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Slow Pulp’s Contemplative Shoegaze Grunge Fills Bar Le Ritz
Slow Pulp is a dreamy Chicago-based band that formed in elementary school as a trio between guitarist Henry Stoehr, bass player Alexander Leeds, and drummer Theodore Mathews, before Emily Massey joined the band as their vocalist in 2017. Yard, their second full-length LP, was just released in September 2023. The band’s use of unconventional instrumentation alongside mellow shoegaze and moody grunge textures is part of the band’s appeal — with violin on their hit track “Falling Apart,” and slide guitar, harmonica and banjo ornamenting their new song “Broadview.” Throw in fun, catchy melodies and comfortingly intimate lyrics that make it feel like your best friend is singing in your ear, and you’ve got a musical act that’s easy to fall in love with.
It was evident on Monday, November 6th, at their show at Bar Le Ritz PDB, that this was the case. Their down-to-earth, relaxed performance style was perfectly suited for the rainy weather. Yet the room still buzzed with excitement and eagerly filled in the lyrics to their most popular songs anytime that Massey asked. In live performance, Slow Pulp’s music had a more stripped-down quality that had me missing some of the album’s fun vocal effects, like the vocal looping in the intro for “Slugs.” However, the sparseness also made ballads like “New Horse” somehow more gorgeous than they already were. Regardless, the core energy of each song was still translated well on stage and it was satisfying to get to hear all these songs that I’ve been obsessed with live.
As the show went on, the band seemed to grow a little less shy and halfway through the set Massey started to regularly chat with the crowd, asking funny questions like “Anybody got a crush in the crowd tonight?” and “Is anyone on their period right now?” before launching into the track “Cramps.” After declaring that Vancouver did a hell of a job singing the verses to “High” last month, the crowd chanted it so ferociously that the band was visibly in awe and Massey declared that Montreal had won the singing competition. Seeing how Slow Pulp opened up more with the audience as the night went on, I would love to see how much more mobile and comfortable on stage the band will become with their next tour! The music was crisp and Massey’s breathy, introspective voice was just as emotionally moving as on their albums. With Slow Pulp’s latest release heading in a more bright, high-energy direction, I’m looking forward to how that will influence them to continue to take bigger risks with their stage presence.
Fuming Mouth’s Mark Whelan on Touring in Canada and Last Day of Sun
“Halloween is fucking over!” screamed Fuming Mouth frontman Mark Whelan as he threw a plush Jack Skellington doll onto the stage floor. While the singer/guitarist shouldn’t need an excuse to curb-stomp Halloween decorations that overstay their welcome, the Nov. 3 concert at Foufounes Électriques marks a new era for the group with the release of their sophomore album Last Day of Sun.
I saw the Milford, Massachusetts death/crust act play their first show in Montreal back in 2019. It was the archetypal DIY gig – 50 people packed into the very well-lit basement of a clothing store; raucous noise elevating fans swinging from the rafters above. Four years later, Fuming Mouth have molted into a new beast – breaking in Foufs’ new Cabaret stage in style (this time there were 100 people there to see them).
Fuming Mouth are currently on the first leg of their North American tour with Final Gasp and Devil Master, burning through 25 cities in 34 days. Despite running larger numbers these days, the band still plays a lot off the cuff. “It’s day four and we’ve changed our setlist three times,” Whelan said with a chuckle. “Last Day of Sun came out today but I wanted to play some songs off The Grand Descent, and it just felt lame next to a song like ‘Out of Time.’” Although still fierce as ever, Whelan works in some melodic Katatonia-esque clean singing on Fuming Mouth’s new record, marking a more mature sound since their 2013 demo. “A lot of our music has just been slamming you against the wall. [...] I think this album having dynamics, no matter how slight they might be, really just gives that impression about how there’s different things going on in the live set now.”
Those singing parts are a real palate cleanser. When the frontman isn’t tuning into his engaging yet punkishly-monotone clean singing voice, he’s bombarding the audience with hellish screams while his eyes widen like some kind of possessed guitar-slinging demon (Last Day of Sun was recorded in Salem, Massachusetts). The stage persona pairs well with the band’s style, cranking out breakdown riffs in a true wall of sound. “It’s my one moment of letting loose and going crazy and just being very aggressive.”
Whelan’s stage energy became infinitely more impressive when he told me about his recent health issues. “I had cancer two years ago, and I did not know.” The 33-year-old frontman was diagnosed with Acute Myeloid Leukemia, which required a bone marrow transplant to be treated – a procedure Whelan made sound metal as hell. “They basically make it so you have no blood in your body and you’re kinda just like a skeleton, and they put new blood in you.”
“Kill the Disease” off Last Day of Sun touches on Whelan’s battle with cancer, featuring the lyrics “Fear can’t stop me now. I must persevere through all of this sickness. Plague, famine, cancer can’t kill me.” But in a cruel twist of fate, the song was more of a foreshadowing. “I did write the record before I got diagnosed,” Whelan said. “It was supposed to be fictional. And then it kinda just became real where it was the last day of sun, I literally couldn’t go outside because it would reactivate the cancer. [...] I could go out at night and be a vampire, but that’s about it.”
Whelan expressed gratitude for his treatment’s success, enough so that he’s back terrorizing audiences on stage, especially up here in Canada. “I love being able to play shows in cities like this,” he said after raving about the iconic Foufounes Électriques, given the venue’s early role in alt/punk history, hosting hallmark bands like Nirvana and Green Day before their respective pop culture explosions. “That’s the cool thing about Montreal, so many great venues have survived, and there’s a lot across the world that haven’t.”
Last Day of Sun is out now on Nuclear Blast. Make sure to check Fuming Mouth’s tour schedule so you don’t miss out on a date near you.
Dope Lemon at L’Olympia: Pure Psychosis
What is it that is captured by the pseudonym of Dope Lemon? For one, it is a psychedelic experience orchestrated by Australian singer-songwriter, Angus Stone. Listeners might as well gear up with their bell bottoms and a tightly rolled joint, as Stone’s music very much mimics the sensations of lying in the beating sun at late-1960s Woodstock. The strong folk and indie influences from Stone’s earlier musical duo, alongside sister Julia Stone, carry through into his newest project, Dope Lemon. Dope Lemon was established as Stone’s new artistic front in 2016. With the desire to explore a more rhythmic and upbeat style of music, the vocal production fluctuates between soft-sung lyrics and instances of recitative, similar to spoken-word, style of voice. Stone’s investment in creating Dope Lemon has re-introduced audiences to the 70s pop-rock age.
This past Monday, November 1st, Dope Lemon and brilliant touring musicians Leigh Fisher, Louis King, Brad Heald and JP Dominique stunned Montreal’s L’Olympia crowd. The late thirty-year-old grooved effortlessly on stage, jamming alongside bandmates, and raising screams when tilting his hat to the audience. His electric energy had everybody watching convinced he had not aged since his twenties. During the band’s performance of “Hey You,” the leading track off of their Smooth Big Cat record, Stone’s distorted megaphone vocals cut smoothly against the shakers and eclectic bongo beat. Audience members moved their hips sensually and swayed to the burlesque ambiance, not stopping during King’s gritty guitar solo.
Attracting a diverse range of concertgoers, Dope Lemon’s intricate sound ruminated the venue. During “Just You & Me” from Stone’s newly released work, Kimosabé, it became clear that this music thrives for both those who wish to be taken back to the times of Flower Power and Gen-Z, looking for easy listening. The band’s live performance of “Just You & Me” encapsulated the much-needed break from the burdens of the outside world, providing tranquillity at its finest.
A much-needed spotlight should be used to credit lighting and effects designers of the tour. From a classic strobe to the detailed backdrops projecting a visual for each story sung by Stone, Dope Lemon’s artistry was able to flourish beyond sound.
There was an otherworldly sensation to the show. Audience members were taken on a psychedelic trip through time, space, and reality. An eclectic compilation of instruments highlighted Stone’s creativity in composition, and exposed audience members of all ages to music reflecting the work of greats. Elements of Fleetwood Mac, Led Zepplin and The Rolling Stones were heard throughout the evening. Dope Lemon’s performance was truly a concert for everyone.
Psychedelic Fractals Dance Above Heads in SAT’s Dome
Alien landscapes mutating into castles of crystals melting into the internal structures of snowflakes, all twirling and collapsing in on themselves, this is the immersive experience of Recombination, the mathematical artist Julius Horsthuis’ fractal-created VFX work.
Montreal’s Société des Arts Technologiques’ (SAT) Satosphere domed projection room presented Horsthuis’s computer-generated psychedelic experience for an audience reclining below on ergonomic bean bag chairs. Horsthuis collaborated with nine of his favourite musicians to produce an hour-long show consisting of nine different ‘songs’, each with distinct fractal patterning and musical compositions ranging from classical orchestras to borderline electronic club tracks. Horsthuis differentiates himself from traditional understandings of art creation and imagination, claiming the worlds he creates are not designed. It is not a journey from his imagination or experiences, but developed from mathematical realities, which he explores and “makes them reveal themselves” as if he were a director or a photographer.
A large question looming between myself and the transfixing dome above me is, simple in words but complicated to grasp, what is a fractal? Going into this experience, I knew it had something to do with math and connected nature’s talent for pattern creation to the ten-hour-long audio visualization videos popular on YouTube. I was partially expecting a professor and a chalkboard to start the show off with fanciful equations. Unfortunately, there was no explanatory introduction for the simpletons in the audience, just an hour straight of psychedelic shapes and patterns moving around in rainbows of colours, leaving me confused and slightly sedated.
A handful of searches and math class recordings later, I feel partially confident in defining fractals. They are infinitely reproducing patterns produced by lengthy equations with numerical placeholders and font-decreased numbers attached above and below variables. Yeah, I was never popular in math class. These equations produce funky graphs of spiky-looking patterns that you can infinitely zoom into and they will continuously repeat the same geometric pattern as defined by the inputted equation.
This connects to nature via naturally occurring repeating patterns, like broccoli. If you look closely at a broccoli stem, the pattern of branching stems repeats themselves, perhaps not infinitely, but still similar to a fractal. Some mathematical philosophers ponder the whole universe is a fractal, you can see this sentiment reflected in the patterning of rotating galaxies, spiralling snail shells, and branching river systems.
Understanding this, I have a new appreciation for Julius Horsthuis’ fractal creation, by taking empty equations and altering the variables, rates of repetition, colouring, and scale, he is able to create infinitely swirling colourful patterns that would certainly give me vertigo if I was standing. The resulting projections, created by mathematical computing, eerily reflect blood cells in a vein, neon-coloured neurons firing, Star Wars-like landscapes, and floating moss balls, ever mirroring itself and continuing unfolding. At times, it felt like my bean bag chair was in the backseat of a spaceship exploring an alien planet, diving into its cavernous systems of tunnels, or swirling around open space, forever flying into floating multicoloured triangles.
My experience under the dome validates Horsthuis’ intention of sparking the “flames of imagination” of the viewers, encouraging them to develop their own spiritual meanings of his secular equation directing. He states that the essence of the beauty in his work reflects the “intricate dance of numbers and patterns that govern our world.” The viewer must understand that math is not as far removed from the natural world as it may feel in high school math class. Mathematics is just another lens one can put on to further question and learn from the realities that surround us, fractals play a big part in that.
Laufey Bewitches Theatre Beanfield
Laufey's Bewitching tour truly is representative of its name. The 24-year-old is currently the most streamed jazz musician on Spotify. She holds inspiration from Ella Fitzgerald, Billie Holiday, Oscar Peterson, and Taylor Swift. Saturday, October 28th, the Icelandic singer took the stage to perform her latest album Bewitched at Theatre Beanfield.
The night started with the opener, Adam Melchor, an indie artist, singing “Somewhere Over the Rainbow.” He demonstrated impressive vocal riffs and guitar playing. The artist’s stage presence was impeccable as he had the ability to keep an audience entertained with introspective rants and self-deprecating humour, notably telling stories of his childhood and an ex’s car hitting a tree. His lyrics held the same power of beautifully juxtaposing humour and vulnerability.
Once Laufey came on, I finally understood why people love jazz so much, as she serenaded the crowd like a princess singing to animals in the forest. She meticulously enchanted everyone with her beautiful voice and diary-inspired lyrics. The singer-songwriter writes on matters of the heart, such as secret longing, hopeful endeavours, and remorse. The crowd was the loudest for the song “From the Start,” singing and sometimes screaming along to her hopeful and hopeless lyrics about having a crush on a friend who doesn’t feel the same way. Laufey showed great musical skill in jazz, classical and pop music, with her ability to switch between three guitars, the cello, and the piano at any given moment. Her theatrical facial expressions and dancing made it feel like we were all listening to her tell stories, like a group of old friends.
Laufey often interacted with the audience by replying to the people who screamed out, laughing with the crowd, and speaking of her hopes and fears, anything that led her to write and create such poetry.
At the end of the night, she performed a one-off surprise song, “Dance With You Tonight,” which she explained would only be performed in Montreal. Laufey made me want to fall in love, cry, and rewatch all my favourite childhood fairy tales. Finally, she gave me a deeper appreciation for jazz.
Genesis Owusu @ Le Studio TD
How do you one-up yourself after a theatrical live debut, a sold-out orchestral show in Sydney, and an opening slot for Paramore? If you’re Genesis Owusu, you don’t. You reset, you go back to basics, proving your talent in a singular vision only an artist of your calibre can provide. On October 18, Montreal had the privilege of catching the genre-defying artist live on the STRUGGLER tour, supporting his acclaimed sophomore album of the same name.
When walking into Le Studio TD, I found myself greeted by loud noises spilling out from beyond the doors, which turned out to be the opening act Godly The Ruler, who was giving it their all. Supported by a simple backing band (a single guitarist and drummer), the experimental rocker’s passion was palpable. Heavy electronic beats filled the space along with a receptive crowd cheering them on throughout. Perhaps their performance could be summarised by how it ended: a thanks to the crowd with distortion overtaking the vocals, sincerity coming through the noise.
It didn't take long for Genesis Owusu to take to the stage, starting his set with STRUGGLER’s lead single “Leaving The Light.” Right before the explosive chorus, he took off the front cover of a large rectangular prism, revealing three pairs of vertical light panels with a projector on top behind glass. The pulsating strobe lights matched his commanding vocals on display as he yelled about a roach trying to escape from god (the main story of STRUGGLER). In previous tours, Owusu performed with The Goons, mutuals of his that punctuated his shows with energy, not by playing instruments but simply wilding out alongside him. Now he is on his own, forcing the audience to stare front and center. If anyone thought this show was going to be anything except for a raw display of talent, they were immediately proven wrong
The heavy bangers in his discography such as “Stay Blessed” allowed for intense moments of authority, keeping the audience locked in as he belted out lyrics and struck poses. Balancing out the tracklist was an equal amount of slow tunes, such as “Waitin’ On Ya.” In these slower moments, Owusu could relax his energy and focus on delivering some impressively sweet melodies. Between groups of songs, pre-recorded narration acted as a replacement for the usual concert chit-chat, increasing the thematics of the show. I found it challenging to dissect what each section was talking about, but the commitment to keeping the flow maintained was appreciated. Owusu also enjoyed toying with the crowd, sprinkling a dose of fun throughout the show that kept the audience engaged.
Genesis Owusu had the odds stacked against him. A purely solo show with no backing band and only minimal use of visuals needs a truly standout star to bring it all together. Going into the concert, I have to admit I had my doubts that he would be able to pull it off. But not only did the STRUGGLER tour prove Genesis Owusu’s music as modern classics in the making, but cemented Genesis Owusu himself as a star; one capable of tackling the momentous task of having a solo show go toe to toe with an orchestrated performance. Never have I felt so comfortable betting on a roach in a fight with god.
POP Montreal 2023: In Review
POP Montreal took over the city’s Plateau district from September 27th through October 1st, 2023. Oh, those halcyon days of two weeks ago, the nights were warmer, the world was maybe just a little bit less screwed up and the sound of music spilled out onto the sidewalks of our fair city.
While the bigger name shows like Martyn Bootyspoon and Islands might have drawn larger crowds, all the cool people could be found on Saint Laurent Boulevard at Casa Del Popolo. Even CJLO’s own unflappable host of Hooked on Sonics, Omar Sonics, was hanging out for the evening of music that featured Avec Plaisir and Barnacle. Alt-rockers Bonnie Trash were also on the schedule but, unfortunately, one of the band members caught the Covid blues, forcing the cancellation of the show. Because of this, the two bands left standing Avec Plaisir and Barnacle hit the stage a bit later than expected. Fortunately, those in attendance hardly blinked an eye and the shows went on without missing a beat.
Avec Plaisir, a self-described indie punk quartet that consists of Sam Winsor and Sébastien Vézina on guitar and vocals, Julien Besner on bass and vocals and Maxime Verreault on drums. Their debut album, released in 2022 was simply titled, An Album and that laid-back attitude was quite apparent during their forty-five minute or so set that included songs from said album, like “Jarry St.” and “Jeep Cherokee Influencer.” The band tried to get the audience involved in an old-school circle dance adding a bit of oomph to the evening, to which Avec Plaisir took it up a notch adding a bit more reverb and energy.
When Barnacle took the stage, the small venue had filled up and a buzz of the first night of Pop Fest excitement filled the air. Led by the strong vocals of lead singer Sam Cummins, Zack Bruce on guitar, the steady beat of drummer Raph Sandler and the pounding bass provided by Allison O’Reilly on songs like “Uncle Chucky” and “Sunblock,” one could not help but to shake about.
Day two of POP Montreal saw Club L’Esco host the album launch of Montreal singer-songwriter Sasha Cay's latest album, Spin. Alphonse Bisaillon kicked off the evening with a solo endeavour of him and his keyboard that entranced the appreciative and abnormally quiet audience with his pop melodies and quirky storytelling. Up next was Montreal music producer Sam Woywitka’s latest project SAMWOY. A band that denies explanation preferring to let the listener join them on their sonic journey.
Unlike the quiet and attentive audience during Alphonse Bisaillon’s set, the audience during Sasha Cay’s set was the chattiest I had been around in quite a long time. No matter where I wandered in the small venue people seemed more interested in catching up with their mates than what was happening on stage. The low volume of the vocals on songs like “Shadowboxing” and “Blackfly” certainly did not help matters. The sound did get turned up three-quarters through the show which seemed to help drone out all the incessant chatter. Closing out the evening was the Montreal post-punk band Sunforger.
The third day of the POP Festival, Friday, was Rhythm and Blues night at the Rialto Theater. Caribbean-Canadian artist Janette King’s fusion of R&B and house had the Rialto audience dancing in their seats. After the up-and-coming artist Janet King, came the four-time Grammy-nominated, who as a teenager toured with Sam Cooke and Mahalia Jackson, Candi Staton. Her mash-up of “Stand By Me” and “Stand By Your Man” stood out as well as a couple of songs made popular by Elvis Presley, “In The Ghetto” and “Suspicious Minds.”
Taking a break from the music, POP Montreal welcomed presidential candidate Dr. Cornell West Saturday night. Speaking at a packed Rialto Theater Dr. West discussed society's spiritual decay and the virtues of love and John Coltrane. Right next door at the Rialto Hall CJLO was presenting a duo of performers. Singer-songwriter Hiroki Tanaka and Los Angeles-based Hand Habits.
All week the festival was graced with beautiful fall weather and the final day, Sunday was no different. One of the few outdoor venues, Entrepôt77 was hosting a band I was looking forward to checking out. Unfortunately, the mid-afternoon start time might have been a bit early for some as the turnout for Balaklava Blues was quite disappointing. Like really disappointing, I'm pretty sure I could have taken a head count with my fingers and toes. The professionals that they are, they played as if the Big O was filled with adoring fans as their set closed to a climatic rendition of “Shelter Our Sky” and “Let Me Out.” Towards the evening the venue filled up for the hip hop artists El Mega S.P.R.M and Gayance. Over at the Rialto Theater folk artists Beyries and Bonnie “Prince” Billy played to a full house. Both solo performers had no trouble commanding the attention of the audience. A fitting end to the festival was the encore when Bonnie “Prince” Billy played a cover of Sinéad O’Connor’s “Queen of Denmark.”
Spread over five days, POP Montreal is a marathon of musical mayhem and I’m sure there was much that I missed while I was seeing other bands. In the end, the twenty-second edition of POP Montreal will be remembered when people say, “remember when we saw (insert favourite band here) in that tiny hole-in-the-wall bar.”
Clifton Hanger hosts Brave New Jams, every Saturday 10-midnight on CJLO.
Nick Cave Delivers a Moving Performance in Montreal
Australian singer-songwriter Nick Cave played to a sold out crowd at the Sir Wilfred Pelletier theatre this past Thursday, putting an acoustic spin on his diverse repetoire.
Cave’s career has had an interesting arc since his debut with The Birthday Party in the late 1970s. During this experimental period, the frontman made a name for himself by putting on wild and violent performances, prowling around the stage menacingly alongside the band’s dissonant grooves. In the early ‘80s, the artist moved to Europe and founded Nick Cave and the Bad Seeds, which has seen him mature into one of the most talented and immersive songwriters of all time - crafting heavy and emotional music with an undoubtedly unique sound.
“We’re going to try to get to the very essence of what these songs might be about,” Cave said while settling into his seat at a piano centre-stage, as the crowd’s warm applause came to a close. Joined by bassist Colin Greenwood of Radiohead fame, the two opened with “Girl in Amber,” setting a precedent for the night as Cave’s somber yet powerful voice filled the auditorium. Better-known songs like “Jesus of the Moon” and “O Children” also made early appearances in the set, which translated well acousticly - Cave’s rapturous keys blending well with Greenwood’s bass.
The setlist was quite varied, producing moments ranging from slow and emotional, to upbeat and engaging. In “I Need You,” Cave concluded the somber ode to a lost love by agonizingly repeating the line “just breathe, just breathe, just breathe” over and over again in one breath over the course of a full minute, his last uttering of the phrase coming out in a throaty whisper as tension filled the room. Louder moments were also sprinkled throughout the show, notably in “Papa Won’t Leave You, Henry,” with the crowd clapping along to Cave’s powerful delivery of the eponymous chorus.
The emotional heaviness of Cave’s music would have been draining to listen to for a whole concert, but his surprisingly comical personality did well to break the tension. During “Balcony Man,” Cave urged everyone in balcony seating to scream as loud as they could whenever the word “balcony” came up in the song. Cave sung the opening line with a smirk: “I’m the motherfucking balcony man!” - spawning an ear shattering rapture from the seats above. After listening to this call-and-response for a few minutes, the repressed floor crowd emitted a few chirps, complaining about having to sit in silence below the party above. “What a polarized society we have,” Cave mocked.
The concert’s more intimate setup also undoubtedly encouraged some song requests from the audience. “Nobody’s Baby” was one name that caught Cave from the crowd. “Okay this is for that man. That deep-voiced man,” Cave said, chuckling along with the audience.
Acoustic shows can be hit or miss, depening on the performer and how well their music translates to a more stripped down sound. Cave’s solo concert was definitely a hit, seamlessly blending songs from his wandering catalogue into a fantastic performance, all while cracking a few jokes in between. The artist’s North American tour closes on Oct. 29 after three back-to-back nights in Los Angeles.
Violent Femmes Deliver Angst and Excitement to MTELUS
October 12th, 2023 was a time capsule to teenage angst for the band, Violent Femmes, at the 40th-anniversary tour of their self-titled debut album at MTELUS.
This Folk Punk Band from Milwaukee, Wisconsin found critical acclaim in 1983, when this first record, filled with youthful yearning and anger, was released. The tracks, written by Gordon Gano, the lead singer and guitarist, at the young age of 18, explore themes of sexual expression, anger, love, lust, and wanting your dad to lend you his car.
The concert started with a Canadian folk act, Kevin Hearn, of the Barenaked Ladies. Hearn played joyful songs with an air of melodic pop but used gory metaphors that could be humorous, creating an enthralling honest vulnerability to his lyrics.
Once Violent Femmes came on stage the crowd came alive. The whole night was filled with an energy of bliss and electric liveliness with cheering voices and dancing. The band played their debut record from start to end, thus, starting the night with their biggest hit, “Blister in the Sun.” This, however, didn’t make the night any less enjoyable as it filled the audience with excitement. All the songs sounded as they did on the recording, truly bringing the crowd back to their youths.
Throughout the night the band used a myriad of instruments sometimes in peculiar ways, like playing the violin like a ukulele and using a barbecue as a drum. This was incredibly impressive and mesmerizing as the audience could see the pure passion expressed by the musician’s level of technical skill and talent that was needed to create this iconic first album. It appeared like each musician was communicating with each other through their instruments as well as personally to the audience. The band played some songs from their other albums, ending the night with their song “American Music” as an encore. The small venue, remarkable bass solos, and use of wind instruments made the night unforgettable and awe-inducing.
Rightfully so a fan favourite, The Violent Femmes debut album is the perfect soundtrack to soothe the bittersweet ache of growing up. I dutifully recommend it to any student going through the stress of starting university in a new atmosphere with new people.
Devendra Banhart Brings the Groove to Theatre Beanfield
Venezuelan-American indie icon Devendra Banhart stopped by Montreal’s Theatre Beanfield on October 7th with his Flying Wig tour, showcasing his newfound dark and synth-filled sound.
First, Montreal’s own Le Ren took the stage as the opening act. The singer-songwriter was accompanied by multi-instrumentalist Fez Gielen. With Le Ren on guitar and Gielen strumming on a dulcimer, the two played half an hour of intimate and pretty folk tunes. One highlight was the song “Dyan”, which Le Ren explained was dedicated to her mother. Another particularly lovely moment was Le Ren’s cover of Townes Van Zandt’s “Colorado Girl”, which she sang as a harmonized duet with Gielen. The two had undeniable on-stage chemistry, cracking little dry jokes at each other throughout their set, while remaining always musically connected.
After a short intermission, Devendra Banhart entered the stage. He was dressed in a slinky black dress, accompanied by his four-piece band. The theatre went from about half-full to tightly packed in the pit area, with people additionally lined up across the several tiered ledges behind the pit. Banhart kicked off his set with “Twin” off his brand-new album Flying Wig. This darkly groovy track had the audience melodically swaying with the beat.
Produced in collaboration with art-rock musician Cate Le Bon, Flying Wig is a radical departure from Banhart’s earlier work which often got him labelled the “king of freak-folk”, though he hates that term. His new songs largely ditch the acoustic instrumentation of his early 2000s releases in favour of synthesizers and strong percussion. While I thought Banhart’s performances of songs off this album were intensely danceable and executed with ease and sexiness, it was apparent that most of the audience was patiently waiting for his older tracks.
About halfway through his set, Banhart played one of his biggest songs, “Mi Negrita” off 2013’s Mala. The first few strums of this quirky love song had the audience erupting in applause, and they continued to sing along with the Spanish lyrics.
One highlight of Banhart’s set was the lively and satirical “Fancy Man” off his 2016 album Ape in Pink Marble. This song had Banhart parading around with wide and flowing movements, singing his chorus “'Cause I'm a fancy man” over and over as he glided across the stage.
Later, Banhart led the audience in a guided meditation, asking everyone to close their eyes and breathe out to “release all reactivity” and to embrace their “rainbow energy.” While a little hokey, this moment did allow for a much-needed pause in the show, providing a break from the higher-energy dancing and jokes of the past hour. Next, jumping back into the music, Banhart played “Fig in Leather”, a particularly upbeat and poppy song in his discography, but one the audience was certainly happy to hear.
Overall, Devendra Banhart’s show at Beanfield Theatre highlighted the artist’s unique confidence as a performer with a perfect mix of eccentricity and core musical chops.
Aviva Majerczyk is the magazine editor at CJLO 1690AM. She is also the host of The Alley, a folk-rock show airing Fridays at 11:00 AM.
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