chartered direction enforced on his latest debut release, (aptly-named) The New Sound. Standout tracks such as ‘Terra’, as well as lead single ‘Holy, Holy’, animate and arrange the colourful influences of Brazil’s illustrious music scene; from tropical to dance music clamouring amongst such repeated refrains (“Terra, terra, terra” / “holy, holy”). The crowd jostle to these dance-fuelled rhythms on display, sans backing dancers and sprightly brass sections, whilst others remain tangibly transfixed, unsure of what to make of this newly-conjured world.
Guitar wailings and vocal backings invite such evident influences as the revered Carlos Santana, whose influence coalesced with popular Western music throughout his career. Reciprocated by those jumping, bouncing and (attemptive) moshing amongst various parts of the odyssean latter track, Greep's repertoire effortlessly wades through jazz-inflicted prog-rock waters with heady conviction. In spite of the evident lack of brass present tonight, the extensive entourage exude their brimming best to compensate for such a rich and daring aura consuming Greep’s latest venture.
Even when Greep lurks within the backdrop, notably for ‘Motorbike’ which invites Seth Evans onto stage, the group rousingly harmonise in a supporting role for Evans’ baritone vocal delivery whose cameo offers a daring self-exposure, bursting like an imposing beast upon the crowd. For Greep’s finale, an undoubted magnum opus, ‘The Magician’ beseeches larger-than-life sounds and wailing vocals amongst a gradual-transcending prog-rock landscape. Adorned with a cataclysmic finish of orgasmic proportions, the crowd truly revel in this fever with a swelling reception; witnessing such newly-proposed adventures supported by unfashionably new sounds.
For this evening, one has seen an artist who has relieved themselves of the restraining shackles of prior, risen from the ashes of Black Midi’s sudden demise. The debuted sounds tonight elicited extraordinary dexterity amongst the myriad solos which traversed throughout, albeit superfluously at times, whilst coalescing with fresher sounds excavated from across the pond. Geordie Greep has undoubtedly forged a promising future for his solo career which looks to bring his devoted fanbase along for the chaotic ride; sparked by this impressive Friday night performance.
7/10
Geordie Greep's latest LP, The New Sound, is out now via Rough Trade Records and can be found below.
Photo is courtesy of Davi Saur whose work can be found here.
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