Rich Aucoin @ Fox Cabaret -- October 03, 2024

This too shall pass, all good thing must come to an end, and other such clichés.

I say this because Rich Aucoin is now on the last tour of his legendary parachute show. A few years ago, Rich announced he would be winding down this version of his live show, now its finally happening. And anyone who’s seen a Rich Aucoin post on this blog before will know how fun they are, so of course there was no way I was going to miss it.

With no opening act, the night started with Rich announcing the plan; first a Synthetic Set, comprised of songs off his latest series of albums of the same name, followed by an intermission, and then the Classic Set.

So it began with Rich behind his synth, trippy patterns flashing on screen behind him, as he started off with “Release”, and then wound through tracks from his Synthetic albums. The instrumentals zipped from dizzying highs to glitchy breakdowns, Rich rarely breaking between songs as they lead seamlessly into each other, whipping the crowd into a dancing storm.

During the break, a photo montage filled the screen, reminiscing of the last decade-plus of shows, accompanied by songs like “Good Riddance”, before a ten minute countdown hit to hype everyone up.

As the timer ticked down to zero, the show began with the usual “trailers”, a series of fun clips, memes, viral videos, and old school Canadiana (House Hippo, anyone?) before the audience summoned the narrator — David Attenborough this year, although past narrators Arnold Schwarzenegger and Michael Caine made cameos. With all that excitement building, it was time for the Feature Presentation, as the opening credits hit, shouting out people in the room with fun facts attached, staring off with Rich telling us we need a “New Nostalgia”.

From there, Rich — joined by phenomenal drummer Tony Dallas — blasted through a set of his high energy, incredibly fun, and often thought provoking tunes, spanning his entire career, from “At War With the Cynics (An Opening)” to “Kayfabe” and everything in-between. He squeezed in as many songs as possible, even doing mashups and medleys, pairing songs with thematic similarities, like “How it Breaks” & “Watching, Wishing, Waiting” or “Four More Years” & “Want to Believe”. Throughout the whole show, the crowd sang with no reservations, as he conducted everyone to shout along with “Undead” and “Brian Wilson is A.L.i.V.E.”, the big screen almost always including lyrics.

Along with those lyrics, the screen behind Rich also featured a selection of visuals, from static images to his music videos, to thematically appropriate clips. He even harkened back to some of his early shows while showing parts of How the Grinch Stole Christmas syncing up to songs like “10,342 Cuts for the US (An Exploding)” from his Personal Publication EP, written to sync up with the animated classic.

As usual, Rich was teeming with energy. When not behind the synth he was bounding across the stage, and often into the crowd to sing with everyone (it’s no wonder he’s retiring the show, I was exhausted just watching!) And the crowd was very much reciprocating that energy, no more evident than during “Are You Experiencing?” as the parachute came out for everyone to dance under, while screaming along “When you give it all up, you get it back”.

The set came to a close with perennial (and personal) favourite “It” but Rich had one last surprise, leaving everyone with a singalong to another fun mashup. But this time not any of his own songs; the tune of “Stand by Me”, accompanied by the lyrics to “All Star”.

And so the set came to a close, with Rich in the middle of the crowd, promising that even though this era is coming to an end, he would definitely be back in a new form, be it his synth show or a brand new experience.

And I can’t wait to see whatever it is.

Elisapie - Uvattini @ Chan Centre -- September 28, 2024

Last night, Elisapie brought the west coast premier of her acclaimed show Uvattini (directed by Émilie Monnet) to Vancouver, thanks to VIFF Live + Chan Centre EXP. The show comes off the heels of the Inuk singer’s latest album, last year’s Inuktitut, which consisted of a handful of of classic song covers translated to Inuktitut and reinterpreted by Elisapie. And was just short-listed for the Polaris Prize!

With no opening act for the evening, the lights dimmed and smoke billowed, as “I Have a Dream” by ABBA played over the speakers and the band took the stage, followed by Elisapie in an ornate coat, launching into a pair of songs off Inuktitut, “Uummati Attanarsimat (Heart of Glass)” and the incredibly fun “Taimangalimaaq (Time After Time)”.

The screen behind her danced with images, often directly related to the songs, or the people who inspired her, and the lights & smoke combined to create an ethereal atmosphere as Elisapie weaved through covers from the new album, as well as some older tunes, with an effortless charm and captivating stage presence. The set ebbed and flowed, exemplified by the high energy finish of “Qanniuguma” leading into “Moi, Elsie” a gorgeous soft song with Elisapie and her guitarist alone on stage, in the spotlight.

Throughout the night, she also told stories, often candid about the inspiration for her songs, a lot about her childhood and family. She talked about writing “Una” for her birth mother; introduced “Sinnatuumait (Dreams)” as the favourite song of her brother, who she lost at a young age; and dedicated an absolutely heart wrenching rendition of “Qimatsilunga (I Want to Break Free)” to one of her cousins who took his own life.

An hour and a half flew by, as the set finished with Elisapie and her band doing an almost entirely a capella “Qaisimalaurittuq (Wish You Were Here)”, joined only by the bass sax. Her beautiful voice lilted throughout the room, as she got everyone to hum along to the end, the crowd continuing as the band left and sax grew softer.

But as the crowd was giving a standing ovation, she returned for a couple more, first professing her adoration for Leonard Cohen before her version of “Taimaa Qimatsiniungimat (Hey, That's No Way to Say Goodbye)”, and finally inviting people up on stage for a big dance party — no doubt a nod to those of her childhood, which she says partially inspired Inuktitut — to the last song of the night, “Inuuniaravit (Born to Be Alive)”.

Uvattini means “home” in Inuktitut, and that was exactly the vibes of the evening. Elisipie made the show feel intimate, inviting us into her home. Not only with her stories, but with the visuals and a soundtrack of her childhood, transporting everyone to Salluit, Nunavik for the evening.

setlist
Uummati Attanarsimat (Heart of Glass)
Taimangalimaaq (Time After Time)
Call of the Moose
Californiamut (Going to California)
Isumagijunnaitaungituq (The Unforgiven)
Sinnatuumait (Dreams)
Wolves Don't Live by the Rules
Qanniuguma
Moi, Elsie
Arnaq
Una
Qimatsilunga (I Want to Break Free)
Qaisimalaurittuq (Wish You Were Here)
(encore)
Taimaa Qimatsiniungimat (Hey, That's No Way to Say Goodbye)
Inuuniaravit (Born to Be Alive)

Explosions in the Sky @ Orpheum Theatre -- September 23, 2024

Last year, Explosions in the Sky put out their eighth studio album, End (quickly clarifying it was just a thematic name, not the end of the band) and now they’re finally on the Canadian + PNW leg of their tour, as they hit the Orpheum in Vancouver.

Opening the night was Vancouver band Dead Soft, and it’s always fun to see local bands opening for shows like this, especially because I don’t think they were on the rest of the tour. The trio played a solid set of grungy songs like the frantic “Step Out”, and though there wasn’t much banter between songs, they did make sure to mention how honoured they were to be playing the Orpheum for the first time.

Which was a sentiment shared by Explosions in the Sky. As smoke filled the stage and Austin, Texas band came out, Munaf Rayani took the mic for an introduction, in awe at the beautiful theatre they hadn’t played before either, and hoping we didn’t have too much reverence for the place that we wouldn’t cheer and holler.

And those were the last words on mic for nearly an hour and a half, as a familiar heartbeat reverberated around the theatre and the band launched in to “First Breath After Coma”. From there, they wove through their intense post-rock catalogue, as lengthy songs transitioned seamlessly into another, the band barely taking a break between each. Sometimes the only indication of a new song was the shifting in lights, which played a huge part of the atmosphere in the show; the stage was constantly filled with smoke as the minimal lights created an ethereal scene.

Keeping their promise from the top of the set, the crowd cheered at every crescendo and climax, every hushed moment after a clattering of drum and driving guitar, and especially when a favourite came up, like the gorgeous “Your Hand in Mine”. Other highlights included the driving beat of “Loved Ones” and the huge finish to “Magic Hours”. The lights turned a harsh red for the chaotic and chilling “The Fight”, before they ended the set with “The Only Moment We Were Alone” — the bass drum kicking in so hard there were audible gasps, as the ten minute epic built to a massive and cathartic finish.

Rayani thanked everyone profusely for coming, and the band took their leave to a standing ovation. There was no need for an encore, as I can’t imagine anyone in the audience wasn’t emotionally spent.

I’ve seen Explosions in the Sky a few times now, and I am constantly amazed by their live show. Without a single word, and rarely moving above a sway, the band still had the entire theatre absolutely rapt, and evoke more emotion with their instrumental songs than many bands I’ve seen do with lyrics. On more than one occasion, I felt a huge smile involuntarily creep across my face, or a tear in my eye, as they have the uncanny knack of making their songs somehow simultaneously apocalyptic and hopeful. It may be the End, but everything is going to be okay.

setlist
First Breath After Coma
The Birth and Death of the Day
Loved Ones
Yasmin the Light
Peace or Quiet
Magic Hours
Your Hand in Mine
The Fight
The Only Moment We Were Alone

Tokyo Police Club @ Commodore Ballroom -- September 14, 2024

I’m not gonna lie, I would probably call myself a ‘casual’ fan of Tokyo Police Club. I’ve always liked their singles, seen them live a few times, but never really done a deep dive on the band, y’know? But even with that said, I was still bummed out when the Newmarket foursome announced after nearly twenty years, they were calling it a day. And so with one last tour, I knew had to see them one final time.

Opening the night was long-time friends of the band, Born Ruffians (how long? they joked they were in each other’s MySpace Top 8). Starting off with “Foxes Mate for Life”, Luke Lalonde’s distinctive voice rang through the ballroom. Throughout the set, all four members were bubbling over with energy, even when not playing their instrument -- especially if they weren’t playing their instrument, in the case of Maddy Wilde on keys, who I don't think stood still for more than two seconds in a row throughout the show! Highlights included the frenetic “Hummingbird” and “Needle”, as they capped it off appropriately enough with “Fade To Black”.

After a quick break, the lights dimmed and David Monks, Graham Wright, Josh Hook, and Greg Alsop took the stage starting as Tokyo Police Club started hot with “Favourite Colour”, the crowd instantly singing along.

From there, the band reminded the sold out room how many hits they had, spanning their whole career, from “Nature of the Experiment” off their debut EP A Lesson in Crime to the chaotic “Bambi” and the anthemic “Wait Up (Boots of Danger)” off Champ, up to “Simple Dude” off what turned out to be their final album, TPC. They didn’t say much throughout the set, letting the music speak for itself, but a few times David thanked the crowd, and even assigned “New Blues” the designated sad song, for everyone to mourn.

After about an hour, the band took a quick break for Monks to do a couple acoustic songs; crowd favourite “Tessellate” as well as “Ready to Win”, before the rest returned for a few more songs, capping off the main set with “Hot Tonight”.

But of course, they weren’t done as the crowd clamoured for more, and the band returned first with the winding “Argentina (Parts I, II, III)”, then doing another quick encore fakeout, and coming back with another version of “Tessellate” — full band this time — and ending off the night with another huge singalong to “Your English Is Good”.

My only disappointment in the set was the absence of “Cheer It On”, which just goes to show how many bangers the band has. But even with that, it was still a very fun show. As sad as it is to see someone like Tokyo Police Club end, I always appreciate it when a band actually has some sort of farewell, instead of just dissipating into the ether (leaving you to wonder…?), and this night was a perfect way to celebrate their career.

TPC setlist
Favourite Colour
Box
Not My Girl
Nature of the Experiment
Citizens of Tomorrow
Shoulders and Arms
Be Good
New Blues
Simple Dude
Tunnel Vision
Hands Reversed
End of a Spark
Bambi
Frankenstein
Wait Up (Boots of Danger)
Tessellate (acoustic)
Ready to Win (acoustic)
Favourite Food
Graves
Way Back When
In a Cave
Hot Tonight
(encore)
Argentina (Parts I, II, III)
(second encore)
Tessellate (band)
Your English Is Good

BR setlist
Foxes Mate for Life
Breathe
Dedication
Hummingbird
Little Garçon
Forget Me
Ocean’s Deep
Needle
Miss You
We Made It
Fade To Black

Francy Pants and Alexandria Maillot @ Green Auto -- August 15, 2024

Last night at the Green Auto outdoor stage, Francy Pants and Alexandria Maillot put on a very special show for the Sarcoma Cancer Foundation of Canada, both raising money and sharing their experiences. And if you missed the show or still want to support, you can do that at this link right here!

First up was Alexandria Maillot, playing their first show in quite some time. Their lovely voice joined by Daniel Baxter’s smooth guitar tones, Alexandria started with a couple familiar songs, “Make It Out” and “Pale” from their latest album Benevolence. From there, Maillot tested out some new songs, many written about their journey, which they also chatted about between songs, including dedications to their support group in the audience, and re-working old songs ideas that took on new meaning in “Back to Me”. Maillot finished off the set with another new one, “What is in a Mile”, excited to get the crowd singing along to wrap up the set.
It had (obviously) been quite a while since I’ve seen Alexandria play live, and it was great to see them back on stage.

Not long after that, it was time for Francey Pants, the moniker of Francis Hooper (currently one half of doohickey cubicle). First joined by Daniel Ruiz on percussion, he laid down some looped beats, and with soft vocals, launched into a very fun, animated performance that gave lounge singer vibes (in all the best ways).

Much like Alexandria, many of his songs were about his journey with sarcoma, including “Count On You” which was dedicated to his parents who were in the crowd, and “I Hate Change”, a song co-written with Maillot years ago, who also joined him to sing. Throughout the set Francis invited up a slew of friends, musicians, and co-writers for some groovy songs, including other half of doohickey cubicle, partner Alli Deleo with a synchronized dance number(!). The set grew to a close as the last few songs were more on the funky side, like “Wet My Plants”, and finished with what seemed like an actual encore, an impromptu final song.

The show was also my first time at the Green Auto outdoor stage (I had been inside, of course) and that was a really neat space. And on this night, it was very obviously filled not just with people there to see a show, but with a community; people who have supported both Alexandria and Francis not only as musicians, but through their journeys over the last few years.