Arkells @ Pacific Coliseum -- 02/02/19

A couple years ago (almost exactly two years ago, in fact), I talked about witnessing the journey Arkells have taken from venues like the Biltmore, all the way up to arena shows, when they played Doug Mitchell. And now this weekend they were back for another headlining arena show, this time at the Pacific Coliseum.

The Hamilton band burst onto the stage with "Relentless", an appropriate title for the entire band's energy (and work ethic) but especially singer Max Kerman, who started at a 10 and somehow barely slowed down throughout the night. And the crowd reciprocated, as "Leather Jacket" had the majority of the building singing along while Max sang on the edge of the catwalk that stretched out into the sea of people. In fact, over the course of the show every single member of the band (plus the Northern Soul Horn Section) would strut out to the tip of the stage at one point or another, for a showcase solo -- keyboardist Anthony Carone even broke out the keytar to the band's chagrin -- or the stripped down, full band performance of "Kiss Cam" as they huddled together.

Their two hour set focused on the new Rally Cry, but also hit every album, going back to their origins with "Champagne Socialist" seguing into "The Boss Is Coming" and back again, and even deep cuts requested by fans on a hotline they set up. They listened to a recorded message from an audience member (Max on the prop payphone they had onstage) before going into the rarely-played "Agent Zero".

Other highlights included huge singalongs to powerhouse hits like "11:11" and "Knocking At The Door", the darker "Come To Light", and my favourite off the new album, the Motown-infused "Eyes on the Prize". During which Max disappeared off the stage only to reappear among the crowd in the lower bowl, checking in on people around him, making sure they had the day off work tomorrow (and handing out sick notes if they didn't) before making his way back through the crowd and to the stage.

The 'main' set wrapped up with "Hand Me Downs" and bursts of confetti, leaving the crowd to sing the "ohh-oo-oohs" for an impressively long time after they left the stage (especially for a crowd that large) before they returned for a couple more.

One of my favourite things about seeing Arkells perform is what kind of covers they break out through the set and they absolutely didn't disappoint with the first song of the encore, "Dancing Queen", before capping off the night with the promise "My Heart's Always Yours".

I'm not gonna lie, I absolutely miss being able to see Arkells in smaller venues, even a Commodore-sized room. But watching them onstage at the Coliseum, it was undeniable that they belong there, and put on an as incredible a show as they always have.

Check out more of Christine’s snaps here!

setlist
Relentless
Leather Jacket
Michigan Left
Never Thought That This Would Happen
Show Me Don't Tell Me
Champagne Socialist / Oh, The Boss Is Coming!
Eyes on the Prize
American Screams
People's Champ
Kiss Cam
Only For A Moment
Come To Light
And Then Some
Agent Zero
11:11
Saturday Night
Whistleblower
Knocking At The Door
Private School
Hand Me Downs
(encore)
Dancing Queen [ABBA cover]
My Heart's Always Yours

Royal & Chersea @ Fox Cabaret -- 02/01/19

Friday night at the Fox featured a dual-release of two local artists who had recently put out new albums. Chersea was celebrating her newest release In Limbo, and Royal, with Heart of Shadows.

Opening the whole night was Emily Rowed, who I only caught the tail end of. She joked about playing a “hymn in a bar” as she went through some mellow and sultry songs. The last couple that I heard were a perfect fit as opener for the night.

Chersea was out next, joined by her full band, and showcased her new album playing it front to back (pretty much). While I've seen her playing with a full band a few times -- no longer relying on just her looping pedals -- this was the first time as a real show in a venue (as opposed to an outdoor stage), so I was looking forward to it.
Starting off with the slow-burning "Murphy's Law", songs ranged from the upbeat and frantic "Comfort You" and the insanely danceable "Chromance", to the darker and more sinister "The Wolf" or the heartbreaking "I Can't Be You". She even pulled out a cover of Patrick Watson's "Man Like You".
Jumping from keys to guitar to trumpet over the span of the set (synth player Kristy-Lee Audette also joining in on the latter for dual trumpet action) Chersea's strong voice filled the room, as she often came right up to the front of the stage with the crowd. From the first time I saw Chersea play, alone with her loop station, she always had a strong confidence onstage, but that’s just grown over the years and this was probably the best set I’ve seen her play.

And finally, Royal rounded out the night. She took the stage in a sequined red gown, complete with black elbow gloves (for the first song, anyway), and a backing band clad in black. Their look complimented the smokey and moody sound, as she began with "Kings & Queens" off the album.
With an incredible captivating stage presence, she focused on Heart of Shadows, including the dreamy "Black Beauty" and “Reminiscence”, a song that demands to be listened to in a dimly-lit bar with a glass of whiskey. And maybe also in black and white, somehow.
After a fun, jazzy cover of "It's My Party" half the band took a moment while she did some acoustic songs; a few older ones "Wild" and "City Lights", along with another cover, "California Dreaming". Her incredibly powerful voice probably being heard as far back as the street outside the venue.
The band returned as she finished off the set with some heavy emotional songs, an incredibly intense song called "The Hunter" and finished with the haunting "Rebel", inviting Chersea and Rowed up on stage to take a bow and thank everyone for coming.

I’m not quite sure how it happened, but somehow I haven’t been to see any live music this year, so even though we’re already a month in, two strong locals talents were a great was to musically kick off 2019 (for me, anyway). Their sounds both contrasted and complimented each other nicely, and I look forward to hearing more from both in the future.

Chersea setlist
Murphy's Law
Comfort You
I Can't Be You
Chromance
The Wolf
Chimera
Tongue Tied
Man Like You [Patrick Watson cover]
Crop Circles
No Waste Of Time

Royal setlist
Kings & Queens
Black Beauty
Reminisce
It's My Party [Lesley Gore cover]
Wild
City Lights
California Dreaming [The Mamas & The Papas cover]
The Hunter
Vessel
Rebel

Yukon Blonde w/ The Zolas @ Commodore -- 12/05/18

It was a cold Wednesday night when a pair of local powerhouses came home to the Commodore, on the final leg of their tour together.

Opening the night was The Zolas, kicking things off with a brand-new song -- possibly called "Transition" -- that, if not their next single, is going to be the fan-favourite-deep-cut off their next album. From there, they sprinkled in a few more new ones, including their latest banger "Bombs Away", which I don't quite think you can call an "ode" to Vancouver, and "Energy Czar" (or "Energy Song", I couldn't quite make it out) singer Zach Gray joking it was yet another post-apocalyptic song from the band.

And of course, there were old favourites for fans to sing along to; during "Ancient Mars" the crowd visibly overwhelmed the band, as Zach had to paused for a second before starting the next verse, the crowd joining in.
As the set came to an end, they clearly wanted to get in as many hits in as they could, with a medley of "Invisible" transitioning into "Strange Girl", and then "Knot In My Heart" at which point Zach split the room, half singing the latter and the other half the chorus of "Marlaina Kamikaze".

Finally, to finish off the set, Zach jumped into the crowd for a beautiful singalong to "Escape Artist", cell phone flashlights dancing above him and throughout the crowd like fireflies, before capping off the set with a bit of a cover of The Pixies' "Were Is My Mind?" and finally, the bouncy "Swooner" (literally bouncy, with the crowd jumping on the Commodore's flexible floor). 

Honestly, if that was all, that would have been a worthwhile show. But as Zach reminded us, we still had more to come!

It wasn't long after that before the familiar horns of "YMCA" filled the room and Yukon Blonde (literally) danced their way on stage, launching right in to "Too Close To Love", the lead track off their latest album Critical Hit.

Focusing mostly on the new album, they hit songs like the pulsing "Emotional Blackmail", and "Summer in July", singer Jeff Innes joking it was a song for sad people only, and half-heartedly childing people when he saw smiles in the crowd. Jeff and Brandon Scott's voices blended as flawlessly as ever, with pretty much the entire band backing them on most songs, James Younger even taking over lead vocals on the sultry "Cry".
Other highlights included one my my personal faves, the full-out rocker "Radio" that broke down into a psychedelic interlude before ramping back up, and into the insanely danceable "Saturday Night".

They brought the set to an end with some of their "Favourite People", but of course were back out a few moments later. First, for a fantastic, slightly stripped down (but not quite acoustic) version of "Loyal Man", a song that they introduced as not being able to play often. And they capped off the night in the best possible way: inviting The Zolas back out onstage for a big group singalong cover of "Handle With Care" by The Traveling Wilburys, finishing with both Zach and Jeff surfing through the crowd.

(As a small aside, as much as I'm "over" the whole encore concept, I do love it when bands do stuff like this when coming back out -- stripped down songs, fun covers, jamming with the opening band, etc -- instead of just "and now here's our hit".)

I've seen both of these bands dozens of times over the years, and this may well be the best I've seen either of them, but especially Yukon Blonde, who were firing on all cylinders.

Oh, and check out Christine's photos from the night here!

Yukon Blonde setlsit
Too Close To Love
Emotional Blackmail
Cry
Love The Way You Are
Dear Nancy
Summer in July
This is Spain
Rather Be With You
The Bluffs
Radio
Saturday Night
Feeling Digital
I Wanna Be Your Man
Favourite People
(encore)
Loyal Man
Handle With Care [The Traveling Wilburys cover]

The Zolas Setlist
Transition[?]
Molotov Girls
Bombs Away
Ancient Mars
Observatory
Get Dark
Energy Czar[?]
Freida On The Mountain
This Changes Everything
Invisible -> Strange Girl -> Knot In My Heart -> Marlaina Kamikaze
Escape Artist
Where Is My Mind? [The Pixies cover]
Swooner

Dear Rouge @ Commodore -- 11/09/18

With their brand new album Phases out earlier this year, Vancouver’s Dear Rouge returned home for one of the last stops on their album release tour, and they brought some friends along with them.

Starting off the night was Blonde Diamond, who have consistently been one of my favourite new bands in the last couple years (though this was actually my first time seeing them since they officially changed their name from Youngblood).
They kicked off with the sultry “Wildest Ride” from their latest EP Fantasy Love, singer Alexis Young stalking the stage. They played a quick set of a half dozen songs, including the dark “Better When You're Close” and “Easy Nothing” which closed their set erupting into a chaotic swirling of synths.

Modern Space was up next, their five members (save the drummer) clad in all-black, including leather jackets for each. Their set was full of catchy and upbeat indie-rock, with a good energy from the band, especially singer Sean Graham. But if I’m being honest, none of the songs really stood out, or stuck with me. Maybe they’re just one of those bands you have to be a bit more familiar with before seeing them live, because even so, they were a strong opener and definitely did a good job keeping the crowd hyped up for the night.

And finally, after the lights dimmed and some Purity Ring blasted through the ballroom, Dear Rouge arrived. Backlit by large LED light rig behind them, Danielle and Drew McTaggart’s silhouettes danced in the smoke on-stage as they started off with “Wicked Things”, the first track off the new album. From there, they reminded us how many singles they’ve had over the last few years with the next few songs, the crowd immediately singing along for “Live Through The Night” as they built the energy through songs like the soaring “Stolen Days” and the incredibly dancey “Motion”.

Part way through the set, Danielle donned a sparking fringe jacket for “Black To Gold”, flowing off her arms and sparkling like tinsel, blowing in the the fan at the front of the stage (or perhaps from her own radiance). They were also joined by surprise guest Steve Bays for vocals on “Flashes”, and after a bit of a cover of “Edge of Seventeen” led into “Little By Little”, the closed out the set with the frantic “Boys & Blondes”.

But of course, they were back for a couple more; once again getting everyone to sing and clap along, this time to “I Heard I Had”, before the moody “Chains”, and leaving everyone off with the raucous “Modern Shakedown”, a good hour+ after they first took the stage.

Dear Rouge is one of those bands that, every time I see them they seem to just get better and better. They have an excellent stage presence, especially Danielle who just radiates fun and excitement as she dances around stage, and I look forward to seeing where they go from here.

setlist
Wicked Thing
Live Through The Night
Stolen Days
Tongues
Motion
Kids Wanna Know
Wanna Wanna
The Clearing
Black To Gold
Best Look Lately
Flashes
Edge of Seventeen [Stevie Nicks cover] -> Little By Little
Boys & Blondes
(encore)
I Heard I Had
Chains
Modern Shakedown

The Protomen @ Rickshaw Theatre -- 10/05/18

If you’ve talked to me in the last week or so, there’s a good chance I’ve been spouting off how much I was looking forward to seeing The Protomen this weekend. The last (and only) time I had seen them was over three years ago, so I was eager for them to come back.
As you may have guessed from the name, the Nashville band is known for their rock operas loosely inspired by the Mega Man series, with an absolutely incredibly live show that was enough to bring me out to… let’s just say a venue that’s not quite my favourite to hear shows at.

After a couple openers I sadly missed, a man in a silver robotic mask named K.I.L.R.O.Y. took the stage to introduce the band and hype up the crowd, proclaiming The Protomen were here to fight for us, if we were here to fight for them (the audience raising their fists with a resounding ‘yes’). Everyone was already 100% into the show before the rest of the band even took the stage, let alone before they kicked off the set with “Hope Rides Alone”.
Introducing us to the year 200X, the song saw lead singer Raul Panther III donning a Proto Man-coloured helmet and arm cannon for the song, and he would later wear a similar Mega Man-inspired helmet for “The Will Of One”, to signify character changes in the narratives. Dealing with the conflict between Mega Man and the evil robots controlled by Dr. Wily (from their first, self-titled album) or the backstory of Dr. Wily and Dr. Light (the followup, Act II: Father of Death), the songs wove a narrative of a post-apocalyptic future controlled by the robots created by a madman, and how it came to be.

But, as I’ve said before, all the gimmicks in the world can’t help a band if they can’t back it up musically, and The Protomen absolutely brought it with their prog-tinged rock. The crowd chanted along as the chorus of ‘citizens’ on the powerfully emotional “Father of Death”, and “Hold Back The Night“, saw Gambler Kirkdouglas taking over vocals, her incredibly powerful voice filling the theatre.
The set also featured a couple new songs, teasing the long-awaited next chapter in the trilogy, which from the lyrics I could gleam seemed to be the triumphant return of Mega Man for a climactic battle? In any case, they seemed perfectly fitting for an epic third act to the story.

After the intensely tragic “The Fall”, they fittingly brought the main set to an end with a cover of Queen’s “The Show Must Go On”. But it was obvious they would return, as the crowd chanted PRO-TO-MEN and K.I.L.R.O.Y. came back to introduce them once more, for an encore that somehow managed to surpass the energy of the last hour, both on and off stage. First with “This City Made Us” and finally ending with “Due Vendetta”, the crowd chanting along to the various evil robots named in the song.

Both times I’ve seen them play live now, the crowd has been among the most energetic, enthusiastic, and intense crowd I’ve seen, and the band clearly feeds off that energy and redirects it tenfold. No doubt this is going to be among my favourite shows by the end of the year, and I hope it won’t be another three years until the next time.