Amid Geese’s meteoric rise, the band performed at Paradise Rock Club on Friday night, a performance that showcased just how much Boston believes in this Brooklyn-originated rock group.
The year 2025 will probably not be remembered as the year of belief. Public distrust is at an all-time high, food prices keep climbing, and more than ever, it seems Americans are searching for something to have faith in. In this climate, Geese found a powerful connection with their audience that transcended mere fandom.
The evening began with Dove Ellis’s powerful opening set, which included a masterful cover of Gillian Welch’s “April the 14th, Part 1.” Yet the real energy ignited about ten minutes before Geese took the stage. Around 9:05 p.m., a low thrumming chant of “Geese, Geese, Geese, Geese” rose from the middle of the crowded venue, culminating in a shower of cheers when the band appeared at 9:15.
Geese—a band formed in Brooklyn in 2016—features Cameron Winter on vocals, Emily Green on guitar, Dominic DiGesu on bass and occasional percussion, Max Bassin on drums, and keyboardist Sam Revaz who joins them for live performances. Their latest album, *Getting Killed*, produced by Kenneth Blume (also known as Kenny Beats), was released on September 26, 2025, to massive fanfare, quickly gaining attention from both media outlets and music lovers alike.
The palpable buzz was not lost on ticket scalpers either; just before the show started, resold ticket prices lingered at a staggering $470, underscoring the band’s soaring popularity.
From the moment they launched into “Husbands,” the opening track from *Getting Killed*, it was clear this would be one of those concerts where the unity of the crowd would be a moving spectacle in itself. The stage was bathed in blue lights emanating from below—a stark contrast to the heavenly glow featured on the album’s cover.
Drummer Max Bassin sported a pair of bug-eyed sunglasses behind the drum kit, reminiscent of the ones he wore during their recent Zane Lowe interview, adding a quirky touch to the performance.
During the song “$0,” which originates from Cameron Winter’s solo work, the lyrics “God is real, God is real / I’m not kidding, God is actually real” brought the evening’s unifying theme into sharp focus. In difficult times—when it’s hard to find reasons to believe in much—the audience’s faith in the band itself, rather than any religious institution, shone brightly. Fans bought tickets, waited in line, filled the venue, and sang along with conviction, demonstrating a sweet, almost naive kind of belief in Geese.
And Geese, true to their name, are very much a band. Emily Green’s expressive guitar work stood out both in her commanding stage presence and instrumentation, especially during songs like “2122.” This track featured a surprise snippet of “Roadrunner” by Jonathan Richman, much to the crowd’s delight—and was even played on a keytar, adding a fresh twist.
During “Half Real,” a spotlight shone behind Winter’s head, casting light over the crowd and clearly illuminating faces even from the balcony. Fans closed their eyes, nodded to the beat, and sang along, smiles tugging at their lips.
Dominic DiGesu’s basslines anchored the set with steady, energetic rhythms, and his percussion contributions added extra depth when required.
At one point, Winter candidly told the audience, “Tonight I’m in dire straits, my voice is [expletive]. You guys are going to fill in the gaps.” And fill in the gaps they did, roaring their support throughout the set.
On “I See Myself,” from the band’s 2023 album *3D Country*, fans pointed at themselves and then back at the stage on the lyrics “I see myself in you,” sealing the bond between band and audience.
“This room is so wide,” Winter remarked. “Paradise, Boston, is kind of redundant when you think about it.” The crowd responded with cheers, clearly sharing the sentiment.
Looking out over a sea of phones raised high during songs like “Au pays du cocaine” and “Taxes,” the scene evoked a thematic connection to Greta Gerwig’s 2017 film *Lady Bird*. When Sister Sarah Joan asks, “Don’t you think maybe they are the same thing—love and attention?” the message resonates deeply: what we pay attention to reflects what we care about.
Between songs, when lights shone into the crowd and everyone’s hands shot into the air, clapping and swaying against the sold-out venue’s railing, singing so loudly that Cameron Winter’s voice was sometimes drowned out, Boston’s attention—and affection—was undeniably clear.
The high-energy encore, “Trinidad,” delivered a mosh-pit-fueled finale that left the crowd exhilarated.
In a recent piece for *The Atlantic*, Julie Beck discussed “The Great Friendship Flattening”—the tendency to reduce all relationships and experiences to something viewed through our phones. This tendency can flicker over everything, including our connection to new bands we adore. There is an urge to commercialize, to strip down, and to voyeuristically dissect behind every lyric.
But the truth is, no one outside the band truly knows what the songs mean to its members—the complexity of lyrics can be intentional, accidental, or projected. What is certain, however, is the meaning their music holds for the crowd.
That is the true magic of live performances: they bring something potentially “flattened” on screens and streaming platforms into vibrant, three-dimensional life. With Geese, the experience felt as immersive as their album title itself—taking it to *3D Country*.
—
**Setlist from Geese at Paradise Rock Club, Nov. 14, 2025:**
– Husbands
– Getting Killed
– Islands of Men
– Half Real
– 2122 (including snippet of “Roadrunner” by The Modern Lovers)
– I See Myself
– Cowboy Nudes
– Cobra
– 100 Horses
– Bow Down
– Au Pays du Cocaine
– Taxes
– Long Island City Here I Come
**Encore:**
– Trinidad
https://www.boston.com/culture/concert-reviews/2025/11/15/geese-boston-concert-review-setlist/