The note I jotted down in my phone read “a cross between Jeff Buckley and Radiohead.” I put it in my pocket and looked back up at the slender, frizzy-haired Irish artist and songwriter, Dove Ellis. My head jerked toward a man standing next to me talking to his friend: “This guy loves Radiohead!” followed by, “He just played some Jeff Buckley-type-stuff!” I guess anyone can be a critic—but at least I was on to something.
I had just started paying attention to Ellis’ set when I shoved my way through the packed Paradise Rock Club trying to get a couple of photos of him. Ellis was opening for Geese, the New York City-based rock band responsible for turning the venue into a sardine can. Geese has exploded in popularity over the past several months with the release of their recent album, “Getting Killed.” GQ called them “America’s Most Thrilling Young Rock Band,” and anyone who keeps up with current indie music is probably obsessed.
With such a hot commodity on tour, it’s only fitting that their opener would also be an artist of interest. Ignoring the fact that my whole angle was now passé due to the aforementioned Radiohead comments, I tuned back into Ellis’ set, now a couple of songs deep.
Ellis doesn’t waste time hyping the crowd; he’s a soft-spoken, seemingly humble man who would be grateful just to make an impression on the crowd of Geese fanatics. The crowd, notably, wasn’t there to see him, but might have known about Ellis making strides in the deepest corner of the indie music scene. Ellis performed at The Windmill in Brixton, London last December—the recording of the concert currently sits at 10 thousand views. The venue has a reputation of hosting up-and-coming talent, like recognizable groups such as Black Midi and Black Country, New Road, both of whom have since become well-known names in indie music. This buzz, paired with the honor of opening for Geese, has boosted Ellis’ streams on the three songs he has currently released.
Opening for Geese has put Ellis into a “one-to-watch” category. His debut album, “Blizzard,” releases Dec. 5, and will be his first true test to see whether his music catches on among indie fans. Ellis’ set was filled with unreleased songs on a dimly lit stage. The combination of his obscured face with the ambiguous tracks made his set feel like uncovering a hidden gem at your local bar.
Peeking at the cover art for his singles and the imagery used on his social media, it’s clear that Ellis’ image is meant to highlight his sound, not his face. Each picture with his name attached looks like a forgotten scrapbook or an oil pastel drawing.
When Ellis sang, the songs rang from the darkness; his stage “presence,” wasn’t so much a presence as it was an absence. His silhouette melted into the stage behind him, as if the music was emerging from the inside of a cave. He sang lyrics that reflected his elusive appearance and imagery. “Keep those cameras off my face,” he crooned to the crowd. This was a rare moment where there actually, unironically, wasn’t a “phone in sight.”
Ellis was joined on stage by drummer Matt Deakin and saxophone and bass player Fred Donlon-Mansbridge. The two elevated Ellis’ sound from a campfire performance from a friend, to a harmonious jam with a ringing echo. Ellis and company never drowned out the noises around the bar, dragged in the attention of the merch line, or stopped the conversations in the crowd—but those who chose to listen were seemingly entranced by the simplistic beauty of his longing, whiny vocals. Ellis, remaining humble, never let his voice take center stage. His guitar riffs were complicated yet catchy; Donlon-Mansbridge’s saxophone roared in a melodic tone, and Deakin’s hits on the drums made a quiet hissing noise.
As his set concluded, Ellis did raise his voice once, asking the crowd if they were ready for Geese. You could almost make out a smile on his face as the crowd cheered. He then picked up his drink and walked off stage.
Considering the personal excitement—and maybe even hubris—that might be presumed of an artist who has risen to such heights in such a short time, Ellis displayed a comfortable demeanor onstage, reminiscent of a seasoned performer. But while excitement can be understood and composure can be admired, Ellis’ humble, minimalistic approach to performing for an emerging group such as Geese serves as a testament to his skill and a promise of greatness.
