Geordie Greep in Zagreb: The madness that even he couldn't stand

British musician Geordie Greep delivered a two-hour performance in Zagreb’s fully packed Vintage Industrial Bar, marking one of the most intense live shows witnessed in the city this year. The concert took place under the venue’s roof, with ten musicians on stage, unprecedented for Greep, who had previously performed solo or with smaller ensembles. The energy was so overwhelming that even Greep himself could not endure the entire set, leaving the stage before its completion. Known for his unconventional approach to music, Greep has long been associated with experimental sounds. His latest album, The New Sound, features a fusion of mathematical noise reminiscent of his former band black midi, expanded into a big band format. This style draws influences from Santana, Frank Zappa, David Byrne, and Mahavishnu Orchestra. The album represents a rare blend of avant-garde experimentation and structured composition, offering continuous surprises more suited to older audiences than the predominantly young crowd that filled the bar last night. Greep, 27 years old, first gained attention seven years ago when black midi played in Zagreb’s Močvara. At that time, the band was perceived as four overachieving students from Britain’s famous Brit School, too engrossed in video games like Minecraft to focus on their instruments. However, their musical talent was evident, and critics compared their minimalist phase to the work of Croatian composer Ivica Josipović. Their instrumental prowess remained unquestionable both then and now. This current incarnation of Greep’s ensemble, however, presents a different image. A significant portion of the band consists of Brazilian musicians, with bassist Fábio Sá being a key figure. Known for his ability to play faster than anyone else on stage, Sá has already demonstrated these skills on the album. Alongside him, the lineup includes a double woodwind section, a vibraphonist, percussionist, drummer, guitarist, keyboardist, and a cellist who also plays keyboards. Each member is highly expressive and emotionally charged, ready for spontaneous moments yet disciplined under Greep’s strict direction. Greep exhibits traits of a controlling conductor, often likened to Mark E. Smith of The Fall. While Smith is known for mistreating his musicians, cutting their instruments and pulling cables from amplifiers, Greep pushes his ensemble to perform faster, stronger, and better. He revives songs that have faded out, emphasizing harmonic losses with shouted chords during solos. When musicians falter, he scolds them loudly, while praising them when they surprise him positively. Throughout the performance, Greep showcased elements of Captain Beefheart, Pat Metheny, and Engelbert Humperdinck. Much of the time, he functioned as a pop singer, occasionally demonstrating virtuosic guitar skills, delivering spoken-word recitations, and acting as a genuine poet whose lyrics flow over ambient soundscapes. The hum of ventilation fans in the club unexpectedly complemented the atmosphere, creating a sensation akin to listening to music recorded on magnetic tape. Humor also found its place in the show. Between songs, the band played the jingle “That’s All Folks” from the animated series Dugoš by Dušan Dugouš. Midway through the concert, they announced a hydration break lasting 30 seconds, encouraging FIFA. Most songs were extended by five to six minutes of frenetic improvisation, making them three times longer. For those unfamiliar with what to expect, the experience might resemble Santana’s Woodstock performance, with occasional echoes of Herbert Grönemeyer or Tom Waits. For attendees from alternative music scenes, the improvisational segments might sound like Godspeed! You Black Emperor playing at 78 revolutions per minute. In addition to the album The New Sound, which was extended by the improvised sections, Greep concluded with a fifteen-minute version of the hit single “Holy Holy.”