The Burlington-based musician Greg Freeman brought an exciting indie rock/Americana sound to the Monday slot at the intimate Louisiana. Freeman’s reputation in the current wave of indie rock grew out of his debut album I Looked Out, which paired wiry guitar riffs with resonant lyricism – placing him alongside MJ Lenderman, Wednesday and Ratboys. It is a sound that has developed a cult following in Bristol, and the sold-out show on Monday evening reaffirmed my growing attachment to the genre.
The evening opened with the young support band Wyatt, who travelled down from Manchester to have the opportunity to join Freeman. They had a raw, captivating sound, delivering the perfect introduction for Freeman with a similar mix of controlled chaos and slow alt-country rock. The quartet, made up of brothers Harvey and Evan O’Toole, drummer Joe War, and trumpeter Emily Mason, has yet to release its first album. I made sure I picked up their free CD on the way out, as they are definitely a band I will be looking out for!
Freeman opened his set with his new single ‘Indu’, delivering a punchy and emotive start. ‘Indu’ is taken from his upcoming album All Set The Bone, out on 2 October 2026. Freeman said this upcoming album will bring a lot of change, reflecting his move from his long-term home in Burlington to the big city of Chicago. An album fans of alternative country will be excited for.
He then launched into his well-known singles from I Looked Out. ‘Long Distance Driver,’ with its slow melancholic grit, showed Freeman’s versatility. The style can be compared to that of Jason Molina’s minimalist, confessional songwriting. This song’s lyrics of “I just want you to smile” or the “press me to your head/we can lose the miles” felt deeply personal. The tempo shifted slightly with the crowd-favourite ‘Come and Change My Body,’ which truly showed Freeman’s infectious yearning with his gritty, high-pitched voice attached to a driving beat.
Despite the intimate nature of these opening songs, the confident hecklers seemed determined to make themselves heard at the most awkward moments. Though it was slightly annoying and overbearing, Freeman handled it perfectly, responding with a surprisingly soft-spoken calm – very different from his head-banging guitar medleys.
The momentum then shifted into a defiant post-punk energy with ‘Colorado’ and ‘Point and Shoot.’ These songs saw some of Freeman’s defiant lyrics with the crescendos of distorted guitar, which created a cacophony that had the squeezed crowd bobbing their heads in appreciation of the percussive surges. This rock swagger was more apparent in the songs from his sophomore album Burnover – such as ‘Salesman’ and ‘Curtain.’
A favourite of mine of the night was one of the concluding songs, ‘Rome, New York.’ It reminded me of some of my indie rock favourites – such as Modest Mouse and Guided by Voices. Freeman’s unique voice struck the perfect balance between his personal lyricism and his adventurous blend of the indie-rock sound.
Freeman’s performance showed exactly why his reputation continues to grow within the alt-country rock genre. His effortless singular sound, which moves between melancholic Americana, abrasive indie rock and moments of post-punk swagger, proved he to be as compelling live as he is on his first two records. I left The Louisiana with a renewed attachment to his music, and, more importantly, a genuine excitement for his new album. If Monday night was anything to go by, Freeman’s new release will hopefully be his most ambitious yet.
Max Adams
