Listen, to all of the Cameron Winter and Geese naysayers out there — I get it. The indie rock hype train has been well and loaded up with critically-acclaimed coal and is barreling down the cultural tracks so ferociously that even Tom Hanks’ Polar Express conductor would think it’s excessive. Especially if you are uninterested in the songs of Heavy Metal or Getting Killed, I understand fatigue of oversaturation and the urge to push back. But, sitting for just over an hour in Chicago’s gorgeous Rockefeller Memorial Chapel listening to nothing but Winter’s piano and voice reverberating throughout the hall, all of the context, expectations, and discourse melted away. It was merely a young songwriter humbly, emotively making his way through a batch of his past and future work — and it was nothing short of stunning.
The performance was Winter’s second in Chicago in as many days and the final night of a short string of solo tour dates that close out his triumphant 2025. Previous shows saw the likes of Paul Thomas Anderson and Benny Safdie in attendance (doing more than just watching, mind you), the debut of the new song “Sandbag,” and a lovely cover of This Is Lorelei’s “Where’s Your Love Now.” The gigs have been heralded for their reverence, venue selection, and absurd resale prices. Last night was no different.
From the moment Winter sheepishly stepped out, dressed in all black, the audience sat in eager, respectful attendance. There was no chatter during the songs, very little banter on Winter’s part (he didn’t speak a word until at least halfway into the show), and the no-filming policy suggested by security as we walked in was largely (and remarkably) followed. Having recently watched Winter command a raucous, lively crowd at Thalia Hall back in October with his band, the difference in tone was stark and impressive, both on the audience’s part and Winter’s.
Being a solo show in the true sense of the phrase, the songwriter’s live renditions of the songs found on Heavy Metal departed from their recorded counterparts. Gone was the scattershot, comfortingly warbly production, as Winter had only his vocal cords, two hands, and a grand piano to fall back on. The result was intimate and highlighted the understated strength of his writing. A song like the beloved “Love Takes Miles” — which is propelled by a plopping bassline, shuffling drums, and swirling production flourishes — simultaneously became softer and rawer, with Winter leaning into the dynamics, emotive playing, and idiosyncratic lyricism baked into his compositions.
What did carry over from his recorded work, as well as the live presence of Geese, was a certain looseness. His tempo would fluctuate wildly depending on the emotional arc of the song, and the solo arrangements made it difficult (in a good way) to decipher what was planned and what was improvised. Adding to this sense was how Winter handled seemingly flubbed notes, repeating them or allowing them to dictate the feel of the next section of the tune, leaving audience members wondering what was intentional, what was a mistake, and if it even mattered at all.
To that end, renditions of cuts like “Try as I May,” “Drinking Age,” and “$0” were unpredictable and incredibly compelling. Ultimately, the experience of hearing the live versions only served to further enrich the already impressive songwriting present on Heavy Metal.
Though, for what seemed to be the final leg of a victory lap, Winter appeared more interested in looking ahead than over his shoulder. Just over a year removed from the release of Heavy Metal, nearly half of the setlist pulled from his growing pool of unreleased songs.
Winter kicked the night off with “Sandbag,” the meditative, slightly ominous new cut that he first pulled out in Los Angeles less than a week ago. He also played “Emperor XIII in Shades” and “LSD,” two tracks that have been floating around in the Winterverse but have yet to be officially released, and closed the show with an encore of the also unreleased “If You Turn Back Now.” Perhaps most notably, at the halfway mark, Winter debuted the new song “It’s Being Waited For,” a very pretty, contemplative tune that will undoubtedly sound markedly different whenever he decides to drop it.
At risk of reading too far into Winter’s intentions with the setlist, populating the performance with so much new material, including starting and ending the show in that fashion, seems to suggest Winter has no intention of merely basking in the glow of Heavy Metal. The new cuts sound urgent and exciting, retaining what made his debut album such a sleeper hit without keeping him within some imaginary set of boundaries. How it’ll ultimately manifest, be it a new record or some other effort, is anyone’s guess, but if you’re on the Winter train, there’s quite a bit to be excited about. Best start bundling up now, more Winter is coming, and it’s going to be just as intense.
Check out where Cameron Winter (and Geese) landed on our recent lists of the 50 Best Albums and the 200 Best Songs of the year. You can also pick up a copy of Heavy Metal on vinyl or CD here.
Setlist:
Sandbag
Try as I May
Emperor XIII in Shades
The Rolling Stones
Love Takes Miles
Drinking Age
It’s Being Waited For
LSD
Nina + Field of Cops
$0
Take It With You
Encore
If You Turn Back Now
