Geordie Greep at New Century Hall, Manchester Review

Last year, he had the best album; this year, Geordie Greep could easily be crowned the best live artist. He is an unrivalled contemporary experience. His branch of improvised, avant-garde-like art rock is a shake-up of everything which came before. Greep puts these influences, be it Keith Jarrett or George Thorogood, to use in his New Century Hall show, a sold-out show with Knats, who released their self-titled debut just a day before the gig, warming the room with brilliant instrumental appeal as the opening act. Not long after, Greep is on the stage, grey suit, red shirt, and a whole lot of energy as he shifts from each side of the stage, slipping away from the spotlight time and again so those in attendance can focus on what should be the main draw, the instrumental quality. The New Sound is the best sound, and a show at New Century Hall proves it. 

Extending the hour-long album triumph into a two-hour jamming spectacle is no small feat. Still, the vast improvement in confidence, tone and movement between the Brudenell Club show in Leeds and this New Century Hall appearance is noticeable. Greep may lead us through these fictional tales with biting social analysis and a wild, ever-changing vocal lead, but it is the instrumental thrill which takes hold. Daniel Rogerson continues to steal the show with his wonderful playing, the ever-present rhythm to Greep’s solos. Admirable work from the pair on Motorbike, the free jazz improvisation preceding it a thrill to watch unfold. Greep is in a four-part role here, not just as instrumentalist, vocalist, and paper plane eater, but as conductor too. The whole musical ensemble, the artists whom Greep can trust to deliver not just on the quality of the songs but the riffs and jams in-between, are sensational.  

Michael Dunlop is stellar as ever on the double bass while Knats drummer King David-Ike Elechi has a triumphant double set backing Greep and providing the hights of Knats alongside Stan Woodward. Greep’s shows highlight our ever-changing relationship with music. What we use as passive noise is sometimes beautiful, offended that it has been relegated to the background of study or cooking. We take no notice of the little rises and falls, but we should. It is what makes the live likes of a bouncing Holy Holy or an incredible vocal charge on show closer The Magician so exciting. Mixed in with the whimsy and delightful humour of a “new song” like Talking to Aliens is the ferocious intent, the development of sound as a subconscious mood changer. 

Hearing Greep take a sinister turn or two is a welcome contrast to the now entertaining but still visually volatile Through a War. At times, he takes on the tension of Gene Wilder in Willy Wonka and the Chocolate Factory, staring down at the audience as he delivers nursery rhyme-like pieces, backed by rough and rowdy music. Unnerving but so sincere. Greep’s live shows are nothing short of sensational. Crucial to The New Sound is keeping true to its title. Elongation of the wordplay on As if Waltz, shortened, biting words for Terra, even with the few lyrical flubs, it feels natural; such is the point of a live show. It may be a slick and often mesmerising process, but underneath it all is the sense of finding a new route to the same finale. That is what makes Greep such a brilliant live performer, and what will no doubt leave us hungry for more from The New Sound mastermind.