Name: Geordie Greep
Start: 2025-04-01T20:00:00+01:00
Location: Vicar Street

Foggy Notions presents Geordie Greep (of black midi) for his Irish Debut at Vicar Street. Tickets on general sale Friday 13th December at 10:00.
New Dates Added To World Tour Including Two Nights At Koko
Debut Solo Album ‘The New Sound’ out now on Rough Trade Records
“The main theme of the record is desperation; you don’t hear an unreliable narrator but someone who is kidding themselves that they have everything under control, but they don’t.” Geordie Greep
“An incredible, accomplished confection” 9/10 UNCUT
“A thoroughly brilliant and modern rock album” Loud & Quiet / Albums Of The Year
Geordie Greep (guitarist and vocalist in black midi) today shares a blistering live concert film recorded in New York at TV Eye, watch the performance here. The film features Geordie’s US Band, Santiago Moyano on Percussion, Charlie Shefft on Drums, Cameron Campbell on Keys and Dave Strawn on Bass. Geordie says his intention has been “to do a Keith Jarrett thing’, have a different group of session musicians in a different place and lean into the fact that we’re not going to get it the same.” New tour dates have also been added to Geordie’s already extensive world tour which takes him across Europe, to North America and onto Japan and Korea – including two nights at Koko, his biggest London headline shows to date. See below for full details.
Following three astonishing albums with black midi, most recently 2023’s ‘Hellfire’, and almost non-stop worldwide tours for near-on five years, Geordie Greep has somehow found time to record his first solo album ‘The New Sound’, an album that has allowed him scope to explore creative ideas like never before. It boasts a brand of high quality, all-embracing alternative pop fun not heard in a very long time. Geordie Greep; “With recording ‘The New Sound’, it was the first time I have had no one to answer to. And with every impulse I had, I was able to completely follow it through to its conclusion. Being in a band (black midi), we often have this ‘we can do everything’ feeling, but you are also kind of limited in that approach, and sometimes it’s good to do something else, to let go of things.”
Over thirty session musicians were involved in the making of the album, on two continents, in São Paulo and London. Geordie Greep; “Some of the tracks we had recorded already, elsewhere, but it just wasn’t right, so we re-recorded them with new people. Half of the tracks were done in Brazil, with local musicians pulled together at the last minute. They’d never heard anything I’d done before, they were just interested in the demos I’d made. The tracking was all done in one, maybe two days. Then we did the overdubs later, in London.”
Geordie Greep has had plenty of practice with black midi over the years in performing musical and lyrical Cruyff turns, full of stop-starts, blasts and bangs and whispered soliloquies. Here the method is employed to ask: what part of the narrative should we listeners believe, or take as our emotional crutch? The mercurial, insouciant tone set in ‘Terra’, or the gruesome imagery it is juxtaposed with? After all, Greep tells us, this is the story of “the museum of human suffering.” Consider, too, the strange emotional undulations created in ‘Through a War’, where the music makes a very polished stab at aping a soul revue; or a salsa class. It’s there to give colour to a set of imaginings which include cannibalism, being boiled alive, and a woman giving birth to a goat. You’re never quite sure when, or whether, you are supposed to be shocked; or laugh. Even if, as with the latter, Geordie Greep gives us the punchline; “And that’s how I spent my adolescence.”
Street life is all around: the listener is thrown into a world of cafes, bars and clubs, visit theatres, cabarets and strange museums, or rented rooms. Here we see our heroes carry out a series of naughty assignations, military cosplay or socio-economic triumphs. Greep; “I was often thinking of walking through a city, and thinking about a million dollars, showing that kind of feeling, you know?” Taking on The New Sound in its entirety can feel like you are trying to cross Piccadilly Circus after a skinful. Single ‘Holy Holy’ is possibly the best example: has urbane romantic fantasy ever sounded this way? Probably not since Noël Coward. This story of an imaginary liaison in a nightclub is soundtracked by ’noughties indie pop chords and bravura Latin big band arrangements – including a three-piano attack (Steinway, Bechstein, electric). ‘Motorbike’ sees a change in vocal duties: as bassist and album producer Seth ‘Shank’ Evans starts up a doleful soliloquy about not getting what he wants.
It’s certainly an album that fully engages the listener, throughout the eleven tracks. Greep; “I was worried about the length in terms of not overblowing it. But I’m also really bloody bored of listening to music and, for better or worse, knowing in advance what it means or what it’s trying to do. All my favourite music is about the listener coming to terms with what is going on. My favourite singers, like Peter Hammill or Nat King Cole, are literally one of a kind. I love that. Especially with lyrics, where you’re not sure what they’re going on about, but you know it’s not just abstract thoughts.”