Nick Cave & The Bad Seeds @ Queen Elizabeth Theatre -- May 11, 2025

If you’ve followed this blog & me for any amount of time, you will probably know that one of my all time favourite musicians is Nick Cave, especially with his band The Bad Seeds, and especially their live show. Not to be too cheesy, but seeing them live is less a concert and more an experience, so when Nick Cave & The Bad Seeds returned to the Queen Elizabeth Theatre, on tour for their latest album Wild God, there was no chance I was going to miss it.

With no opening act, the show started as The Bad Seeds took the stage, including the four person ‘gospel choir’ (for lack of a better term), and started into “Frogs” from the new album. Nick Cave then strut out to grab the mic, and from there it was nearly three hours of intense, powerful emotions, spanning the band’s decades long career. Ranging from the bombastic title track “Wild God” to “O Children” which saw Warren Ellis let loose on violin (not for the last time that night) to older hits, “From Her to Eternity”, and even a couple of songs from his recent album with just Warren Ellis, like “Carnage”.

Cave also took a moment before each song for an introduction, often giving quick stories behind them, sometimes insights into the narrative — the character Bea from “Jubilee Street” popping up more than once — or even just prefacing it by calling it a “fucking amazing song” in the case of “Bright Horses”. When not behind the piano, he stalked the front of the stage, reaching to outstretched arms, singing at & to them, and even joking around a bit. When hit with a repeated request, he quipped “the more you yell that the less we’re likely to play it… but if you don’t yell it, we’ll never play it” and at one point stopping dead in his introduction to tell someone “I've seen your face on a dream”. During my fave off the new album, the stunning “Conversion” he even hopped off stage to wade through the crowd, among the seats, yelling to everyone “you’re beautiful!”

Late in the set, he broke out a couple perennial favourites, the sinister “Red Right Hand” followed with the frenetic “The Mercy Seat”, Ellis’ violin swirling to a chaotic ending, before capping the set off with “White Elephant”, a gorgeous singalong that saw the ‘choir’ come front and centre to shine.

But two hours of show wasn’t enough, as the audience was applauding wildly for more, and the band was happy to oblige; I’ve always been in awe of how much energy Cave & the Seeds have, pouring everything into each show. The encore included more classics, like “The Weeping Song”, a song in which to weep, and singer Janet Ramus taking lead on the murder ballad “Henry Lee”. After a version of “Shivers”, originally from Cave’s first band The Boys Next Door & in tribute to Rowland Howard, the Bad Seeds took their leave and Cave ended with one final song alone on the piano, a big favourite of mine, the heart wrenching “Into My Arms”, and the crowd softly singing along to the chorus.

Among the magnificent stage setup at the QE was a giant screen that would sometimes show members of the band, but occasionally display lyrics. During “Joy”, the title flashed large on screen, and I can’t think of a better one word encapsulation of the show.

setlist
Frogs
Wild God
Song of the Lake
O Children
Jubilee Street
From Her to Eternity
Long Dark Night
Cinnamon Horses
Tupelo
Conversion
Bright Horses
Joy
I Need You
Carnage
Final Rescue Attempt
Red Right Hand
The Mercy Seat
White Elephant
(encore)
Papa Won't Leave You, Henry
The Weeping Song
Henry Lee
Shivers
Into arms

Godspeed You! Black Emperor @ Vogue Theatre -- May 10, 2025

I’m not entirely sure how it’s happened, but somehow, I have never seen Godspeed You! Black Emperor live. So I was very happy to finally change that as the band hit Vancouver for a pair of shows at the Vogue theatre in support of their latest album, “NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD” (the title referring to the reported number of Palestinian deaths by Israeli strikes from October 7th, 2023 until February 13th, during the Gaza war, according to the Gaza Health Ministry).

Opening the night was Mat Ball, who I just caught the tail end of. Mat was on stage alone with a single spotlight illuminating him, as he played his experimental instrumentals, guitar feeding back as he played with loops and feedback. The songs reverberated through the room, even vibrating through the floor and up your legs, as he was a great opener to set the scene for the evening.

Then at 9pm sharp, lights dimmed and a drone hummed over the speakers, as one by one, the eight members of Godspeed You! Black Emperor took the stage. They each joined in on “Hope Drone” — the improvisational song that opens every show — as the big projection screen behind them flickered to life. 

From there, the Montreal group played for a solid two hours, barely pausing as one song transitioned into the next, the set ebbing and flowing as emotions washed over the sold out crowd. Fuzzy guitars, cacophonous drums, and beautiful strings melded together on songs like “BABYS IN A THUNDERCLOUD” which starts sombre then builds to a hopeful finish, the contemplative pall of “PALE SPECTATOR”, and the anxiety inducing “Cliffs Gaze” as the song frantically drives to its climax.

The stage was only lit with a single row of lights, staying dim all night to give the band a faint glow as all the attention was drawn to the screen behind them. It flashed and looped with 16mm images & short clips to matching the mood; from grainy cityscapes to rural farmland; beautiful scenery covered in snow to frantic flashes of the stock market; serene nature to raging infernos. And even shrouded in darkness, without saying a single word — the only ‘vocals’ were a couple prerecorded clips between songs — the entire room was rapt, not making a sound until a song came to a finish, then bursting with thunderous applause. 

The set came to a close with the chaotic “Mladic”, simultaneously giving me chills and causing a smile to involuntarily creep across my face. And just like they arrived, the band wordlessly left one by one, leaving reverb & flickering film reel, the crowd still silent until the final note faded. 

Halfway through the show, I happened to see the time and was shocked that only an hour had passed. Not in a bad ‘this is a slog’ way, more like the band had the ability to control time itself, slowing everything down to soak it all in. Had they wrapped up after just that hour, it would have been a good set. But they still had more to give, the crowd was happy to hear it, and the show more than lived up to the expectations I had.

setlist
Hope Drone
SUN IS A HOLE SUN IS VAPORS
BABYS IN A THUNDERCLOUD
RAINDROPS CAST IN LEAD
Fire at Static Valley
PALE SPECTATOR / GREY RUBBLE
Cliffs Gaze
Mladic

Shred Kelly @ Fox Cabaret -- May 09, 2025

For the past month, Fernie’s Shred Kelly has been all throughout the Pacific Northwest and BC on their One Day One Night Tour, along with Babes in Canyon. Last night they returned to Vancouver for a show at their “favourite venue in the city”, the Fox Cabaret.

I got there part way through the opening set from Seattle’s Babes in Canyon, catching the last few songs from Nathan Hamer and Amanda Ebert. The duo had an electo-folk sound, layering their sound with loops on songs like their recent single “The New Loud” and “High Tide”, which capped off their set. Even just the few songs I caught of them, they had a good dynamic and were a perfect fit to tour with Shred Kelly.

Thanks to the show’s curfew, it wasn’t long before the members of Shred Kelly took the stage; Sage McBride (keyboard) sharing vocals with Tim Newton (banjo & guitar) backed by Ty West (guitar) & Ryan Mildenberger (drums), joined by guest Jessie Robertson on bass. They started off with the slow burn of “Rowed Away” as the set built in intensity, exploding in a huge breakdown in “The Bear” and then the stormy “Tornado Alley”, an older favourite off their first album, Goodbye July.

From there the set spanned their career, from Tim’s fingers a blur over the banjo for “Didn’t Know” to the darker “Stuck Between”, where Sage’s vocals erupted off stage. Other highlights included “Roman Candle Eyes”, written for Tim & Sage’s daughter, and the haunting “Ghost Inside My Head”, before the set came to a chaotic finish with “Sing to the Night”.

But they still had time for one more, inviting Babes in Canyon back on stage to sing backups on their cover of Fleetwood Mac’s “Dreams”, the room singing along to the classic. I’ve long said that if there has to be an encore, it should involve fun covers and/or inviting guests (like the opening band) on stage for a collab, so this was a perfect encore for me.

From the first time I saw them, Shred Kelly has had an infectious energy when playing live; the fun they’re having playing radiates off stage throughout everyone dancing, clapping, and stomping along in any room. Last night was no different, with an incredibly fun show from the band.

setlist
Rowed Away
Archipelago 
Jupiter (Any Other Way)
The Bear
Tornado Alley
Roman Candle Eyes
Lost Without You
Take Me Home
Stuck Between
Didn’t Know
Another Place
Ghost Inside My Head
Sing to the Night
(encore)
Dreams [Fleetwood Mac cover]

Basia Bulat @ Hollywood Theatre -- April 30, 2025

In February, Basia Bulat released her latest studio album, Basia’s Palace. And last night, the singer returned to the Hollywood Theatre to celebrate!

Unfortunately I missed opener Maia Friedman, arriving a few minutes before Basia Bulat hit the stage with her band consisting of Andrew Woods (her partner) on guitar, Joshua Toal on bass, and Matthew Woodley on drums.

Basia took a seat behind the keys, immediately showing off her gorgeous vocals with “Are You In Love?”, and from there jumped between instruments and through her catalogue; picking up her signature autoharp on “My Angel”, the lead track off the new album, and the acoustic guitar for one of my favourites, the incomparable “Infamous”.

She dedicated “Laughter” to her (and Andrew’s) daughters, and after the song burst into a huge finish, the band took a break while Basia fielded a few requests solo. She took some deep cuts from her debut full length, including the title track “Oh, My Darling” and “Snakes & Ladders” to celebrate the album’s release 18 years ago, to the day.

The band returned for a few more, including my favourite off the new album, “Disco Polo” honouring the musical influences from her parents, and the simmering intensity of “Tall Tall Shadows”, Bulat once again letting loose on vocals. After the upbeat “Baby”, the set wrapped up with “Love is at the End of the World”, which featured each member of the band taking the spotlight for a solo.

But you knew there had to be more — for one thing, there was still one instrument on stage that hadn’t been used yet (Chekhov’s Charango, if you will). And so the band retuned with the rousing “In the Name Of” and “If It Rains”, dedicated to Vancouver. Finally, she pulled the trigger on the charango for the beautiful “It Can’t Be You”, as Basia stepped away from the mic to let her voice fill the theatre, and then off the stage entirely as she made her way through the audience and all the way up to the back section of the Hollywood, leading the crowd in an ambitious singalong to end the night.

A few months after the aforementioned release of Oh, My Darling, I saw Basia Bulat for the first time, opening for Final Fantasy (when that was still his name) playing at Richard’s on Richards (when that was still a place). I was instantly a fan, and every time I’ve seen her live since then, I am reminded of both how fantastic a musician she is, and how charming a performer she is.

setlist
Are You In Love?
Heart of My Own
My Angel
Fool
Infamous
Already Forgiven
Laughter
Oh, My Darling
Snakes and Ladders
The Garden
Run
The Moon
Disco Polo
Tall Tall Shadow
Baby
Love is at the End of the World
(encore)
In the Name Of
If It Rains
It Can’t Be You

Stars @ Commodore Ballroom -- April 17, 2025

Six month ago, Stars stopped by the Vogue Theatre for a sold out show celebrating 20 years of Set Yourself on Fire. During that evening they teased a second round, and low & behold, last night they returned to the Commodore Ballroom for yet another sold out show, celebrating the seminal album.

Fittingly enough, the opening band was the same that opened for them about 20 years ago at Richard’s on Richards, p:ano. The Vancouver group has been on a bit of a hiatus over the last couple decades, but last year they returned for a brand new album, ba ba ba, which made up most of their set. Starting off with “what was i thinking”, Nick Krgovich and Larissa Loyva (aka Kellarissa) switched off on vocals for some chill, indie-pop songs, including the toe-tapping “mariko”, the most rocking of the set “mikey's new house”, and the suburban shoutout to “a bit of coquitlam”.
Unfortunately, their chill vibes and the growing crowd didn’t quite mix as pockets of chatter arose (or maybe I was just in an unlucky spot), but it was a good set otherwise, and I would love to see them again in a more intimate, and attentive, venue.

Not long after that, Stars took the stage; Torquil Campbell, Amy Millan, Evan Cranley, Chris Seligman, Patrick McGee, and Chris McCarron, joined by a sax player. The set started with a full playthrough of the album, the familiar introduction of “When there's nothing left to burn, you have to set yourself on fire” ringing out and the entire crowd singing along to the perennial favourite, “Your Ex-Love Is Dead”. From there, they ran through the timeless collection of songs about love and death, from the bouncy nostalgia of “Reunion” to the pure passion of “What I’m Trying to Say”, and the (sadly) still-relevant “He Lied About Death” which Torquil gave a simple introduction of: don’t fucking vote for nazis. That was followed by the absolutely gorgeous “Celebration Guns”, Amy’s immaculate vocals bringing a tear to the eye as she echoed Torq’s sentiment in her own way.

The album came to a close with a magical moment of the whole room singing along to “Calendar Girl”, but just like last time, they were not done there. The band burst into the favourite, “Hold On When You Get Love And Let Go When You Give It” and dipped their toes into the rest of their discography. From the beautiful “Window Bird”, to the manic “Trap Door”, to “Dead Hearts” which was dedicated to all the ghosts in the room.

The set ended with the classic “Elevator Love Letter” and another huge singalong, but the crowd demanded more, and of course they were back to oblige. They came back to the stage with the intensity cranked for “Take Me To The Riot” before Amy introduced a deep cut they learned so Torquil could sing it to his wife, who was in the crowd, “The Aspidistra Flies”. And finally, they capped off the night with the pure dance tune “No One Is Lose” as a sea of hands shot up into the air when they commanded “Put your hands up if you know you're gonna lose”

As they were wrapping up the Set Yourself on Fire portion of the night, Torquil mentioned that they were incredibly thankful that “for reasons best kept between you and your therapist” this album had resonated with so many people over all these years. I’m very happy that I had the chance to see it played not once, but twice over the last few months. And even though they extended the album’s anniversary tour, the band isn’t resting on that; they’re as fierce as ever, and I can’t wait to hear what’s next.

setlist
Your Ex-Lover Is Dead
Set Yourself on Fire
Ageless Beauty
Reunion
The Big Fight
What I'm Trying to Say
One More Night
Sleep Tonight
The First Five Times
He Lied About Death
Celebration Guns
Soft Revolution
Calendar Girl
Hold On When You Get Love And Let Go When You Give It
Alone
Window Bird
Trap Door
Dead Hearts
Elevator Love Letter
(encore)
Take Me To The Riot
The Aspidistra Flies
No One Is Lost