On April 29, the Observatory in Santa Ana, CA, played host to an electrifying and enigmatic performance by Geordie Greep, the former frontman and guitarist of the now-defunct British band Black Midi. For fans familiar with Black Midi’s chaotic, math-rock-adjacent soundscapes and theatrical flourishes, Greep’s solo outing offered both familiar intensity and surprising introspection — a clear marker that this is no side venture, but the beginning of his new artistic chapter.

Geordie Greep has made a name for himself as one of the most distinctive voices in modern experimental rock. As the co-founder of Black Midi, he was at the vanguard of a new wave of UK bands blending progressive rock, free jazz, post-punk, and avant-garde composition into something wholly their own. Greep’s signature baritone croon, serpentine guitar work, and dramatic stage persona turned him into a cult figure among listeners seeking complexity and confrontation in their music. Now, following Black Midi’s breakup and reports that the members are no longer on speaking terms, Greep is striking out fully on his own, and doing so with palpable conviction.

At the Observatory, Greep stepped onto a intimate stage setup, eschewing the bombast of his full-band gigs for a more stripped-back yet no less intense solo presentation. The crowd, a mix of die-hard Black Midi devotees and curious newcomers, leaned in close as Greep opened the set with “The New Sound,” immediately establishing the night’s exploratory and unpredictable spirit. From there, he moved into “Walk Up” and “Terra,” shifting between angular guitar work and brooding, melodic passages.

The setlist was a testament to Greep’s eclectic range. His covers of Willie Colón’s “Oh Qué Será?” and “Cua cua ra, cua cua” added a brassy, Latin flair to the evening, while the Black Midi favorite “Dangerous Liaisons” gave fans a taste of the explosive energy that put him on the map. New solo material like “Through a War,” “As If Waltz,” and “Holy, Holy” hinted at a deeper dive into chamber-pop and cabaret influences, with piano-driven arrangements and lyrics that felt more personal than the opaque narratives he’s known for.

Highlights included the hypnotic “Parabola,” a Cameron Campbell cover rendered with intricate fingerpicking and a vocal delivery that evoked both Scott Walker and early David Bowie — brooding yet charismatic. Later in the night, songs like “Motorbike,” “Blues,” and “Bongo Season” showcased his ability to shift between genres and moods with jarring but deliberate precision.

By the time Greep closed with “The Magician,” he had won over even the most skeptical in the crowd. His performance served not only as a nod to his roots but as a definitive break from the past. The Santa Ana audience responded with roaring applause, clearly aware they’d witnessed an artist in the midst of reinvention.

Geordie Greep’s Observatory performance was not just a continuation of his previous work — it was a declaration that his solo career is the new center of gravity for his creative ambitions. For fans and critics alike, it confirmed that Greep is forging a fresh and permanent path forward, one that will be essential to watch as it unfolds.