Alex G live at Brooklyn Steel: Concert Review

Written by Andrea Cacho, Photography by Chris Maggio

With a plain, scrunched up sweater and a big ol’ keyboard, Alex G took over New York’s Brooklyn Steel the weekend of November 10th. On tour for his most recent album God Save the Animals, the singer-songwriter sold out three nights in a row. Upcoming dream pop artist Hatchie opened for him, sporting a glittery guitar, soft vocals, and slick 80’s synths. 

Alex took the stage about twenty minutes after her set. The lights were shiny and red. Fans screamed. The person next to me teared up. Alex casually waved to the crowd and started off with the staple “S.D.O.S,” which is probably the most sound heavy track off the album. The piano was exceedingly melodic; the guiro was constant; the drums were tucked in the back; the auto tuned vocals were crazy. The crowd was young, but few were recording - which was to say the least, very unique. They all knew the lyrics. “Jesus is my lawyeeeeeeer,” they sang along.

Up next was “Runner,” which has a sticky guitar rhythm to it. Alex showed off his vocals, hitting each note just like in the studio version - even the screech. “He can do country too!” A fan yelled. He then played “Hope” off his 2019 album, House of Sugar. Alex would turn his back on the audience. “No Bitterness” and the classics “After Ur Gone,” and “Judge” played back to back. Fans even moshed for the hyperpop-esque ending of “No Bitterness.” His girlfriend played the violin on “Judge.” 

The lights went insanely bright and colorful for “Ain’t It Easy.” Hailed as one of the most lyrically powerful songs on God Save the Animals, hearing it live felt therapeutic. Nonetheless, Alex’s vocals did break a bit here. He struggled to reach the upper range of the track. Yet, no one cared. The acoustic “Mission” and “Kicker” possessed the audience. But, there was nothing like “Brick” off his sixth studio album Rocket. “Brick” turned the show into a sort of metal punk performance, with fans jumping and hitting each other. It was an exorcism. The lights intensely blinked between white and red. Powerful echoes and moans groaned through Brooklyn Steel’s speakers. “Horse” also followed this same mood, less metal and more indie dissonant - very bass heavy. 

“Blessing” followed, along with some wonky guitar chords. Alex played no instruments on this track - he walked and joked around with his guitarist. The sound was crisp and whispery. In “Immunity” he sat down again at the keyboard and brought back the autotune. His drummer was incredibly into it: his curls would bop up and down. He basically played the rest of the album right after, featuring “Early Morning Waiting,” “After All,” and “Cross the Sea” (even though he cut the latter short). The popular “Gretel” was wacky and beautiful. Couples swayed. Some kids tried doing the flashlight iPhone trick, but no one followed. All eyes were on the stage. 

The band and Alex went full acoustic near the end with “Miracles” and the finisher “Forgive,” following the exact order of the album’s B side. The end was intimate and pure, giving a glimpse as to how it felt to record the album in the first place. He played all of the songs from God Save the Animals, except for “Headroom Piano.” “Forgive” wasn’t the definite end, though. “Life is a Highway” by the Rascal Flatts took over the room right after the last song. This served as an intermission before Alex’s six song encore. He took requests from the audience. He laughed. He jammed out. He had a nice time.