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thepermanentrainpress · 9 months

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CONCERT REVIEW: TEARS FOR FEARS W/ COLD WAR KIDS AT ROGERS ARENA - JULY 24, 2023

Tears for Fears have been wowing audiences with their high-energy new wave for over 40 years. Playing to an almost sold-out crowd at Rogers Arena, Roland Orzabal and Curt Smith put on a show that felt like time traveling back to 1985.

Opening the show was indie rock group Cold War Kids. Their first album was released in 2006 — I was surprised to see them and their style of music opening for a much older band. It took a few songs to win the crowd over, but by the middle of their set everyone was clearly having a good time. Lead singer Nathan Willett greeted us about halfway through and said “Vancouver, this is an oldie, you know this!” before launching into “Hang Me Up to Dry,” one of their first and most popular singles. The whole set was high-energy and a lot of fun. People were dancing, getting into it, and the band commanded the stage and crowd.

They played for 45 minutes or so, concluding with “First” – the group’s biggest single to date that reached #1 in 2015. Nathan told us that it was an “excellent experience” to be part of this with Tears for Fears. “They are incredible people and this has been a life-changing tour. Thank you guys for being a part of it. We love you, peace and love.”

Between sets, I noticed the pre-show playlist had covers of Tears for Fears songs on it. Examples included “Everybody Wants to Rule the World” by Lorde, “Shout 2000” by Disturbed, and perhaps the most well-known cover, “Mad World” by Gary Jules. This was a cool feature I’ve never seen a group do before, and was a reminder of their legacy over the years.

Finally came the main event. Although they look a bit older, there’s no mistaking the famous duo on stage. They opened with “No Small Thing,” the first track from their latest album The Tipping Point – also the namesake of this tour. This was followed by the titular track. Then came the first major hit of the night — the smooth, mellow yet merry “Everybody Wants to Rule the World.” Perhaps my personal favourite of their singles, it lit up the arena both literally with phone videos and in the energy as we all sang along.

Curt in particular spent a lot of time speaking to the audience. Just a couple songs in, he thanked us for coming out “on a Monday… It’s great to be back in Vancouver.” Curt also informed us it was a special night as their touring drummer, Jamie Wollam, hails from Salt Spring Island just outside of the city. “He’s an amazing guy with an amazing heart and a proud Canadian,” Curt added, leading of course to loud applause. Roland took the mic to inform us “it’s fantastic seeing people singing along to our new songs… It means a lot.” He told us to expect a lot of new songs that night (“If you don’t know them, you will”), and that they’d do “perhaps a cover as a sing-along, and a forewarning, some deep cuts.”

The setlist consisted of a mix of songs from all of their eras, with particular emphasis on their latest album. After a deep cut (2004’s “Secret World”) we heard another hit – the 1989 tune “Sowing the Seeds of Love.” This was followed by no less than four songs in a row from the new album. Although the newer tracks were not as well known as the classics, the attention and style never left the room on stage or in the audience. I heard the entire album before the show, and it’s a timeless, diverse, orchestral release leading to a trippy experience on stage. Psychedelic backdrops and various dark hues added visuals to the melodic, often strange music.

We got back to the familiar songs with the very upbeat but sad “Mad World.” Curt danced around the stage to flashing neon of red and blue, basically turning the arena into a club. Curt and Roland then left the stage for a bit as their backup vocalist, Carina Round, used her beautiful voice to sing “Suffer the Children.”

In addition to highlighting Vancouver as a hometown show for the drummer, Curt said it’s “a gorgeous city and great if you’re a runner.” He also mentioned he’d spent quite a bit of time in Vancouver filming episodes of the show Psych, in which he played himself. Tagging on to the runner comment, Roland remarked “our songs are more famous than we are. It’s great, because Curt can go running along the seawall without being mobbed. I’ll go on holiday and say I’m a musician in a band called Tears for Fears, and they’re like ‘who?’ Then I say you know ‘Everybody Wants to Rule the World?’ and they say oh yes, yes.” He had a great sense of humour about this, and it was clear the group was so happy and grateful to be here performing these well-known songs for us 40 years down the road.

We closed the main set with a long staple hit – “Head Over Heels / Broken” – a song still running through my head a few days later. We all sang along to the “La la la la…” part, leaving the show on a high note.

But it wasn’t quite over yet — they came back for an encore and introduced the band. Keeping the synth beat on the keyboard was Doug Petty. The guitarist was Charlton Pettus, also noted as a co-writer and producer on the new album. They then highlighted local drummer Jamie and backup vocalist Carina, before of course introducing themselves as Curt and Roland.

The previously promised sing-along cover turned out to be “Creep” by Radiohead, of all things. It’s not a song I expected – it certainly isn’t upbeat or cheerful – but it did seem appropriate for the band’s style. It’s also very well known and was a fun one to chant the chorus to.

The final track of the night was perhaps the most upbeat of all of their hits – “Shout.” It was the perfect closer as the entire arena stamped their feet, jumped around, and chanted “Shout! Shout! Let it all out!” once again echoing a club at the height of the 80s. It’s clear Tears for Fears have still got it. A couple generations later, they continue to record, entertain, and draw a crowd of thousands. They may have aged physically, but their music, old and new, is simply timeless.

Written by: Cazzy Lewchuk

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thepermanentrainpress · 7 months

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CONCERT REVIEW: COLDPLAY W/ H.E.R. AT BC PLACE - SEPTEMBER 22, 2023

Coldplay has been consistently selling out stadiums worldwide for two decades, and for good reason. Their live shows are more than a concert: they are unique, colourful, active participation events. The audience does not just experience the show, but they become an essential part of it.

Opening acts comprised of hip-hop artist Bobby Gonz, pop-rapper 070 Shake, and R&B singer H.E.R.. H.E.R.’s set was especially fun, featuring a full band. The artist played multiple guitars and even the drums while singing, and performed multiple rock covers. A mashup of “I Love Rock 'n Roll” and “We Will Rock You,” followed by Lenny Kravitz’ “Are You Gonna Go My Way” to close the set really warmed up the energy for the main event.

Of particular note for this tour was the efforts Coldplay took in social responsibility and sustainability. Videos detailed how the tour dollars went to support global environmental initiatives, and how much of the show was powered by renewable energy. The set was opened by members of local First Nations, who gave a speech welcoming everyone to their shared lands. The young people and elders on stage gave gratitude to Coldplay for being the first group to create this space for Indigenous peoples of the area.

Each audience member was given a biodegradable LED bracelet that lit up in different colours. Throughout the show, a sea of lights soared across the stadium. This created a really neat, gorgeous visual effect. Thousands of pinpoints blinking in tune and hue. It’s really unlike anything I’ve seen at a concert, particularly with the number of people involved and the amount of detail put into the synchronization. There were lasers and balloons as well, as if BC Place had become a giant rave party.

The majority of Coldplay tracks are upbeat, dance-worthy tunes. But even the mellow piano-focused tracks (“The Scientist” and “In My Place”) were accompanied by a sing-a-long of thousands, creating a unique, warm energy in the vast room. In fact, every single track – no exaggeration – featured people singing along. I’ve never experienced a show quite like that.

No doubt, part of Coldplay’s longtime appeal is their direct, personal connection with the fans. It’s obvious these guys are so grateful to be on stage and appealing to so many two decades later. Chris Martin profusely thanked everyone for their work in making the show happen, from stage crew to bus drivers. He gave gratitude to the audience for enduring the high prices of tickets to parking to beer – and for giving the band their Friday night.

Chris scanned the pit for signs and flags, trying to shout out as many as he could. “You came from Australia, you came from India... Wow! Happy birthday! Happy anniversary!” As with every show, they brought someone from the audience up on stage – in this case, a young married couple. They joined Chris by doing backup vocals for “In My Place,” the lady going so far as to have written the chords on her arm to help. It was a sweet, endearing way to bridge the gap between artist and audience.

Perhaps “Yellow” was the biggest shine of the night. The whole venue lit up with tens of thousands of bright yellow points as the band performed their most popular song. The loudest, most intense singing, dancing, and rocking occurred at this time. It was physically impossible not to smile and feel the joy in the room. Any energy that hadn’t been captured yet was released at this midway point.

The visuals got extra strange towards the end of the set. The band wore alien head masks and LED motorcycle helmets for “My Universe” – part of the concept for their whole Music of the Spheres album. The last song of the main set was “A Sky Full of Stars.” We were politely asked to put “our hands in the air and our phones in our pockets” for this one, leading to a phone-free, shared moment of 50,000 people, shining lights, and a chanted chorus across the stadium. It really did resemble a sky full of stars.

The encore did not let up with the energy and visuals. Large balloons resembling planets floated around the pit, as if the floor was a solar system. This echoed the theme concept for Music of the Spheres. At this point, the band brought out a surprise guest: Vancouver music icon Bryan Adams. Apparently this was a last-minute decision made by everyone backstage. They all performed “(Everything I Do) I Do It for You,” primarily sung by Bryan and backup vocals joined by H.E.R.. It was a big hit with the crowd.

Even the grand finale was an impactful image. For one of their latest singles “Biutyful,” Chris was joined on stage by a female alien puppet known as Angel Moon, part of the album concept. It was rather odd – particularly if one doesn’t know the context – but also “biutyful” in an alien way.

I was a little disappointed to not hear more of their earlier work, especially with only one track played from Viva la Vida. But with nine albums and dozens of singles, there’s always going to be some shuffle. There’s truly nothing like a Coldplay tour: whether a longtime or new fan, casual or devout, few artists bring people together and create memories like these men. Their style may have evolved, but this tour has proven the show is only getting bigger and better. I already can’t wait to see them again.

Written by: Cazzy Lewchuk Photographed by: Timothy Nguyen

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thepermanentrainpress · 9 months

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CONCERT REVIEW: BOYGENIUS W/ CARLY RAE JEPSEN AND ILLUMINATI HOTTIES AT PNE AMPHITHEATRE - JULY 28, 2023

In 1964, The Beatles played at the PNE fairgrounds to a screaming, euphoric crowd. Nearly 60 years later, it’s time for Paul and John to move over. Lucy Dacus, Phoebe Bridgers and Julien Baker – collectively known as boygenius – brought a show to the PNE Amphitheatre for the new generation. The crowd, artists, and overall atmosphere had an energy that The Beatles could only wish for in the modern age. Enthusiasm, creative outfits, and cheers aplenty filled the air all evening long. This night truly demonstrated “boygeniusmania.”

Opening the evening were illuminati hotties. The LA-based quartet is fronted by audio engineer and producer Sarah Tudzin, who worked on boygenius’ debut album The Record. Their set was short and sweet, bringing a lot of punk energy to warm the crowd up. “It’s good to be up here, Vancouver. I love it,” Sarah told us halfway through. “Tim Horton, watch out, wherever you are. This is a brand new song, it’s called Truck.” With that, they launched into their latest single with rather biting, sarcastic lyrics, released just last week.

The group has a captivating stage presence. They give the feeling of a close-up set in an intimate DIY venue, while playing to a crowd of thousands. I appreciate their music type – a mix of indie folk and straight punk. It’s rapid with a stripped-down feel, but also loud and hard enough to grab your attention (they self-describe it as “tenderpunk”). The set was full of soft and smooth licks with bitter lyrics and expressive, diverse vocals. More than one member took turns on the mic, the singing ranging from sad and sympathetic to angry and fierce. They really hyped us up early on, and were a perfect complement to the musical style of boygenius.

“I could use your help on this next one,” Sarah asked. “But I’ll teach it to you in case you don’t know it.” She launched into a rendition of “freequent letdown” with a pessimistic (and punk) vibe. (“I’m always letting everyone down, I’m always letting everyone know I’m down.”) The crowd was into it, and we all sang along to the chorus. By the end of their set, illuminati hotties had gotten the crowd cheering and moving, pumped for what was to come.

This was a special night for Mission’s own Carly Rae Jepsen. In addition to being a hometown show, it was an album release party. Carly’s latest, The Loveliest Time, had just been released that day. As a longtime Carly fan, I was curious as to what the setlist would look like. How many brand new songs? How much old material? In the end she played four tracks from the new record, including the lead single “Shy Boy.” I was happy to hear “All That” – a slightly deep cut from 2015’s E•MO•TION.

Carly is best known for her dance pop style. However, many of the songs she played were on the slower, mellow side. Her soft, smooth voice introduced “Western Wind” as “a song I wrote in California about missing home in Canada,” naturally leading to applause. Then the tempo switched – “Time to turn it up!” Carly exclaimed, launching into “Psychedelic Switch.” This was my personal favourite of the new album songs. It was even named Best New Track by Pitchfork this week. I’m glad it made its way into the set.

About halfway through came Carly’s signature song. One of the most successful singles of all time, the entire crowd was jumping and singing along to that 2012 classic, “Call Me Maybe.” She went into the audience near the front for this one. Many phones were out to capture the moment. The energy was palpable, and kept going for the catchy and repetitive “I Really Like You.” This was a double punch (“just to send the message home”) paired with “Want You in My Room.” We were near the end now and the high energy songs had taken over. The big finale was “Cut to the Feeling” – a summer single released between albums that ended up being the most danced to of her whole set. There’s something special and extra fun about that one, particularly on a sunny Friday evening.

Carly was joined by backup dancers and a full band, her dancers really enhancing the choreography. As a trio they synced, they waved, and they really made a flash on stage. I’ve seen Carly in the past and was a little disappointed she didn’t have more banter with the audience—I’m not even sure she mentioned her new album. There were no outfit changes or flag waving or anything like that, though I understand time was a factor. Similarly, I was surprised she didn’t do an encore.

As boygenius took the stage (to the classic anthem “The Boys Are Back In Town”), the crowd could probably be heard from the next town over. We got to see them perform “Without You Without Them” on camera backstage before making their way to our viewpoint—a cool gimmick that only built hype further.

“What universe is this?” Phoebe asked us. “It doesn’t make sense we saw Carly Rae Jepsen and then played after her. And Sarah from illuminati hotties helped make the record!” It was clear the headliners were just as thrilled about the talented lineup as the audience was. In addition to great music, the trio brought a lot of passion and genuineness to their set. They have a lot of fun performing and a special bond as friends and coworkers captured in their music and live set. You can’t fake that kind of synergy and talent. It translates to a great show and a feeling of beauty beyond words.

The group only has one album and an EP so far, and the setlist consisted of almost all their material. It was a mixture of slow and fast throughout. Each of the three ladies have their own unique style, whether playing soothing violin or shredding a guitar hard. And they come together to create something even better than the sum of their parts. It was a unique, amazing experience seeing all this camaraderie live. Their music and live show goes beyond words, better in person than studio.

I was curious as to if we’d hear any solo tracks from the artists. Indeed, Lucy, Julien, and Phoebe each performed one of their own songs in succession towards the end. “Who likes boyfriends? We do… How many boyfriends here are feeling scared right now?” Phoebe quipped before the group launched into a song about boyfriends with the same name.

We were politely instructed to put our phones away close to the end “just for this one song,” and the whole crowd obliged. It was simply vibing and a present, tech-free existence for the somber “Letter to an Old Poet.” The final track of the set was “Not Strong Enough,” one of their most popular songs that everyone sung along to. I’ve rarely seen a crowd so engrossed in a chorus, singing of being always an angel and never a god.

“This is the best crowd in the world,” Phoebe told us to finish. “This doesn’t feel real. Thank you for being here.” It’s funny, as I and most of the audience could have said the same thing to Phoebe and her cohorts. It was surreal.

These ladies are leading the scene, packing a house and just killing it on stage. Although their gender and identity is closely associated with their image, the members of boygenius have resented being individually labeled “women in rock.” Female is not a genre, and the band’s formation came from the three being personal friends with each other rather than competition. This was demonstrated in abundance Friday night and boygenius is a band that I’d bet against any touring group today. This night proved that rock is back, bigger and better than ever.

Written by: Cazzy Lewchuk

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thepermanentrainpress · 11 months

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REVIEW: STARS ON ICE AT ROGERS ARENA - MAY 18, 2023

Of the four cast numbers, my favourite was the sentimental “To Build a Home” that preceded intermission. It really solidified Browning’s role as a guide and respected leader in the sport as he individually embraced each skater/pair at song’s end. The pairs and ice dancers had a brief spotlight, and the number felt warm and nuanced.

It was Madeline Schizas’ first full tour, and I enjoyed her skates to “Don’t Rain on My Parade” and “Everybody Wants to be a Cat.” I really think Stars On Ice has been beneficial for Schizas to work on her expression in a low stress environment. It was nice to see her embrace her playful side (cat ears and all!). She also has some very impressive spins! Patrick Chan was a crowd favourite, having called Vancouver home for the past six years. In his tour return for the first time in four years, he didn’t show much rust to “Wicked Game” and “I Hear a Symphony.” He’s such a staple in Canadian figure skating, and the ‘Pchiddy’ appreciation was evident in the room.

Keegan Messing performed a redux of this season’s short program to “Grace Kelly” and a skate to Tophouse’s “The Mountain Song.” His quick footwork and spins were in full force, as was his unwavering warm spirit. I will miss Messing on the national team, and hope he continues to do ice shows while spending time with his beautiful family, who figure skating fans have grown to know from afar.

World Bronze medalists Piper Gilles & Paul Poirier were sensational in their “Evita” and “Annie’s Song/Thank God I’m a Country Boy” routines. I’d watched them many times on television from this season, but nothing compares to the live event. They were fighters this season, notably Gilles after a surgery to remove a cancerous tumour in the winter. Their poise and ability to transform into character is something I always admire, which extends into their “Evita” bows towards the audience.

Alexa Knierim & Brandon Frazier are coming off their best season yet. Their throw jumps and height on the triple twist are outstanding! They performed their exhibition routine to “Shallow” and short program “Separate Ways (Worlds Apart).” Their steady and sure demeanor was on display, and I was happy to see them skate in-person. One of my favourite skates of the night was Alissa Czisny’s “Chasing Cars.” It was proof that you don’t need jumps to make a program special. She used the song (version by Tommee Profitt and Fleurie) to emote through movement, graceful skating and spins that spanned the ice. The cover song had a really cinematic build that Czisny used to her advantage.

Jason Brown is having the most fun on tour, uncontested. His Backstreet Boys routine was a joy. In an all-white ensemble, Brown even demonstrated ‘the worm’ on the ice, among some impressive jump splits. Even his bows had energy, with waving and jumping abound. In his Act II skate to “The Impossible Dream,” I was reminded of his gorgeous triple jumps, some of, if not the best, on tour. As a side note, I had a brief interaction with Brown as the skaters arrived at the rink, and he could not have been friendlier!

Satoko Miyahara was a returning cast member from last year. Her elegance and interpretation of the music was stunning to watch. “Jenny of Oldstones” and “Ne me quitte pas” were her programs of choice, and I can confidently say her elegance is missed on the circuit. There’s a confidence and calmness in how she glides on ice, and I hope she’ll continue to be a mainstay in the cast.

A breakout season for Belgium’s Loena Hendrickx, we were graced with her presence in her debut Canadian tour. As girls behind me whistled and hollered “get it, girl!” Hendrickx skated to Britney Spears’ “Circus” and Loni’s “Loneliness.” She had attitude and was fierce, and it’s easy to see why she will continue to be a top contender next season. Her arms overhead jumps are flawless! Madison Chock & Evan Bates are technically immaculate, if we didn’t know already from their consistently high scores in competition. Their performance is also top notch, and they’re very innovative skaters in their lines and elements. Their skate to “Nightcall” was a highlight (the chemistry!), and I was excited to see #ChockBates in action for the first time!

Elvis Stojko’s bringing old school rock back. Skating to Shinedown and Van Halen, Stojko looked casual and collected with hands in his pockets, denim and black fingerless gloves. His mature and slightly edgy presence is always popular, drawing favourable cheers from the crowd. Even though he ended his competitive career over twenty years ago, he still has a power in his skating that is magnetic to watch. He joined Browning for an interactive skate as friendly rivals to “Raise a Little Hell,” where they sported matching shirts in admiration of each other. They joked about who was supposed to give the music to production (“on cassette”), did a quick bout of the chicken dance, and still had a raw synchronicity. Truly a memorable duo with heartfelt words of their memories together on tour.

Kurt Browning received too many (well deserved) standing ovations to count! His animated personality shone and I loved the extra long looks he’d direct at the crowd in his skates. It felt personal. Skating to “Please Forgive Me” and “Who Are You,” his smooth skating ability is unparalleled. Yes, there are still jumps, and a backflip too! His aura is just so pleasant and it felt like a night celebrating Browning, with multiple montages or clips of his past performances played throughout the night.

I loved the costumes! Between the gold-detailed military inspired fits for The Killers’ “All These Things That I’ve Done,” to the rainbow pop of colour in the closing routine to “Brand New.” And, who could forget the sleek James Bond outfits - black suits and metallic dresses that screamed ‘diamonds are forever.’ They complimented the music well, and many of the skaters brought their pre-loved, familiar outfits from their signature skates this season.

You can tell the cast enjoyed each other’s company, sharing camaraderie and grace towards the encouraging audience. Browning is leaving behind an unmatched legacy, but Stars On Ice remains in good hands.

Written by: Chloe Hoy Photographed by: Timothy Nguyen

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thepermanentrainpress · 1 year

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CONCERT REVIEW: FAOUZIA W/ CARMEN DELEON AND GEORGEE AT RIO THEATRE - NOVEMBER 17TH, 2022

Faouzia took to the Rio Theatre to end off her “CITIZENS” tour. The Moroccan-Canadian pop star’s sold-out performance was mesmerizing and magnetic. A culmination of catchy lyrics, powerhouse vocals and Arabic stylings. Faouzia has honed her talent and released an album where each song is worth savouring–and belting out loud.

georgee, the first opening act, brought smooth R&B and funk. He had a chill and humorous demeanor, cracking self-deprecating jokes with the audience before moving into sensual vocal runs. From the lofi-esque “split” to the ironically energizing “sad” and bouncy “baby4u,” georgee’s passionate vocals and playful lyrics instantly drew listeners in: “I’m a baby for you / When you leave me I get nervous / I stay up waiting for you / And I think that I deserve it.”

Next up was Carmen DeLeon, who brought joyous energy and a mighty stage presence. DeLeon, who sang mostly in Spanish, had a soft but fierce voice, always maintaining a Latin elegance. She moved seamlessly from the electro sway of “Mariposas” to the determined “Mala Memoria” and darker, post-breakup anthem “BBB.” DeLeon cultivated an infectious atmosphere, quickly getting everyone out of their seats to dance. She pulled her father, who was also on stage, into a tango and spontaneously ran into the crowd to dance–much to their collective delight.

Faouzia started her set with “Puppet,” a bold celebration of independence: “Little did you know / I’m my own Geppetto / And now you get to watch me go, go, go.” Her strong and angelic vibrato echoed throughout the chorus. Beautiful reassurance followed with “Thick and Thin.” Faouzia had incredible control over her voice and navigated complex vocal runs with ease. A fan favourite, “Born Without a Heart” was also performed. The crowd sung along to lyrics that celebrated boundaries reset.

Faouzia wore a purple shimmering outfit that matched her dreamy persona and was accompanied by a keyboardist, guitarist, and drummer. She moved fluidly on the stage. At one point, she took an audience member's phone and recorded herself singing on it. Faouzia’s newest single, “HABIBI (MY LOVE),” was sung. Its romantic and opulent nature put the audience in a trance.

Her signature Arabic trills shined in the gentle “SoLie” and the fearless “RIP, Love.” Of course, Faouzia performed “Minefields,” a tragic and passionate tune. Lyrics described the strain of forbidden and scarred love: “Now this might be a mistake / We’re broken in so many ways / But I piece us back / together slowly.” One of the last songs of the night was “Tears of Gold,” another classic to mend a broken heart. Faouzia’s fiery vocals complemented clever wordplay: “Don’t you know that I cried tears of gold for you? / I sit here poor for you / Collect my pennies and my dimes / That’s why you love it when I cry.”

Faouzia’s show was a pleasure to experience. Vibrant and interesting opening artists and a captivating main performance. Faouzia has built herself a stellar discography that was elevated on the stage. And while she has racked up millions of streams on Spotify and Youtube, she still remains a relatively underrated talent. Faouzia has flourished on her “CITIZENS” tour and will certainly continue to do so.

Written by: Jenna Keeble

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thepermanentrainpress · 1 year

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CONCERT REVIEW: BRASS CAMEL W/ CHASE THE BEAR AT WISE HALL - MAY 13, 2023

Chase the Bear and Brass Camel performed at the quirky and intimate Wise Hall on Saturday, May 13th. Tucked away in the Commercial Drive area of the city, surrounded by heritage homes and co-operative housing, the venue is a staple of the local music scene. In a world of mass audiences and global stadium tours, both bands showcased the magic of music engaged with the community.

Chase the Bear kickstarted the concert with blazing guitar riffs and Troy Gilmore’s magnetic, raspy vocals. The bandmates sported trendy retro outfits – a homage to their largely classic rock sound with subtle soul and pop. The band played through their setlist, which included the wild, western-flavoured “Five More Minutes,” the determined and desperate “Underwater,” the spunky and empowered “Quit Callin’,” as well as “Wildheart” – a song of energized longing. Connor Brooks’ drums were consistently confident, skilled, and lively; the beats pulsated through the crowd and into the soul. “It feels like we're in a coming-of-age movie,” I told my friend.

Brass Camel took to the smoke-filled stage with glamour and charisma. Daniel James emerged in a purple suit, white headband, and orange-tinted glasses. The crowd watched in awe as the band performed with their signature steely electric melodies, high-pitched vocals, and vintage synths. The whole scene felt massive and intense, despite being in a smaller hall. The band shredded through many of their released tunes, including the rowdy, sci-fi “Last Flight of the Vulcan” and the bouncy and playful “Dinger’s in the Back.” The melodies and notes had such a beautiful dynamic range in-person. While the studio versions of the songs are fantastic, there’s nothing like experiencing the artistry up-close and firsthand. Fingers maneuvered expertly during complex guitar solos. With each new song, the band transitioned seamlessly and with style.

The crowd was quickly wound up, even starting a mosh pit during the dramatic and feisty “King for a Day.” Brass Camel ended on a high note with the cool, catchy “Pressure Cooker” and jumpy and joyful “I’ve Got the Fox.” At no time was the crowd not bopping their heads or flicking their wrists. Eyes were glued to the stage when James brought out a sleek, double-prong electric guitar. Immediately after the show, the band members ran to work the merch table and connect with fans.

Chase the Bear and Brass Camel teamed up for a high-quality, fun, and inspiring concert. The event brought together a talented group of musicians who don’t get enough credit for the bonds they forge in communities across the country. Sparks were quickly and expertly cultivated and lasted the entire show, the heat rivalling the blistering temperatures of the day.

“So... do you feel brassed?” I asked my friend, as wicked guitar rung out and colourful lights faded at the end of the show.

“I feel brassed,” he declared.

Written by: Jenna Keeble Photo credit to: Heather Horncastle

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thepermanentrainpress · 1 year

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Gallery: dayseeker @ Commodore Ballroom - Vancouver, BC Date: April 26, 2023 Photographed by: Josh Papalia

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thepermanentrainpress · 2 years

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CONCERT REVIEW: MAGDALENA BAY AT FORTUNE SOUND CLUB - SEPTEMBER 28TH, 2022

Synth-pop duo Mica Tenenbaum (lead singer and songwriter) and Matthew Lewin (producer) dazzled the stage at Vancouver’s Fortune Sound Club on September 28. Working together since their high school’s music program, the pair formed Magdalena Bay. Although they’ve been making music for quite some time, this is the first tour to celebrate their debut studio album, Mercurial World. On their opening night of tour, they performed a beautifully curated show and performance.

Fortune Sound Club is an intimate venue; small and known for hosting more ‘underground’ artists. They may have underestimated Magdalena Bay’s cult following though, especially after the rise of their song “Killshot.” The song reached viral success — more on that later. A packed club held space for Negative Gemini to open with an energetic performance, drawing influences from early 2000’s punk rock, glitch-core, and hyperpop. Her high-pitched voice and engaged stage presence had the crowd going long before Magdalena Bay even came out, which was great.

The entire show was a highlight. Magdalena Bay is known for their ironic self-awareness and kitschy visuals, but I was not expecting such a complete show. They did not come here just to perform, they came to give us a concert. I feel like this is something a lot of artists lose on their music journey. However, Magdalena Bay started with “Secrets (Your Fire)” and did not hold back on taking us on a vapourwave / future funk nostalgia trip in sound and stage.

Mica’s voice is breathy and delightful, perfectly matching the whimsical airiness of the band’s sound. Her flowery, “dancing freely in your room” stage presence was also charming and fun to watch (and mimic). The entire crowd swayed with her, especially during the cutesy-pop song “Hysterical Us” and funky “U Wanna Dance?” She – and the band’s overall live demeanor – reminded me of Kero Kero Bonito’s Sarah, or even Charli XCX, and I consider these singers to be experts in riling up a crowd.

After the first few songs, the band took a pause to introduce what made the show so special — Chaeri! Chaeri, as represented by a floating holographic head, is an AI that is learning how to become more human. Mica primarily interacted with Chaeri by giving the AI a few poignant yes or no questions, followed by the conclusion that the AI could become more human by learning other people’s secrets (and thus, their emotions). Chaeri’s motivation became the narrative for the entire show, with each song relating human experience and emotion.

This storyline was so intentional that they played pre-recorded ‘secrets’ — shown as tracks on their album — throughout the show for Chaeri to react to, letting Mica and Chaeri banter further. I felt that this gave the concert meaning, like an arc. By the time the dreamy “Halfway” came on, I was invested in Chaeri’s storyline. A secret about having a crush came on, and the band performed “You Lose!,” which not only showcased Mica’s vocal range but also Lewin’s instrumental prowess in production. The way each instrument gave a new layer of texture to contrast Mica’s reverbed voice was a joy to experience live.

Toward the end of the concert, Chaeri commented on the crowd’s “bodies moving rhythmically,” to which Mica explained was dancing. This was after “How to Get Physical,” a groovy disco-inspired number. During the instrumental interlude of the song, Chaeri commented on wanting to join, and in order to do that, Mica said she needed a body. After encouraging the crowd — “Body! Body! Body!” — Mica pulled off a cloaked robot body with Chaeri’s head now attached to a screen “head.” It was incredible. Like, the way the crowd went ballistic for this fictional AI becoming human was amazing.

The band encored with their most famous hit, “Killshot.” As if I wasn’t impressed by the story they just gave us, part way through the song, they paid homage to the ‘reason’ for their sudden increase in popularity: anime fancam edits. Mica said, “here's some sexy anime!” and suddenly, a bunch of TikTok edits using the “slowed + reverb” version of “Killshot” appeared on the screen. I recognized a handful and it just felt so personal and sweet, much like the rest of the concert.

I hope that Magdalena Bay keeps their charm, artistic vision, and unique sound. I also hope that they stay closely informed about their audience, as well as music trends! I am so excited for them to come back.

Written by: Alexa Tarrayo

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thepermanentrainpress · 1 year

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CONCERT REVIEW: CARLY RAE JEPSEN AT DOUG MITCHELL THUNDERBIRD SPORTS CENTRE - OCTOBER 29TH, 2022

What can you expect from a Carly Rae Jepsen concert held on Halloween weekend? Fans across all eras of the icon of pop gathered at Doug Mitchell Thunderbird Sports Centre in Vancouver on October 29 to experience the irresistibly catchy tunes of Carly Rae Jepsen. “The So Nice Tour” was a celebration of Jepsen’s discography and brought joy to an eclectic, ramped up crowd already prepared to dance the night away.

What made the show special for me was seeing how Carly Rae Jepsen is both underrated yet absolutely beloved in the pop music scene. Her music stood the test of time, bringing loyal fans and “gay icon” status. This concert embraced her sweet-toothed sound and her whimsical, cutesy, almost intentionally corny and over-the-top aesthetic. The stage was dotted with sticker-like lights and stage decor — hearts, clouds, and stars — to create a 70s inspired retro disco set.

Jepsen opened the show with “This Love Isn’t Crazy” and more importantly, the saxophone-laden “Run Away With Me.” The entire crowd roared when the opening saxophone played, myself included. Jepsen had a real saxophone player join her on stage for this song, as well as incredibly talented backup dancers to accompany the visuals and flashing lights.

I also enjoyed that Jepsen was able to rally with her fans. Although she didn’t talk or interact with the crowd that much, Jepsen used in between songs to share personal anecdotes about her life and the process of her music. Some of these anecdotes included facts about her that only fans would know, and I think it’s a testament to how dedicated they are. For example, after she sang “Julien” she told the audience about how much he sucked (Julien is her ex — and he does suck).

The energy throughout the show was pure joyous, bubbly, happy fun vibes. She played her first hit “Call Me Maybe” and “Emotion” close together, reviving anyone in the crowd that dared to sit down. Later during the encore, she played her latest TikTok hit “The Loneliest Time.” The talking moon from the music video preempted the performance, and it was utter magic.

My favourite moment, however, was probably when she sang “Go Find Yourself or Whatever” because it showcases Jepsen’s range. The song was a nice break from all of the upbeat dance tunes, and it was lovely to hear her vocal abilities in a slower, more emotional song. In all honesty, I did not expect her to possess vocals that would resonate well live, but she did.

At the end of the night I was so tired from dancing in my chair. Jepsen is a performer through and through, and this tour was so well thought-out and energizing. It was great to see everyone dancing through the entire show — especially given that it was Halloween weekend, and many people were in costumes! Jepsen is an artist that loves her fans and knows how to make them have fun and happiness. She thanked us for being there for her, and encouraged us to stay strong and be ourselves.

Written by: Alexa Tarrayo Photographed by: Chris Ho

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thepermanentrainpress · 2 years

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CONCERT REVIEW: THE KILLERS W/ JOHNNY MARR AT ROGERS ARENA - AUGUST 19TH, 2022

Few musicians today have had the continuing success and appeal of The Killers. Since their 2004 debut album Hot Fuss, they’ve remained one of the biggest rock bands on the planet. This was a special tour, marking primary guitarist Dave Keuning’s return to the group after a four-year hiatus.

Opening the show was Johnny Marr along with his full band. While best known as the guitarist for The Smiths, he has a decades-long solo career. In addition, he’s toured and recorded with several other bands including Modest Mouse, The Cribs, and Electronic with Bernard Sumner of New Order. Johnny continues to carry himself with a smooth, cool, chill vibe on stage – now over four decades since he began performing. He was adorned by a backdrop silhouette of a Buddha playing guitar, which just seems to work for the guy.

During his half-hour set, the energy was up the entire time. Nothing could have dampened the enthusiasm – even some minor tech/sound issues. (“I’d like a hair fix as well,” Johnny joked after the dead mic was replaced.) His banter and attitude suggested he was truly happy to be performing for Vancouver and on stage. Johnny circled through nine songs. In addition to some solo work, he covered Depeche Mode’s “I Feel You” and his own band Electronic’s “Getting Away With It.”

Of course, the most recognizable tracks were The Smiths hits. He did “Panic” near the beginning which led to an arena of people, along with Johnny, chanting “Hang the DJ, hang the DJ, hang the DJ!” for a good two minutes. So much fun. The middle featured “This Charming Man,” an upbeat and sarcastic tune that had Johnny on vocals sounding, to be frank, much better than his former singer Morrissey ever did. Last but certainly not least was closing with “How Soon Is Now?” – a melancholy and long new wave track that features some of my favourite guitar work of The Smiths. Although an older artist may not have been the choice everyone was expecting as the supporting act, Marr was fantastic support and then some.

Finally came the main event. From the minute they took the stage it was clear the entire band – including slick frontman Brandon Flowers – haven’t lost any charisma or goodwill in the last few years. The energy was intense the entire night as the group delivered almost nothing but loud, proud, upbeat anthems spanning their entire career.

The Killers are a band whose image has been influenced by almost every genre of band that has come before them. The indie rock sounds of the 2000s. The poetic, reflective imagery of Bruce Springsteen and country artists. The new wave and glam progression of the 80s. It’s kind of a cosmic gumbo. While never depressing or too slow, their sound ranges from arena rock to mellow, soulful country. Their setlist included songs from all of their albums, always making a smooth transition and never keeping the mood too low for long.

Brandon made lots of direct and indirect interaction with the audience from the beginning to the end. He joked about being back in the arena. (“This is a super spreader event… We are spreading peace, love, and rock and roll!”) He held the hands of a lucky few sitting on the side stage. He spoke candidly of the challenging decisions the group made to release two albums in the last two years, during a time when most artists didn’t. In their most cool move, during the encore, the band brought a fan called Pepo on stage to play drums for the entirety of “For Reasons Unknown.”

Although the visuals were not as intense or powerful as many concerts I’ve attended previously, they seemed to be just right in complementing without overshadowing the music. There were plenty of lasers and colour hue changes throughout. More than once, streamers and confetti were released over the entire pit: it really was one giant party in there. There were still some cool, specific images, like dancers in a box during “Human.” (“Are we human or are we dancer?”) Astrological starscapes during “Spaceman.” Desert passages and the “Welcome To Fabulous Las Vegas” sign, a few times. Still, much of the backdrop was simply close-ups of the band members. But they had enough energy, stage presence, and moves that it never felt wrong. In fact, it only served to heighten the larger than life presence of a band that just radiates showmanship.

One unexpected but very cool part of the set was Johnny Marr coming out to join the band for a few songs. “When you’re growing up as a young kid in a small town, like 4000 people, and everything seems black and white… you discover a band called The Smiths… and everything seems to be a little more in colour,” Brandon shared with the crowd. It was clearly genuinely exciting for Flowers to be playing alongside his childhood influence. They covered two Smiths songs, “Stop Me If You Think You’ve Heard This One Before” and “There Is a Light That Never Goes Out.” Both are somewhat more mellow and in a higher vocal range than Brandon tends to sing in: nevertheless, the combination worked. If The Smiths ever want to reunite, I’d be happy to see Brandon do guest vocals over the original guy.

No doubt The Killers are a crowd pleaser, and that’s why they sold out Rogers Arena to 18,000 people. One forgets how many of their songs are beloved anthems until you’re at the live show. It felt like every other track I was saying “Oh yeah, this one!” There was the chanting along to the chorus of “Somebody Told Me” (“that you had a boyfriend, who looked like a girlfriend…”) and the heartbreaking cries of “Read My Mind.” (“Before you jump, tell me what you’ll find…”) It was pure magic with the deep rumblings of “I got soul but I’m not a soldier” repeated a couple dozen times for “All These Things That I’ve Done.” And of course, there was the very last song of the encore that had us all singing along to every single line. Anyone who’s been in a bar or party over the last 15 years has witnessed a crowd shout along in real time, but it really doesn’t compare to the real thing live. If I never do anything else in this life, I’m glad I got to experience the live rendition of “Mr. Brightside.”

Perhaps concerts have an extra special energy to them after a long period of unfeasibility. Perhaps The Killers really are just one of the most fun and engaging live bands around after all this time. Probably both. Whatever it is, I came out of the arena pumped and smiling. It was a feeling I haven’t had in a long time and I’m so happy the group delivered.

Written by: Cazzy Lewchuk

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thepermanentrainpress · 2 years

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CONCERT REVIEW: FLORENCE + THE MACHINE W/ JAPANESE BREAKFAST AT ROGERS ARENA - OCTOBER 4TH, 2022

Anyone who says rock and roll is a dying art clearly didn’t attend the Dance Fever tour. On Tuesday night, Florence Welch and Michelle Zauner – along with their bands – rocked Rogers Arena at a level that could compete with any legendary rock star in their prime. If Led Zeppelin and Fleetwood Mac are the past, Florence and the Machine and Japanese Breakfast are the future, and it’s in good hands.

Japanese Breakfast have been around since 2014 – in fact, Michelle informed us that it happened to be their eight-year anniversary as a band. Originally from Oregon and now based in Philadelphia, they’ve established themselves as premium and mesmerizing artists. They’ve embarked on several tours, headlining and supporting acts like Belle and Sebastian, The National, and the Yeah Yeah Yeahs. However, Michelle told us this was the group’s very first time performing in an arena, a special moment for audience and band alike.

Much of their music is sorrowful and low tempo – dream pop mixed with complex time signatures and reverb. A colourful assortment of stage lights accompanied hypnotic saxophone solos and synth beats. Wearing a gorgeous and bright yellow dress, Michelle impressed us all by switching between singing in an ethereal and distinct voice, shredding the guitar, and doing her thing on the keyboards. She even banged a large gong on stage several times. The whole thing was just extremely cool. Michelle finished the final song of the set – 2017′s “Diving Woman” – with an extended guitar solo.

Although Michelle was the centre of attention, Peter Bradley on guitar, Craig Hendrix on drums, Deven Craige on bass, and especially Adam Schatz on sax all contributed to this one-of-a-kind psychedelic warm-up experience. The audience reaction could be summed up by Michelle herself: “Some audiences can be sterile, but you guys disproved that. So thank you for such a warm welcome, this has been so fun.”

(My one complaint is that I was hoping to hear “Jane Cum” from her first album on the setlist. She simply had too many great songs to choose from.)

There was thunderous roars and cheers as Florence and the Machine took the stage. It’s hard to put into words how much this woman absolutely commands and focuses the audience in an arena. Watching her perform, it doesn’t feel like you’re with 15,000 other people. It feels closer to 150, or even just 15. All eyes are on her and you can feel the energy shift. She absolutely bedazzled in a red and white flowing dress – and as with almost all her shows, she was barefoot. A crystal-like structure adorned her as a backdrop, with the pieces moving to create a chandelier for some of the show. She also performed a bit beyond a thin transparent curtain, creating really cool effects with shadows. Although there were no visuals in the traditional sense, this stage decor really captured our attention.

A few songs in, Florence greeted Vancouver. She asked for whom this was the first time. “You might be wondering what’s going on here. Is it Miss Havisham the Musical? Is it a British pagan dance ceremony? Am I safe? There seem to be a lot of vampire brides here. Is it a cult? Are they gonna eat me? Anyone brought along or chaperoned, all I can say to you is that it’s so much easier if you really give into it and you’ll be absolutely fine… if you just do every single thing that I say.”

She encouraged us to put our phones away and to just share a moment, and to tell our neighbours to do the same either politely or with some more salty British language. Although I have no problem with some phones and pictures, it’s always nice to see a united arena connected to the music and no electronics.

She played a wide variety of songs from her decade-long career. There was a good order to the setlist, mixing up old and new, slow and fast. Her dancing is especially something to be admired; Florence flows gracefully, almost gliding around the stage, never letting her energy down throughout. Between her belting out “What Kind of Man,” singing an upbeat song with volatile lyrics (“Kiss With a Fist”) or just letting us dance it out in an encore to “Shake It Out,” there was never a dull moment.

Before “Morning Elvis” – off her latest album, Dance Fever – she explained to us that it was written during the height of the pandemic, “when I wasn’t sure if we could do this again.” Florence’s performance and stage presence are arguably just as important to her career as her studio music is, and it was obvious she felt as happy to be there as we did. There’s something genuinely special and heartwarming about seeing artists play again, to be back up there. It’s really a privilege too many of us took for granted before 2020, and a reminder of what has been sacrificed to continue enjoying live entertainment today.

There were several points in the show when Florence came down to the barrier to hug, hold, and sing to lucky fans just inches away. She even walked through the floor area to come to the other side and sing in the middle of the crowd. All eyes were on her, and it only served to make the show feel more intimate and special.

I feel it was an honour and privilege to be in the audience. But Florence makes you feel special and appreciated in return. “Look out and witness so much beauty everywhere, and the creativity. I’m so grateful for what you put in every night.” She also thanked us for supporting live music, since it continues to be a hard time for so many artists.

Whether you’re young or old, a longtime or new fan, a Florence and the Machine concert is one of the most passionate and beautiful shows you can go to. I saw Florence once before at a festival and was totally engaged and blown away by her performance. Seeing her headline an arena with a full set only further proved to me she’s one of the best touring artists around right now. Literally nobody is doing it like her; she’s one of a kind and an international treasure. I’m so happy she exists and that I got to share that night with her.

Written by: Cazzy Lewchuk

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thepermanentrainpress · 2 years

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CONCERT REVIEW: CIGARETTES AFTER SEX AT VOGUE THEATRE - SEPTEMBER 13TH, 2022

September 13th is a crisp night in Vancouver for Cigarettes After Sex — a wildly popular and anticipated show due to the band’s last album being released in 2019 at the onset of the pandemic. Lead singer, guitarist, and founder of the band, Greg Gonzalez, with Randall Miller on bass and Jacob Tomsky on drums commanded the stage at The Vogue with sensual, dreamy shoegaze and indie rock.

What I love about concerts from bands that were at the height of their popularity during the “indie sleaze,” 2012- era of Tumblr is the fact that the crowd really goes out for a full experience. That isn’t a slight to Cigarettes After Sex or their fans — I, too, dressed up. The crowd was prepared for a night of escape and lurid romance, and I loved seeing everyone dress the part in black, leather, and old merch.

My friend actually mentioned to me that a Cigarettes After Sex concert would be boring, but honestly it was far from it. Gonzalez’ vocals are made for The Vogue, with his almost operatic, sometimes referred to as “androgynous” tone filling the theater. The band started off strong with crowd pleaser “Crush,” and although the stage had little by way of set design, it felt intimate.

Gonzalez and his bandmates did not partake in a lot of banter with the crowd, but I think that added to their allure as performers. You don’t see a Cigarettes After Sex concert to laugh and cheer — you see them to engulf yourself in the music and feel it in your stomach. By the time “Affection” rolled around, followed by “Falling in Love,” a lot of the couples in the pit took to swaying together, closing their eyes and enjoying the experience.

Another highlight was definitely the song “Cry,” a personal favourite and perhaps one of their most popular songs. For this, they projected a woman’s sad face on the curtains of the stage. There is something about this song that is so guttural and heart-wrenching, that I think everyone should hear it live once. Gonzalez’ smoldering guitar and contemplative lyrics accompanied by the light snare of the drums felt very human.

The band performed a lot of favourites, including “Nothing’s Gonna Hurt You Baby,” “Apocalypse” and a cover of REO Speedwagon’s “Keep on Loving You.” Although one might critique that Cigarettes After Sex produce the same kind of smoky, simmering, sad song, they were all very enjoyable to listen to. I think this is the kind of music to listen to live, making a great concert experience.

The setlist was shorter than most with the show running just around an hour. They concluded on “Opera House” – my second favourite song, which they put a spin on by slowing the first part of the tempo – and “Dreaming of You.” It felt like an intimate concert despite the larger, packed venue. I also heard that a bunch of people bought fake tickets from a fan page for the show that night, and the band asked The Vogue to try and sell more tickets and cram more people in than they usually would. It just goes to show how deeply Cigarettes After Sex cares about their fans, and their ability to experience and listen to their music.

Written by: Alexa Tarrayo

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thepermanentrainpress · 2 years

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CONCERT REVIEW: PURITY RING W/ EKKSTACY AT HOLLYWOOD THEATRE - JUNE 5TH, 2022

Red velvet fabric adorned the walls of the Hollywood Theatre, a venue tucked away on a trendy Kitsilano street. Icy blue neon lit up the wall behind the bar, and strips of golden lighting guided concertgoers down towards the stage. The atmosphere was intimate, comfortable, and visually appetizing.

It felt like a perfect fit for the beautiful and elaborate musical stylings of Purity Ring – an electro-pop duo comprised of vocalist Megan James and producer/multi-instrumentalist Corin Roddick, hailing from Edmonton, Alberta.

Purity Ring holds a special place in my heart. When the COVID-19 pandemic first hit, the group released Womb, an album that granted me peace of mind amidst the chaos. From cover art to lyrics, beats and melodies, everything is so ethereal and gorgeously synced together.

The show kicked off with opening act EKKSTACY, who delivered passionate and captivating indie punk-rock. Joined by piercing electric guitar and intense drums, EKKSTACY’s setlist included the dimly upbeat “it only gets worse, i promise,” the dominating and dark “I GAVE YOU EVERYTHING,” and the intensely disinterested “f*ck everything!”

EKKSTACY moved with devotion and purpose, often clinging onto the mic stand like his life depended on it. His vocal tone was magnetic, strong, and crisp, while still maintaining a textured indie flair. Red stage lighting painted a bold contrast with the band’s all-black attire.

“I’m actually from here,” said EKKSTACY, a little bit shyly. “I was born in Surrey.”

“You escaped!” yelled someone from the crowd. It was clear that EKKSTACY’s hometown had been sleeping on massive talent.

Purity Ring began their setlist with “pink lightning,” a song swirling in dainty electric sparkles and waves of deep bass. James entered the stage wearing a large, hooded jacket and Roddick produced behind on what looked like a chunky organ.

“Warm water rises / It still feels like I can’t stop crying / Hold me inside it / It still feels like a storm not dying.”

Next up was “soshy,” a track off the duo’s newly released album graves. Cute industrial sounds accompanied James’ elegantly processed vocals. Green abstract projections danced in the background, as golden spurts of lighting lit up Roddick’s instrument. The sound quality was exquisite.

Purity Ring played through a mix of songs from different albums, including the snappy and heavy “Obedear,” along with the slower and cinematic “i like the devil.” They also played “push pull,” “repetition,” and “Lofticries.” Each song was an enchantment that put the crowd in a trance.

“Green, green thunder / And the loud, loud rain / Lead our woes asunder / ‘Neath the proud, proud veins”

James danced lightly and gracefully, almost skating all over the stage. Her hair cascaded in the wind as colourful lighting assortments rotated, and firefly-like projections flickered in the dark. A wardrobe change during the concert had James standing on a tall chair in an extremely long dress, creating a sharp silhouette.

The musicians wore masks the entire performance and thanked those who wore them at the event, advocating for keeping each other safe.

Purity Ring’s last songs included the otherworldly pop number “bodyache,” the light-hearted “Fineshrine,” and the strikingly inspirational “graves.” Coming full circle, Purity Ring ended their performance off with “begin again.” Heavy dramatic bass contrasted with James’ gentle vocals, as the crowd joined in on the chorus.

“You’ll be the moon / I’ll be the earth / And when we burst / Start over, oh darling / Begin again”

Purity Ring’s concert was a sight for sweet eyes. It was a marvelous, magical spectacle that nurtured ears, eyes, and soul.

Written by: Jenna Keeble Photographed by: Moe Yang

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thepermanentrainpress · 2 years

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CONCERT REVIEW: MACHINE GUN KELLY W/ AVRIL LAVIGNE AND WILLOW AT ROGERS ARENA - JULY 23RD, 2022

Golden light poured over industrial structures in the heart of Downtown Vancouver. On an event-filled Saturday evening, concertgoers at Rogers Arena experienced an exquisite indie punk rock performance from WILLOW, who joined Avril Lavigne and Machine Gun Kelly on the latter’s Mainstream Sellout tour.

WILLOW always maintains a balance between ethereal vocals and striking instrumentals. Whether she cranks out indie-pop hits or forays into punk rock, WILLOW’s art always feels new, fascinating, magnetic–and genuine. To hold such an authentic appeal whilst landing multiple viral hits on TikTok is no easy feat.

A massive white tarp hung behind the stage with a symbol etched in sharp black marker. The symbol, contained within a circle, housed a symmetrical floral design. In the foreground, a giant “W” cleverly enclosed the remaining letters of the singer’s name. Carved silver trash cans lined the stage, luminous light shining from inside.

WILLOW was accompanied by a full-fledged rock band: steely electric guitars, deep bass, and fierce drums. She dispersed her setlist, drawing from albums lately I feel EVERYTHING, ARDIPITHECUS, and THE ANXIETY.

“I knew a boy just like you / He’s a snake just like you / Such a fake, just like you / But I can see the truth.”

WILLOW’s vocals were light, full, and powerful. Beautiful vibrato circulated throughout the arena: a venue known for being sonically difficult to master. The performance was full of wonderful contrasts and passionate lyrical stings. WILLOW moved loosely and with poise across the stage. A rainbow knitted beanie bounced around on her head and played off nicely with the black t-shirt and pants adorned with warm colourful patches.

“I really love this next song cause it’s very ugly out here on earth–but sometimes it can be kinda really, really beautiful,” said WILLOW before launching into “Lipstick.” Booming vocals cascaded and harmonized over shredded guitar and heavy drums. “And I’m looking at pain like my old close friend / Open arms for her when I see her again.”

The pace simmered with “Come Home,” a pristine pleading for love. “I’m tired of this feeling, I feel so alone / I need you right now, baby / won’t you come home?” WILLOW’s nuanced melodies and radiant runs weaving into a dramatic chorus.

“It’s kinda cliche,” said WILLOW leading into the song, her soft and kind tone putting the crowd at ease. “But the next song is about being in love.”

“I know we all kinda like being in love, right? Some of us maybe hate it…”

“Meet Me At Our Spot” brought trendy timelessness. The audience erupted in excitement after the first few beat drops and started bobbing along with WILLOW’s heartfelt vocals. “Caught a vibe / Baby, are you coming for the ride? / I just wanna look into your eyes / I just wanna stay for the night.”

Wavy guitars paved a scenic detour away from punk rock with “Wait a Minute!” – WILLOW’s dynamic vocals adding a bold flair compared to the studio recording. “Hold on, wait a minute / Feel my heart’s intention, oh / Hold on, wait a minute / I left my consciousness in the sixth dimension.” To end off the beachy psychedelic rock tone, WILLOW strapped on an electric guitar and played a rich solo melody.

“<maybe> it’s my fault” was a strong end to a captivating performance. Luscious, soft vocals blended into enthusiastic electric strums during the verses, while tension built with a thundering tempo change during the chorus of the track. Screamo vocals cut an intense, cathartic edge.

“It’s all on my mind, it’s all on my mind / I try to rewind / And all of the while / I’m hurting inside / It’s your fault / Maybe it’s my fault.”

Up next, Avril Lavigne. An icon in the punk rock world and Canadian music scene. Lavigne played classics like “Girlfriend,” “Complicated,” “Sk8er Boi,” and “I’m with You.” She also played some tracks off her new album, including “Bite Me” and “Love It When You Hate Me.” Lavigne was energetic and joyous, soaking in the audience’s adoration who knew much of the words to the songs she played.

Machine Gun Kelly (MGK) took the stage from a life-size pink helicopter attached to the arena’s ceiling. He played through most of Mainstream Sellout, including “born with horns,” “god save me,” “make up sex,” “emo girl,” and “die in california.” He also played some tracks off Tickets To My Downfall, including “kiss kiss,” “drunk face,” “bloody valentine,” and “my ex’s best friend.” MGK even performed “el Diablo,” a track from his rap days.

MGK’s stage was a giant optical illusion. A “slanted” checkered circle platformed the band. He wore a glittery tank top and pants with his pastel pink hair. His performance was vibrant and lively. MGK seemed comfortable with the crowd, complimenting the city’s water, donning a purple Vancouver Canucks Hockey Fights Cancer jersey, and walking through the floor crowd during multiple songs. The Mainstream Sellout tour revolved around defeating the internet, which was personified as a giant human figure with a television on its head.

MGK was charismatic and lively, clearly bringing out all the stops for the tour. It was impressive to see old and new guards of punk rock come together for a nostalgic and unique event. Fresh, skilled sounds collided with extraordinary spectacles in a jam-packed concert.

Written by: Jenna Keeble Photographed by: Timothy Nguyen

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thepermanentrainpress · 8 months

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CONCERT REVIEW: KATELYN TARVER W/ ROSIE DARLING AT THE WISE HALL - SEPTEMBER 9, 2023

Adorned with a canopy of lights, the high ceilings and cozy lighting of The Wise Hall were a fitting atmosphere for the Compliments Only Tour. It was an intimate crowd, but one that gave their undivided attention to both Katelyn Tarver and Rosie Darling on their Saturday night in East Vancouver.

I’d been familiar with Rosie Darling since her release “Nail in the Coffin” (with Boy in Space) appeared on my Spotify Discover Weekly earlier this year. Since then, I’d been getting acquainted with her music; therapeutic for both Rosie in her craft, and her listeners. She made her entrance to ethereal nature sounds and immediately invited the audience closer to the stage for opener “Reruns.”

Her music is very chill, singer-songwriter pop with an emotional gut-punch. Many of her songs are short in length, so they’re compact, but memorable. Her breathy edge is distinct in “Say Less.” “Villain” was released a couple of weeks ago, and while it’s aesthetic in sound, its message is even more important. About understanding and finding peace after the breakdown of a relationship, it references blame, responsibility and ultimately letting go. Rosie has a very calming presence as she moves on stage; she’s still coming into her own as a performer, using her free arm to bring in the audience. She’ll clutch at her torso on emotional lines and shut her eyes mid-track, imploring us to feel that ache with her.

She sang “Nail in the Coffin” (sans Boy in Space) and “Witness.” The latter was introduced as an “older one” given its release in April 2021. Rosie’s keyboardist Mike Nardone (who I believe was also responsible for the programmed beats) genuinely looked like he was having fun, and I loved how her music was able to build in layers but still allow her voice to shine. The piano accompaniment was lovely, especially towards the end of the dreamy “Lost on You.” They weren’t wearing their matching red jumpsuits (or pantsuits) in Vancouver though, Rosie opting for a bronze silkier set; although still a penchant for the hair bow and oversized pajama pieces that give her a comfortable, chic style.

Since the release of her debut EP Coping (Nettwerk Records), she’s released a number of singles and the EP Golden Age in 2022. Her debut album Lanterns will be released November 10 (not mistakenly, a word woven into the lyrics of “Villain”). “Boxes” was introduced as an “emotional one [to] get through together,” and that we did. Her voice as lush and soothing as ever, breaking free from confines and learning to value herself.

She closed her set with the somber and much underrated “Coping.” Rosie has a delicate voice with a potent, effervescent kick. Her lyrical depth and visualization are notable, and her music feels like both an anthem and a lullaby. I was impressed by how close she sounded to her recorded music; Rosie Darling is one to watch.

Katelyn Tarver had an unassuming entrance; right into the keys for the beginning of “What Makes a Life Good,” before taking the microphone and working the stage. Instantly, you can see her connection with the music and the questions she poses (“Is it taking someone's broken heart and knowing how to fix it? Is it becoming a mother? Is it learning to be tougher?”). This is a prime example of the big picture outlook in her lyrics; they have meaning and are given much thought.

Throughout her set, she shifted between her trusty mic, keyboard, and acoustic and electric guitars. “Cinematic” was soft and sentimental, while “Hurt Like That” revelled in its instrumental breaks (and driving guitar lines). Katelyn had such a comfortable stage presence; she feels the words and music, and in doing so, allows herself to let go and dance. She’s a natural performer.

The soulful, R&B inflicted “Nicer” makes use of her piercing upper register, while “Shit Happens” is a weighty piano ballad. She spoke about the journey to write “Shit Happens,” in navigating the unforgiving music industry and wanting to make it. It was a special song on her 2021 album, Subject to Change. Katelyn spent time conversing with the audience, showing off her new boots and explaining the concept of ‘compliments only’ starting out as a joke between friends and family. “Compliments are underrated,” she remarked, before providing ones for guitarist Ryland Holland (who kindly steamed her shirt before the show) and drummer Chris Bellew (who was in Canada for the very first time, which she conceded was more of a fun fact than a compliment).

I loved getting to hear my favourite KT song, “Starting to Scare Me,” live. It’s dark and blunt, but has the most incredible rhythm and flow. “Love Alone” was on her debut EP, A Little More Free, circa 2011. She noted its importance as her first original work and having that ownership over her music. This was a beautiful song, just Katelyn and her acoustic guitar. With this song in particular because of its age, I can see her growth as a musician. I’ve seen an older rendition where she sounded more strained vocally to reach the higher notes, but she sings a softer version now that is gentler and uses her warm spirit.

She sang a powerful cover of Paramore’s “The Only Exception” (a song she loves so much, that she recorded and released her version last year), before moving to her new material. “Ignorance is Bliss” was released the day prior. I’d liken it to a bittersweet pop cut that makes us question our reality, and possibly enter an existential crisis. Katelyn reassured that the new music meant she is heading towards a new album, Quitter (Nettwerk Records), which drew cheers from the crowd.

“One Without the Other” was the missing link for the album to feel complete, while the title track was an upbeat charmer about reflecting on the past, present and future, and living for herself – not for others. I could tell she was excited to share the new music in her first headlining tour. She expressed that gratitude a few times through her set, stating it’s still “weird” to do what she does for a living and put herself out there, but thankful that fans have stuck with her.

Closing with the recently released “Parallel Universe,” she capped the night off perfectly. The use of shakers during the verses added character and I liked the subtlety. There were a couple moments where both the drums and guitar kicked in and I felt like it overpowered Katelyn’s voice (like during “Out of Excuses”), but for the most part, it remained clear and vivid. Her music is both compelling and poetic, and she embodies her stories as a performer.

It was a great night of music at The Wise Hall by two angel artists. I say angels as both were gracious and stayed to meet and interact with fans post-show. It’s by no means mandatory nor expected, but it says a lot about an artist’s integrity and certainly adds to the concert experience to get to speak with the musicians outside of any minor stage interactions. Both were receptive and kind, and I can’t wait until Katelyn and Rosie make their returns to Vancouver.

Written by: Chloe Hoy

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thepermanentrainpress · 10 months

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CONCERT REVIEW: HOTEL MIRA W/ DUST CWAINE AT HOLLYWOOD THEATRE - JUNE 24, 2023

We are big fans of Hotel Mira here at The Permanent Rain Press. From the Sharkweek EP to Perfectionism, the band’s sound has consistently developed over the years, surviving new members and name changes. A stunning punk-rock essence is maintained, and an emphasis on live performances has cultivated a loyal fan following.

The audience was first treated to a riveting cabaret performance by the established drag icon Shanda Leer. He belted out the beautiful “That’s the Way It Is” by Celine Dion and had the audience laughing about the bisexual lighting in the venue.

Up next was Dust Cwaine, a non-binary singer-songwriter and drag artist. Bringing along the River Children band for support, they put on a humorous, bubbly, and nuanced show. Touching upon important topics such as fatphobia, body positivity, and queer identity, Dust Cwaine quickly created a safe and inclusive atmosphere.

They played through 90’s punk-pop influenced tracks including the spiritual “Hearts in Atlantis,” and the dejected “To Be Okay.” Acoustic notes accompanied sturdy vocals and earnest lyrics: “Tell me what it feels like to be okay / tell me what it feels like to love your body.” Dust Cwaine captured the pain of heartbreak with “Seventeen.” They healed and reclaimed inner peace with steady strings and catchy lyrics: “Am I too old to stop believing in destiny / I wasn’t enough but I gave you the best of me.”

Hotel Mira kicked off their setlist with the intense and electrifying “Everything Once.” A song written about the loss of a friend. Charlie Kerr’s voice showcased its unique animation. The band played through recent releases, including the beachy, on edge “Fever Pitch,” the racing, romantic “Eventually,” and the adrenaline-inducing, metallic “Dancing With the Moonlight.” The latter was partly produced at Bays’ Tugboat PI. facility in New Westminster. Clark Grieve’s guitar hooks are razor sharp, and the song gives off a gritty, ELO-esque vibe. Lyrics of discomfort and self-doubt document the inner struggles of chasing your dreams in the Mecca of entertainment: “I’m thinking of changing my name / A private life that I would trade / For blinding lights and an early grave.”

Perfectionism songs featured heavily on the setlist. “Jungle,” a lively and bold tune, benefitted from Cole George’s dynamic drumming. The audience loudly sung its iconic lyrics: “I can’t wait to lose it ‘cause everyone cool is a head case / My mind got polluted by rock stars and suits and a new wave.” Hotel Mira also played sweet and cheery “The Eyes On You,” the epic and cathartic “This Could Be It For Me,” and the reflective, downcast “Speaking Off The Record.” Mike Noble’s reliable, rich bass reinforced raw words: “15 of my closest friends / Walked me right up to the ledge / ‘Everyone loves you,” they said / So why do they leave me for dead.”

Kerr had a beaming stage presence, alternating between snappy movements and gracefully dancing across the stage. He whipped around the mic, tore off his tank top, held the hand of an audience member, and jumped into the crowd on the floor. His genuine interest in building a rapport with the crowd stood out. Kerr asked the audience who experienced a breakup and got everyone to curse the ex-lover out. F*ck you, James!

Older releases played included the fiery and frantic “Ginger Ale,” voltaic “Circulation,” and urgent and passionate “Southern Comforting.” These fan favourites evoked a storied local history.

Fun, playful and authentic, Hotel Mira’s live concert flew by. Seductive synths and punk-rock unleashed vibrant melodies. Charlie Kerr’s stage persona is wildly entertaining–something not to be missed. The night ended with nurtured bonds and musical satisfaction, as anticipation grows for Hotel Mira’s sophomore album.

Written by: Jenna Keeble

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