PHOTOS: Skye Wallace, Matt Mays @ Vogue Theatre - October 23, 2019
Skye Wallace, Matt Mays
Vogue Theatre
October 23, 2019
Christine McAvoy Photography
Skye Wallace @ Vogue Theatre
Christine McAvoy Photography
Skye Wallace @ Vogue Theatre
Christine McAvoy Photography
Skye Wallace @ Vogue Theatre
Christine McAvoy Photography
Skye Wallace @ Vogue Theatre
Christine McAvoy Photography
Skye Wallace @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Skye Wallace @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Matt Mays @ Vogue Theatre
Christine McAvoy Photography
Skye Wallace, Matt Mays
Vogue Theatre
October 23, 2019
Christine McAvoy Photography
Continuing the 2019 trend of ‘put some rad bands together on the same bill’, last night was the Vancouver stop on Matt Mays current Howl At The Night tour, with Skye Wallace as support. The cross-Canada tour kicked off a few days earlier on the island, so they were still on the first leg of it as they hit the Vogue Theatre.
To start off the night, Skye Wallace came out swinging with the soaring "Always Sleep With A Knife" from her latest, self-titled album, her powerful voiced filled the theatre.
Her all-too-short set ranged from the gritty and raucous "Coal In Your Window"; to "Iced In", which saw Skye enlisting in the help of the audience to clap while she sang unaccompanied; to the darker and more personal "Midnight", introduced by mentioning a charity she was working with, CAMH, or The Centre for Addiction and Mental Health.
Throughout the set, Skye was visibly thrilled to not only be back in Vancouver, but gracing the stage of the Vogue, reminiscing about some of the shows she had seen there. And judging by the reaction of the crowd, she not only (deservedly) made at least a few new fans, but I bet there was at least one person in the audience who saw Skye and inherited her hope of one day being in her place.
Not long after, Matt Mays came out alone at first, sitting behind the "space keyboard" (as he put it) for the titular tour song "Howl At The Night". From there, he was joined one by one by members of the band, literally a new person joining each song until the full 8-piece band was onstage.
The set started with some slower or more acoustic songs, ranging from "Downtown" off his first ever release, to "The Past" from the faux soundtrack to the never-made movie …When The Angels Make Contact, and the more recent "Ola Volo", about the local Vancouver artist whose work Mays say and he immediately had to write a song about her -- "Not in a weird way", Mays joked when recounting the story about meeting the artist for the first time, after writing the song.
At about the half-way mark of the set, once everyone was onstage, they launched into "Travellin'", starting off mellow but halfway through the song, shooting out of their chairs & kicking them back, exploding into the full-on rock and roll finish to both the song, and rest of the set.
From there they cranked out bangers like "Building a Boat" and the brand new, bouncy "Let There Be Love". There was a huge sing-along for the nostalgic "City of Lakes", and the set came to a finish with one of my all-time favourite songs, an absolute emotional rollercoaster, "Terminal Romance". Mays stalked the stage, going right up to the edge (literally and figuratively), pouring everything into the heart wrenching song, and even picking up one of the spotlights at the foot of the stage, shining it into the crowd and on himself.
If they had not come back, I would have been more than satisfied with the show ending there. But of course, the encore was yet to come. When the band returned, they first wen into a fun, bluegrass version of "Tall Trees" that Mays said they started playing as a joke before it worked its way into the actual show. And then, capping off the night, Mays invited Skye Wallace and her band back out for a big group jam of "On The Hood", that included almost the entire theatre singing along as well.
I’ve always thought encores should NOT just be 'and now here’s our hit' but rather bands having fun, playing around with their songs, doing covers, jamming with the openers, that kinda thing. And this was a perfect example. In fact, my favourite live sets are always ones that build, seem to have a progression to them rather than just 'a bunch of songs', so combined with the encore, this was quite possibly the most perfectly structured set I could imagine. Starting soft and slower and acoustic, building to the big rock-shift, and finally the explosive emotional climax. That, along with Skye’s killer opening set, means this show is already taking its place among my favourites of the year.
Skye Wallace setlist
Always Sleep With A Knife
Stronghold
Mean Song 2
Scarlet Fever
Iced In
Coal in your Window
Midnight
Death of Me
There Is A Wall
Matt Mays setlist
Howl At The Night
Drive On
Dark Promises
Downtown
Ola Volo
Ain't That The Truth
The Past
Spoonful of Sugar
Travellin'
Building A Boat
Indio
Station Out of Range
City of Lakes
Take It On Faith
Let There Be Love
Terminal Romance
(encore)
Tall Trees
On The Hood
This weekend marked the inaugural Skookum Festival, taking place right in the middle of Stanley Park, with three days full of music, a great selection of bands from local to international. Something like 50,000 people were reported to have crossed through the gates to see dozens of bands play over the three days.
Click through for a recap of the entire three days, featuring The Killers, Arkells, Metric, Matt Mays, St. Vincent, Whitehorse, Dear Rouge, Mother Mother, Bahamas, Said the Whale, The Zolas, Hey Ocean!, The Matinée, Shred Kelly, Little Destroyer, AND MORE! (whew)
Read MoreDustin Bentall @ Commodore
Christine McAvoy Photography
Dustin Bentall @ Commodore
Christine McAvoy Photography
Dustin Bentall @ Commodore
Christine McAvoy Photography
Dustin Bentall @ Commodore
Christine McAvoy Photography
Dustin Bentall @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays @ Commodore
Christine McAvoy Photography
Matt Mays, and Dustin Bentall
Commodore Ballroom
January 27, 2018
Christine McAvoy Photography
It's been a couple years since Matt Mays last hit a stage in Vancouver, but with his recent album Once Upon a Hell of a Time out late last year, Mays returned to the Commodore.
Opening the night was his pal and Vancouver musician Dustin Bentall, with his dark roots-rock sound. I missed the first couple songs, arriving just as he started a cover of Lucinda Williams' "Drunken Angel" then going into some boot-stomping tunes like "Six Shooter" and "3000 Miles".
Bentall put on a strong set, and was definitely a good pairing to open the night.
Not long after, Matt Mays and his band took the stage. Starting off with "Faint of Heart" from the recent album, he played a nice mix of new and old throughout the night; from rockers like "Building a Boat" and "Indio" to more chill "Spoonful of Sugar" or "Ola Volo", a song from the new album about a local vancouver artist (who also provided the cover art for his new album).
Mays (and the whole band, really, which included his longtime friend and collaborator Adam Baldwin) were overflowing with passion, and that definitely spread into the crowd, as it was clear how much they loved to be performing. The crowd was hanging on every note, and often singing along, with songs like "Take it on Faith", or just yelling, in the case of "Travellin'".
After the ode to his hometown of Dartmouth in "City of Lakes", Mays ended the main set with a song that I would rank among my all time favourites (not just of Mays), "Terminal Romance". The crowd once more sang along with the heartwrenching lyrics as Mays poured his soul out on stage before momentarily leaving...
And of course coming back out again for another fan favourite, "On The Hood", as Mays jumped into the crowd to sing (and in an amusing moment, he ran to the backstage door to get back around to the stage... and was stopped & checked by the security dude at the door). That right there would have been enough, but they did one more encore-fakeout and came back out one last time for the old hit "Cocaine Cowgirl".
Mays has long been one of my favourite performers, with shows that are always full of raw energy. During the show, he promised it wouldn't be quite as long until next time, and here's hoping it's true.
setlist
Faint of Heart
NYC Girls
Building a Boat
Spoonful of Sugar
Drive On
Indio
Tall Trees
Ola Volo
Queen of Portland Street
Travellin'
Take It on Faith
City of Lakes
Terminal Romance
(encore)
On the Hood
(encore 2)
Cocaine Cowgirl