
Welcome to SeatGeek Front Row, where music writers share their tips for attending the biggest concert tours around the country. For this edition, Seattle resident Olivia Petty breaks down what it’s really like to see Geese's Getting Killed Again Tour in person, covering everything from the setlist, merch options, where to buy tickets for the best Geese experience and more. Olivia is a freelance features and music writer in the greater Seattle area.
If there’s one thing the band Geese knows how to do, it’s build suspense.
The New York City rock band deliberately keeps their audience on a razor’s edge, bent and curled over their respective instruments like malformed statues as they scale higher, louder, and quicker, an electric pulse reverberating from the soles of their shoes up to their skillful fingers. When they finally reach the tippy-top, the crowd holds its collective breath — and the subsequent drop is nothing short of ecstasy, best felt from the center of a gleefully swirling mosh pit.
Last fall, Geese embarked on their “Getting Killed World Tour” following the release of their explosive 2025 album of the same name, and the hype just keeps growing. Now, back by popular demand, “Getting Killed Again” kicked off in late September and is bringing its gloriously unpredictable live show to theaters and auditoriums across North America through mid-November. Although some dates are technically sold out, plenty of tickets are still available to purchase through SeatGeek.
Here’s how their show in Seattle went down, and everything fans should know for future Geese concerts.
It’s been a whirlwind of a year for the art-rock band, spearheaded by Cameron Winter. Widespread critical acclaim of Getting Killed, alongside Winter’s increasingly potent solo career, has turned Geese into one of the most actively talked-about bands in the country. Between the erratic genius of Emily Green’s guitar, the unwavering stamina of Max Bassin’s drumming, and the steady basslines laid by Dominic Digesu, the band’s sound has reverberated with a singular force, united as one under Winter’s unmistakable crooning.
Representing a new “era” for Gen Z rock while also harkening back to the glory days of classic four-piece bands, their Oct. 23 concert in Seattle drew buzzy, hepped up youngsters as well as long-time indieheads of yore to the gilded Paramount Theatre in downtown Seattle. Everyone seemed equally prepared to jump, yell, laugh, mosh and (maybe) cry.
Doors at the Paramount opened at 7 p.m., with experimental guitarist Bill Orcutt taking the stage at 8 p.m. Orcutt played a gauzy, meditative guitar-only set until approximately 8:40 p.m., leaving a 32-minute turnover before Geese emerged at 9:12 p.m. for about an 80-minute set, ending around 10:33 with no encore.
Orcutt — a veteran of the underground experimental scene known for his distinctive, sometimes dissonant electric guitar — joined Geese for several West Coast dates, but there is a rotating cast of openers for “Getting Killed (Again).” Other openers include Easy Star All-Stars, Cold Court, Gwenifer Raymond, Leenalchi, Julianna Barwick, and Billy Woods. Be sure to arrive on time to catch these eclectic openers.

Geese’s Seattle set pulled heavily from Getting Killed, with several songs from the band’s 2023 sophomore album, 3D Country, worked into the mix. Fans hoping to hear material from the band’s debut album, Projector — an album the band has more broadly distanced themselves from — were out of luck on this particular night.
As the band begrudgingly admitted in an interview with Rolling Stone earlier this year, Geese’s live performances can get a little jam band-y. Their shows don’t necessarily stay true to their studio material, as they can turn 3-minute songs into wildly oscillating 8-minute rollercoasters of sound, speeding up and slowing down, never quite letting the crowd know their next move. They started the night slowly and emotionally with “Taxes” and went out with a bang during “Trinidad,” the song where Winter famously screeches “There’s a bomb in (his) car!” while the crowd writhed and churned in response.
At one point, in the middle of the high-octane “2122,” Winter pulled out his phone and played a segment of the song “Hello Seattle” by Owl City (of “Fireflies” fame) as a cheeky, mildly absurd nod to the hometown crowd. Ultimately, their set was short and explosive, leaving the crowd wanting more.
Here’s the full setlist Geese played during their second night in Seattle, in order:
Taxes
Cobra
Husbands
Getting Killed
Half Real
2122
100 Horses
Gravity Blues
Crusades
Cowboy Nudes
Bow Down
Au Pays du Cocaine
Long Island City Here I Come
Trinidad

For such an ornate, gold-crested setting like the Paramount Theatre, Geese’s stage production was fairly simple. Nebulous washes of deep blue and red illuminated the band from behind, keeping their faces largely shadowed, punctuated by sharp bursts of brighter stage lights during their more explosive musical peaks. As for the set: only their instruments sat onstage, the drum kit elevated on a small platform in the back, with Winter occasionally switching between guitar and keyboard.

Geese fans were clad in an assortment of indie-rock staples: vintage-looking band tees, casual layers, dark denim, and comfortable shoes suitable for a night spent standing, dancing, or being gently swept into a crowd surge.
The merch selection was relatively extensive, with two tables located on the first floor of the lobby and large lines spiraling up three flights of stairs. Merch included three styles of T-shirt ($40), a baseball tee ($50), a zip-up hoodie ($100) and pullover hoodie ($80), a location-specific poster ($40), vinyl LPs ($25), two styles of baseball cap ($35), a tank top ($40), button packs and bumper stickers ($15), tote bags ($30), and branded lighters ($5).
The line for merch was about a 20- to 30-minute wait. Ushers and staff of the Paramount kept it all moving smoothly, telling attendees repeatedly that they would have better luck getting merch at the beginning of the show rather than the end. Heed their advice, as merch – particularly the location-specific and tour-specific merch — sold off the walls quickly.

Geese’s concerts aren’t explicitly rated R, but the band’s live performances are geared more towards adult indie-rock audiences than family entertainment. The Seattle crowd included plenty of teenage concertgoers alongside younger and older adults, but families with children were relatively uncommon.
For parents considering bringing younger fans, a reserved balcony seat is likely to be a more comfortable option than standing on the floor. The general admission floor is tightly packed and subject to some pretty heavy moshing, so proceed with caution — or elbows first!

With doors scheduled to open at 7 p.m., a huge line of fans unfurled down the block, backed up to the I-5 freeway overpass at Pine and Boren. The line moved relatively quickly after 7 p.m., taking about 15 minutes to get through. Plan to arrive well in advance of the doors opening if you want to get first dibs on the merch selection or if you have general admission standing tickets. The closer to the stage, the better.
Fans were required to go through metal detectors and follow bag policy, which dictates that guests can bring one bag into the theater, no bigger than 8″ x 12″ x 6.” You may need to open your bag or do a wanded metal detector search before entering the venue. Large bags, bookbags, and wallet chains are not permitted.

The Paramount’s setup for Geese consisted of a general admission standing floor with reserved seating in the balconies. There were also some reserved seats on the floor in the back of the theater.
To get the full physical Geese experience, the floor is the best place to be; the energy ebbs and flows, building to extreme heights that results in heavy dancing and moshing near the center. This is particularly relevant during Trinidad, where fans tend to “open up” the pit and then rush in. You can avoid the most intense moshing by sticking to the outskirts, but be prepared for a little jostling.
If you’d rather take in the musicianship without being swept into the floor’s momentum, the upper levels are your best bet for a reserved, comfortable, full view.

The Paramount Theatre is located at 911 Pine St. in downtown Seattle, near the Seattle Convention Center and several major transit connections. It is located about a seven-minute walk from the Westlake station of the Link light rail. King County Metro buses are also convenient options.
If you’re driving, nearby paid parking garages include those at Pacific Place and the Seattle Convention Center. Street parking is limited, especially around showtime, so allow extra time to find a spot. Rideshare is another option, but expect traffic congestion before and after the show. Lime scooters and bikes may also be convenient, as they tend to be scattered in large quantities around downtown Seattle.
Head over to Geese’s artist page on SeatGeek and put in your location to see if there are any upcoming shows near you. Once you’ve found a show date, pick how many tickets you’re looking to buy and choose a seat using the interactive venue map. Once you’re happy with your choices, hit “checkout,” and your tickets will be secured. If a show is listed as sold out through the venue, resale listings may still be available on SeatGeek, so keep your eyes peeled as the date of the show approaches.
Ultimately, no matter if you’re kicking back from the balcony or down in the throes of the high-energy, high-impact crowd, a Geese concert is best experienced with an open mind and comfortable shoes. Keep calm and rock on!
📁 Categories: Front Row, Concerts
🏷️ Tags: Geese, Getting Killed Again Tour, Seattle, Paramount Theatre