Critics of Geese’s SNL performance should relax
People need to relax if they hated Geese’s performance on SNL. The popular band of 2025 performed “Trinidad” and “Au Pays du Cocaine” on Saturday night, and now critics are comparing them to Fear’s 1981 show. Social media users from older generations are quick to deem Geese’s appearance one of the worst in SNL’s 51-year history. Music critic Bob Lefsetz’s email contradicts the positive press coverage, suggesting that Geese’s popularity might not be as widespread as believed. However, Geese boasts over 2 million monthly Spotify listeners, sold out their recent US tour, and performed on one of the longest-running TV shows. Despite mixed reviews from rock magazines, Geese is far from an unknown band requiring promotion.
Many SNL viewers did not appreciate Geese’s performance, labeling the band as terrible and suggesting they were forced onto the show due to their alleged lack of talent. Some even went as far as comparing them to AI-generated music or expressing a preference for different artists. Despite negative reactions, Geese’s show was relatively tame compared to past SNL musical acts that caused controversy. Fear’s destructive performance in 1981 and other bizarre incidents prove that SNL has a history of hosting outlandish musical acts. Geese’s performance may not have been groundbreaking, but the reaction it received was disproportionate to their actual show.
The criticism directed at Geese is nothing new, as every generation tends to reject emerging musicians. This pattern of dismissing new artists is a recurring theme driven by generational divides. Regardless of the backlash, outlets like Paste have championed Geese, recognizing their artistic merit and cultural relevance. Geese’s music resonates with younger audiences, capturing the essence of the current cultural moment. While they may not save rock and roll for everyone, their impact on a particular demographic is undeniable. Ultimately, future generations will determine Geese’s legacy in the music industry, reflecting the cyclical nature of music criticism and the evolving tastes of audiences over time.