Filling a 300-capacity venue on the outskirts of Cambridge is no easy feat, but for Geordie Greep, it was light work. Having sold out a month in advance, hordes of dedicated fans descended on Storey’s Field Centre early in the evening on October 25 – a true testament to his cult following across the country. But where did this star status come from?

Hailing from London, Greep is best known as the former frontman of the infamously unpredictable black midi. After meeting his first bandmates at the Brit School, they set off down a path that has since defined some of the capital’s most innovative musical outputs. Favourites at The Windmill in Brixton, they signed to Speedy Wunderground in 2018 before moving to Rough Trade in 2019. Earlier this year, the band fell silent, and a few months later, Greep announced their split on Instagram Live. Some band members took to social media to express their shock, with bassist Cameron Picton saying they had “agreed not to say anything about breaking up” and that he was “blindsided.” Just a few weeks later, Greep announced his debut solo album, unambiguously titled The New Sound.

With the new album fresh in fans’ minds, everyone was eager to see how it would translate on stage. Greep, an extravagant ex-frontman and musical wildcard who once insisted on doing a Rolling Stone interview in a casino, cuts a compelling figure. I might question whether it’s all just an act, but I’d still like to see it.

And I certainly wasn’t disappointed. Greep clearly knows how to put on a show, with an awkwardly funny stage persona that’s unusual but engaging. After he shuffled on stage, the band launched into an impressive improv intro, followed by a version of the Black Midi song ‘Lumps’ – an unexpected treat. The 90-minute set was non-stop energy, featuring technically impressive performances from all members. But what struck me most was the band’s synergy; they smiled throughout, at times even playing each other’s instruments. There was an impromptu cowbell solo from former black midi member and Greep’s producer, Seth ‘Shank’ Evans, who also delivered powerful vocals for ‘Motorbike’. Another cameo came on ‘Bring Me The Needle’, with Felix Stephens singing lead vocals. Seeing a frontman willing to share the spotlight was refreshing, and these performances felt like a celebration of community.

“Maybe music doesn’t need to be understood to be enjoyed”

The songs from The New Sound are an unorthodox mix of genres, combining theatrical prog rock with Latin rhythms and a host of other influences. Fittingly, the album was recorded in Brazil, with over 30 musicians contributing. What links them all, however, is a shared comedic edge. Greep uses his lyrics to shock and amuse the audience, noting that in black midi, many didn’t realise he meant for the songs to be funny. His new approach is definitely more successful, and his performance of fan-favourite ‘Holy, Holy’ was packed with biting one-liners. Dedicated headbangers at the front screamed along, while the dads hanging around the back looked slightly disturbed.

It’s true that Greep’s music isn’t for everyone. Five-minute guitar solos and long discordant sections could easily put some people off. The songs are sometimes inaccessible, heavily focused on technicality. Maybe music doesn’t need to be understood to be enjoyed, or maybe experimentation is his prerogative as an established musician. Either way, on stage, his performance was joyous. The crowd left buzzing with energy after a gig to remember – and just in time to catch the last bus (as Greep pointed out).