The Wesleys + Prism Shores + Absolute Losers Win at Casa del Popolo

‘Does Casa del Popolo have a generator?’. ‘Does it have A/C?’. These were notions that certainly went through spectators’ minds as they ran into the venerable show bar during a fierce electrical storm that left parts of the city in a blackout. At thirty degrees plus humidity, Casa’s ventilation would be put to the test, hosting three indie rock outfits whose high energy would push the system to its limit. It was worth it.

With roughly 40 to 50 people in attendance, there was enough room to comfortably pick a spot while holding much-needed liquid refreshment as Montreal garage-pop band The Wesleys took to the stage shortly after 9pm. Hot off the release of their self-titled debut album in March, The Wesleys took no time immersing the crowd in their brand of freshly vintage indie rock. Keeping banter to a minimum, the quartet set an impressive precedent, with a capable drum and rhythm section that served as an anchor, allowing room for riffing and harmonies associated with classic DIY surf and punk styles. Casa del Popolo’s unique - albeit restricting - stage usually means bands have to be creative with their presentation, which may have been why bass player Quentin Chisholm was positioned firmly front and centre, though it seemed in keeping with the band’s collaborative spirit, sharing in vocal responsibilities and otherwise free-handing musical duties, a through line that would be prevalent with the following acts.

Charlottetown, PEI’s Absolute Losers came next, lauding The Wesleys while referring to them as a ‘real rock n’ roll’ band. Yet the trio of brothers Sam and Josh Langille, along with drummer/vocalist Daniel Hartinger brought their own spirit of crushing indie pop to the stage, standing firm in their own rock essence while delivering effortless power hooks, mostly from their latest release, At the Mall. Though Absolute Losers’ unassuming and proficiently tight set may have run counterpoint to their looser, flashier predecessors thatevening, they proved to be terrific ambassadors of the rock n’ roll tradition as well, with Sam Langille pushing his glasses back onto the bridge of his nose with the microphone after jostling and bobbing through half their performance – as rock n’ roll a move as I can remember. Drummer Hartinger unassumingly served as the bands’ fastener, adeptly pulverizing his kit while contributing to splendid harmonies, key to the bands’ overall energy and sound.

By the time Montreal-via-Charlottetown contemporaries Prism Shores hit the stage, it was apparent that the crowd had begun to wane, with body heat catching up to the venue’s overworked ventilation system along with a 10:30 start time on a Wednesday evening. Thankfully, the headliners pushed through, working to keep their audience enlivened with songs from their well-received 2022 record Inside My Diving Bell as well as new music from a forthcoming album this year. Apart from a brief technical issue to address a frenetic G string, the band deftly traversed from their signature sonic evocations to an edgier, urgent sound (potentially due to a lack of space for a keyboard), which served as an irresistibly alchemic soundscape complimenting the two previous acts. Guitarist Jack Mackenzie and bassist Ben Goss divided the burden of vocal duties on songs like “Tennis Shoes” and “Acrobat,” buckling down under quickly rising temperatures, no doubt due to the combination of lighting and moving bodies appreciating the high-energy set.

With a trifecta of up-and-coming Canadian talent, the evening proved to be a rewarding showcase for a crowd seemingly satisfied with what they witnessed; an unadulterated, melody-driven mixed bag of styles indicating that what’s old is new and that ‘real’ rock n’ roll is alive and well, even in the dog days of May.