Category: Shows

Fruit Bats – Hollywood Theatre


Been a minute since we’ve seen live music in a busy venue and Fruit Bats were the perfect act back. They took down Hollywood Theatre on March 18th, 2022, a mere couple weeks after BC’s mask mandate ended. There were folks aplenty ready to move to their new and older stuff. 

Fruit Bats brought their Illinois folk-rock sound up and over to Vancouver. Their albums have grown and shifted as band members have come and gone, with lead singer, Eric D. Johnson, the North Star along the way. Given the various travel complications of the last couple years, this tour could be showcasing their 2022 release Sometimes a Cloud Is Just a Cloud: Slow Growers, Sleeper Hits and Lost Songs, their 2021 releases Siamese Dream AND The Pet Parade, 2020’s The Glory of Fruit Bats, or their 2019 album Gold Past Life. And, functionally, Sometimes a Cloud serves as a retrospective across two decades of their music, and perhaps that is what this tour is as well. 


Fruit Bats came out to a sold out Hollywood Theatre on an ethereal stage of clouds and suns. Opening with The Bottom of It, the opener off Gold Past Life before moving into My Sweet Midwest off Absolute Loser. Eric said this was actually an internet request. 

A few songs following this, including Cazaderawere shouted out as their Canadian debut. They then moved through their catalogue, from older to new and back again. The packed crowd swayed with them. People were dancing, making out (I haven’t seen that in a while), and back at live music. It was a delightful show. 


Much as Sometimes a Cloud moves back and forwards through their discography, this show did too. Eric himself said part of the album is the “collection that you buy for your friend that’s Fruit Bats curious” and that part of the album is for longtime fans. I would say the show did that as well, reminding everyone at the Hollywood Theatre what the Fruit Bats can do. 

They left they stage for one of the most telegraphed encores we’ve ever seen, which would have been demanded by this crowd no matter what. They saved one of their biggest, Humbug Mountain Song, for the encore and, in more of a surprise, came back again for a second encore. Everybody left satisfied and wanting more. 


Going in, I was familiar with their bigger songs, but not the whole catalogue and was quickly drawn in. Will definitely be back next time they are in town.


Photos: Mikhail Din

Review: Alex Jardine

Phillips Backyard – Glitterbomber

Glitterbomber 2022_03_01_01

It’s been a little while since we’ve been to a Phillips Backyard event, and this year they’re not only bringing it back…they’re it back three times!

First up, The Glitterbomber. Named after the Phillips Hazy Pale Ale, Glitterbomb, this weekend of great beer, great music, and great vibes is taking place Saturday May 14th and Sunday May 15th 2022.


The trio of festivals is starting off strong with headliners Future Islands (a Maryland-based synth pop group – May 14) and Bryce Vine (a California-based hip hop artist – May 15).

Among the many talented musical acts on The Glitterbomber bill are the BC indie rock legends, The Zolas, who’s newest album has been on repeat at the 987 HQ since its release in 2021.


Tickets are available here! See you on the dance floor 🙂

Day In Day Out Returns!

After a successful inaugural weekend in 2021, Day In Day Out returns for its second edition this August! Taking place at the Fisher Green Pavilion, in the heart of Seattle, this year’s festival features a wide range of acts with genres spanning across the board.

The headliners include: Mitski, Mac DeMarco, and The National; playing Friday, Saturday, Sunday respectively.

As well as some other heavy hitters such as: Soccer Mommy, JPEGMAFIA, Cherry Glazerr, Shabazz Palaces, Japanese Breakfast, and Animal Collective.

We can’t wait!

Tickets available here.


Ritt Momney – Fox Cabaret


Ritt Momney was my first concert since covid hit. I had been starving for a solid night out with some kickass live music in an intimate venue. This Gen Z band of thrift shop t-shirts and pencil moustaches was just what the doctor ordered.

Set in the ever-iconic Fox Cabaret, the acoustics played out well in the venue. When it was time for Ritt Momney’s set, there were no dimming lights, and no stage changes (other than adding a few instruments). Using the same blue mood lighting and red velvet curtain backdrop as their openers, Ritt Momney and his touring band walked on stage, greeted by a mass cheer and without an introduction got to it, opening with “Paper News” from his 2019 album, Her And All of My Friends.


If you’re unfamiliar with Ritt Momney (aka Jack Rutter); he’s a Salt Lake City-based artist with a lofi-meets-indie-pop/rock sound. Ritt Momney had a major rise in popularity after his sleeper hit cover of Corrine Bailey Rae’s “Put Your Records On” went viral on TikTok.

Ritt Momney started the night slow and chilled, silencing the crowd with soft, pull-on-your-heartstrings tunes such as “Not Around”, “Show Runner 99” and “Command V”. Everyone had their hands to their chest swaying in unison as if under a trance. That trance was broken when Jack Rutter brought on a crowd favourite “Escalator”. The intro beat started, Rutter jumped from the keys sending the audience into a frenzy.


Rutter bounced around the stage changing instruments; from piano to lead guitar and just straight vocals. He got the crowd dancing, and incorporated the two opening acts into the set; performing his single “Sometime” ft. Shane T and “Set The Table” with Hannah Jadagu. The band’s chemistry on stage was fun-loving and comfortable. Their energy was contagious, you could feel the comradery and love for performing.

With a decently bare stage set up, a relatively small crowd and the familiarity in which Jack Rutter addressed his audience, it felt like you were at a bumping house party. The energy was high and it appeared nearly every person there was a loving fan, dancing and singing along, giving their full selves to the experience of the show. Even Rutter’s stage banter about losing his bag at the skate park and breaking into private rooftops to get a better view of the mountains was told as if he was chatting right to you.


At the end of the show, Rutter apologized as there was not enough time for an encore. This didn’t seem to bother the crowd, not because one wasn’t wanted, but because they had heard everything they desired.

Ritt Momney was very open and cordial with the audience. When the set was over Jack Rutter took the time to take pictures and chat with fans. Beer in hand, Rutter stayed behind for an hour or two answering questions and shooting the shit with his admirers… me being one of them.

I had heard a few songs by Ritt Momney and wasn’t sure what to expect from him and his band in a live performance, but they blew me away. With an electric stage presence, top tier talent and respect for his fan base, Ritt Momney gives it his all. It’s not a show to be missed.


Photos: Michaela De Ciantis-Wong

Review: Sophia Niewerth


Primavera Sound 2022 – Barcelona


Primavera Sound (Barcelona), a music festival that has been around for over two decades, is BACK baby!

This event will be taking place at Parc del Forum, a public park in the south-east part of the Poblenou neighbourhood on the Mediterranean seafront.


Since its inception in 2001, Primavera has boasted some of the world’s top musical talents, and this year’s edition is no exception.

There will be two weekends to choose from (June 2-4 and 9-11, with virtually identical lineups), and events every day in between.


The headliners this year include: The Strokes, Pavement (W1), Massive Attack, Tame Impala, Beck, Yeah Yeah Yeahs (W2), Gorillaz, Phoenix (W2), Jorja Smith, Dua Lipa (W2), The National (W1), Nick Cave and the Bad Seeds, Tyler, The Creator, Interpol (W2), Lorde (W2), Megan Thee Stallion (W2)


The action doesn’t stop in between the two weekends. Primavera a la Ciutat will be running from June 5th to 8th; access is included with either of the weekend passes.

There will be live acts at different venues across the city. You’ll find some of the headliners such as Jorja Smith, Interpol, Megan Thee Stallion and Phoenix listed as a part of these events, as well as some acts not featured on either weekend bill, like Disclosure and Jamie XX.


Both weekends are officially sold out, but those hoping to get on the waitlist can do so by clicking here.


Photos taken on behalf of 987:

The Strokes (Rogers Arena): Anil Sharma

Tyler, The Creator (Pacific Coliseum): Darrole Palmer

Interpol (Queen Elizabeth Theatre): Darrole Palmer

Jorja Smith (PNE Forum): Darrole Palmer

COIN // The Rio

The Rio Theatre was absolutely rocked on November 9th by COIN. With the absence of the opening act, Valley, who were unable to get across the border, Chase Lawrence (lead vocals/synths), Ryan Winnen (drums), Joe Memmel (lead guitar/backing vocals), and Matt Martin (bass) came out to a somewhat cool crowd, murmuring with excitement.
The first live sounds of the night came from Memmel‘s Fender Mustang for their song Chapstick, a single they released in early October. The tone of his opening riff cut like a knife through the anticipation of what the night had in store. There were no more questions at this point; we were in for a show.
As the night went on, it became more and more apparent why COIN has experienced the success they have; not only were they all incredible musicians, but they each had a distinct knack for showmanship. Whether it was Lawrence jumping on top of his keyboard mid solo or Memmel becoming a human extension of his guitar and falling to his knees at the strum of a chord, there was always something going on up there that caught your eye. The passion they have for their music was evident and contagious.
I was able to get my hands on their setlist after the show, and this was the order of the songs they played.
Into My Arms
I Want It All
Simple Romance
Growing Pains
Nobody’s Baby
Babe Ruth
Let It All Out
Malibu 1992
You Are The Traffic
Crash My Car
Fingers Crossed
Sagittarius Superstar
Talk Too Much
Before playing You Are The Traffic, the only song they performed from their most recent album, Rainbow Mixtape, Lawrence mentioned that they wrote 26 new songs in the last year. Which, under normal circumstances, would be basically impossible for a band trying to balance a touring schedule. The feat becomes even more impressive when you consider the quality of the 26 songs that they produced. But, as we all know, time can seem endless during a lockdown; something Lawrence credited as the main reason they were able to write so much.
I was slightly disappointed they didn’t play more of their new songs from their recent albums Rainbow Mixtape and Green Blue + Indigo Violet; the night was primarily focused on their album Dreamland, which they didn’t get a chance to tour in 2020 due to COVID-19. I can’t blame them; it’s a strange position for a band to release an album, then get halted from touring due to a global pandemic, sending them into a writing frenzy that resulted in two new albums in one year. The good news, there is a lot more new music that they will be performing soon.
The night ended off with their most popular song to date, Talk Too Much. Even after seventeen songs, they were able to muster up a powerful performance that had the entire building singing along with them. Lawrence ended the night by simply saying, “see you next time,” with confident assurance in his tone that was well deserved after that performance. He knew, as well as everyone else in that crowd, that we were going to be seeing him again.
Review: Conaire Kehoe
Photos: Michaela De Ciantis-Wong

Throwback to Simpler Times: Rifflandia 2018


The last instalment of Rifflandia took place in downtown Victoria from September 13th – 16th, 2018. In its 11th year, it has established itself as an excellent west coast mid-size festival experience. The festival grounds themselves were a manageable and excellent size. The crowds felt busy and excited, but not overwhelming. Even bathroom lines were reasonable; something not every festival can boast.

This festival took place throughout the city. Philips Brewery had stages in their backyard and the main festival grounds were at Royal Athletic Park. However, once the main acts were done for the evening, various bars and clubs throughout the downtown core continued to play Rifflandia events well into the night.



NineEightSeven took the “Tsawwassen –> Swartz Bay” ferry across on Thursday night, and pre-gamed with a BC Burger. Night One started with Adventure Club at the Phillips Backyard. We arrived and found ourselves slightly not in the mental state of the largely UVic crowd who had been partying longer. Realizing our mistake, we set out to remedy this issue and stumbled upon the biggest surprise of the festival:

Diamond Café took the stage at the Capital Ballroom, and is all we’ve been talking about since. The group is young, but the lead singer’s voice is enormous. They have an 80s sound, and a dancey, sensual vibe. The lead singer would frequently carry the room away with a note hitting a higher range or held longer than anyone expected.



NineEightSeven entered Royal Athletic Park for Blitzen Trapper at the RiffTop Tent. Royal Athletic Park had two stages: Rifftop and Main. Given the size of the festival grounds, they essentially alternate. Blitzen Trapper hails from Oregon, and they have a decidedly Pacific Northwest vibe, perfectly at home in the Victoria surrounds.


Royal Athletic Park closed the night with Daniel Caesar. His soulful voice and rarely-flashed heartbreaking smile made the crowd fall in love completely. His voice and sound brought a private show feeling to the Main Stage in Victoria.

NineEightSeven then returned to the Capital Ballroom for a completely contrasting musical experience, Fucked Up. Their sound inspired a (admittedly low key) mosh pit and let audience members release any lingering energy.



There were two acts that NineEightSeven were most amped for going into Rifflandia, and they happened to both be on Saturday (late afternoon/evening).

Before that, though, Sonreal delivered some feel-good sing-along rap. He moves like no one I’ve ever seen. Legs seemingly on springs, microphone nearly parallel to the ground, and then he’s suddenly up and back and sing rapping in a completely different part of the stage.


However, for us, the whole festival had been opening for Bishop Briggs – and she delivered. Moving around the stage like a boxer, one moment sprinting, another ready to fight. Her demon, pixie dream energy somehow directly correlated to the deep, full vocals behind banger after banger. She charged from stage left to stage right, and made us all fall in love. She took moments to address the crowd and her higher, more reserved speaking voice nearly quivered with gratitude and excitement. She belted out high energy, big vocals hits like “White Flag”, “Hallowed Ground”, and “Wild Horses”. She sheepishly apologized for her first love song, “Baby” (about Sir Sly frontman, Landon Jacobs), and warned parents in the audience of some mildly explicit lyrics. And, of course, delivered her biggest hit (so far!), “River”. We love Bishop Briggs.


In the Saturday closer, a different kind of female lead took the stage: Jessie Reyez from Toronto. She’d made cross-Canada radio waves with “Figures” in late 2017. But anyone who thought “Figures” was her whole sound would have been incredibly surprised at the R&B/rap sound she brought to stage. She angrily dismantles sexual harassment in the music industry in “Gatekeeper”; laughs at fuckbois in “Bodycount”; even more angrily yells at fuckbois in her collaboration with Eminem, “Nice Guy”; dances along to the Dua Lipa/Calvin HarrisOne Kiss” that she penned; and slows down and opens up in “Apple Juice”. She spoke to the crowd frequently throughout the set, bringing us in and making it more a of a conversation than simply a collection of songs.

It’s clear that, after 11 years of running this annual event, Rifflandia has this whole festival thing down. Can’t wait for the next edition 🙂



Review: Alex Jardine

Photos: Yasmin Hannah

Constellation Fest 2019


This was the first year of Constellation Fest and NineEightSeven’s first year covering it!

Constellation took place on Hendricks Field in Squamish from July 26th – 28th. The Greater Vancouver festival market has been notably lean in 2019 as older mainstays such as Squamish Valley Music Festival and Pemberton have bitten the dust while Skookum and Rifflandia took a year off.

Constellation aimed to bring a west coast mid-size festival experience to the Pacific Northwest, and it did just that. The weekend was met with idyllic July weather (apart from a brief Friday shower). The festival grounds themselves were an excellent size. The crowds felt busy and excited, but not overwhelming. Beer, food, and bathroom lines were manageable. Similar to Rifflandia, Constellation used two alternating stages, with the main stage facing the Stawamus Chief.

Beyond the music, Constellation mixed in local vendors and artists, with several art installations evolving over the course of the festival. One paint-by-numbers zone had a large canvas and allowed everyone to get involved.

It is also worth noting that Constellation had many initiatives to go zero waste. They appeared to be partnering with waste giant, GFL, which allowed for waste-of-all-kind depositories and kept the festival grounds spick and span.



NineEightSeven’s 2019 Constellation Festival began in Vancouver Friday afternoon. By locating in Squamish, getting to the festival was relatively easy via car or festival shuttles. While camping was available off-site, NineEightSeven stayed at a nearby hotel to maximize sleep, bathrobes and water slides.


Our festival began with Canadian act, Dear Rouge performing local radio mainstays “Black to Gold”, “Live Through The Night” and others. Lead singer, Danielle McTaggart, partnered with purple smoke bombs and a black and white robe, brought NineEightSeven right into Constellation’s mode.

Following them, Edmonton band of brothers Scenic Route to Alaska took the smaller Creative BC Stage to smoke and a brief rain shower. They have a ‘Central Canada‘ guitar sound that fit right into the evening and fed into Friday headliner Serena Ryder.


She began with her biggest hit, high energy, “Stompa”. From there, through the smoke machines, she mixed in slow songs and heavier guitar and eventually caused the only rainstorm of the weekend.

After a brief pit-stop, NineEightSeven hit up the official after-party at the best nightclub on the Sea-to-Sky, The Knotty Burl. Truly having everything one might look for in a post festival experience, The Knotty Burl provided a nightly option for a sweatier dance party after a day in the grass with more relaxed music. Hot Hot Heat’s bassist, Parker Bossley, played to a packed crowd eager for the night to continue.




NineEightSeven made it in for Vancouver’s own, Peach Pit. Well, we made it in before that but got stuck at festival sponsor, Nude’s activity zone, sipping beverages and playing corn-hole. The Saturday crowd was a wide range of ages, with a surprisingly large number of kids. The family atmosphere felt at-one with a Squamish weekend while little posses of children roamed around coming up with games that only they could understand. Peach Pit came with facial hair, and a Vancouver hipster look and sound on the main stage.


Following Peach Pit, rapper (and briefly Studio Q host) Shad was on the Creative BC Stage. He mixed older classics with some newer tracks and upped the hip-hop significantly after a couple days of largely Indie Rock.

Following in the hip-hop vein was A Tribe Called Red. They began with a message, letting the crowd know that one of their members had been profiled and taken out of the festival. In response, the crowd booed and were firmly siding with A Tribe Called Red. Once the set began, some truly spectacular indigenous dancers and hoops wowed and accompanied classics such as “Electric Pow Wow Drum”.


NineEightSeven’s surprise favourite of the weekend followed, Cosmo Sheldrake. A couple of his songs have hit the mainstream in a few surprising ways, “The Moss” and “Come Along”, popping up in places such as Apple ads and the intro to The Masked Singer. He seems to mix lyrics you might associate with Dr. Seuss into a looped DJ set. His soft-spoken London accent matches his on-stage persona: perfectly: unassuming, but in full control. Fortunately, this was not the last time we saw Cosmo that evening.


In the roll of the Saturday closer, Jessie Reyez. You probably know her by now, but if not, she made cross-Canada radio waves with “Figures” in late 2017. However, only associating her music with Figures misses the R&B/rap sound of much of her other stuff. Unfortunately, Jessie hurt herself a few weeks prior and for a while Constellation looked dicey. However, she made it and began in her signature hoodie and hat. She went through classics such as “Gatekeeper”, “Apple Juice” and “Body Count” before lying down on the stage. Typically, she rips back and forth and today her movement was decidedly slower. She then said:

You guys my back is killing me. I don’t want to stop the show, but I’ve got to sit down”.

All of a sudden, a couch appeared on stage and she lay on it and kept singing all the way through a closing “Figures”. As she likes to, she frequently brought the crowd in, telling stories of coming up performing on the street, and dealing with industry low-lifes.


However, the night was far from done as Cosmo Sheldrake was performing at The Knotty Burl. Reprising some tunes from earlier, with some new loops and mixes, he nearly didn’t play his biggest hit, “Come Along”. Fortunately, some aggressive crowd cajoling brought him back on stage to finish off Saturday at Constellation with this tune.



Sunday began slowly for NineEightSeven and the festival. Following legalization, cannabis giant Aurora sponsored a Weed Garden, enabling Aurora plastered hats to be on almost each on every head in the grounds. We checked it out before taking in songstress, Begonia. She has a big voice (think Lily Allen) perfect for larger venues and for taking in on the grass in front of the main stage.


From there, Current Swell brought a little heavier rock before Sunday highlight, Half Moon Run. They sang dreamy classics such as “Full Circle”, along with the new single and a few other tunes off their at-the-time-unreleased album, “A Blemish in the Great Light”.


Unfortunately, from there, NineEightSeven had to jet back Vancouver way, eagerly awaiting Constellation 2020 (July 24-26).

9.87/10 – Can’t wait wait for next year!


Review: Alex Jardine

Photos: Mikhail Din

Judah and the Lion // Orpheum

Sit back and get ready to go for a wild ride, because that’s exactly how the Judah & The Lion concert felt.

Their advertised opening act Floracash was a no-show, with local Vancouver band Harlequin Gold taking their place without explanation.


Set in the gorgeous Orpheum theatre, the acoustics played out well, although the seating situation made it a little hard to rock out. When it was time for Judah & The Lion to come out, the lights dimmed drawing a hush over the crowd. The great white sheet hanging in front of the stage became illuminated, silhouetting the band and their marching drums hanging from their necks. An intense play of light and sound began, with the shadows and flashes matching the marching band beats. Choir like vocals filled the air and then suddenly the curtain was dropped to reveal Judah & The Lion performing the title track from their latest album “Pep Talks”.

In a blast of music and art, the concert was underway with such high energy from Judah Akers as he ran around stage moving in such a signature way, it was hard not to smile at his authentic love of performing.


If you’re new to Judah & The Lion, they’re a Tennessee band with a 21 Pilots-meets-bluegrass vibe. Their music is a wonderful amalgamation of guitars, banjo’s, electronics and suburban teen angst. Their lyrics are always relatable and honest in a way that makes you feel like you’ve lived the same life, or at least a parallel.

Judah kept referring to the seats in the Orpheum as a hinderance to rocking out, but urged the crowd to overlook the seats and come dance in the aisles. Between songs, he made audience participation a game by separating the crowd into two teams. One team was placed on banjo player Nate Zuercher‘s side and the remaining team on mandolin player Brian Macdonald‘s side. Making everyone dance without inhibition, Judah kept the crowd participation up the entire night, constantly jumping from side to side without playing favourites.


The segue between songs was a beautiful storyline, carried along by perfectly timed lights and sound.

It felt like a magical experience in a church of music, with the way Judah slowed down the music and took the time to talk about his personal experience of being on the road, and how he came to write “pictures” – a song recorded with Kacey Musgraves.


Judah opened up about his parents’ divorce and struggle with addiction, explaining that the song stemmed from an emotional call from his mother, while she was packing up his childhood home up during his tour. The song started with only him on stage, but ended with the entire band coming out to support him with vocals and other instruments.

Each of the band members wore tops that had the word “family” emblazoned across the front, and it felt like family and unity were the main themes of the night.


Moving from slow songs on piano, to high energy seemed like an impossible task, but with flashes of air cannons and bright lights, they were at it again, throwing the cheering crowd into favourites from their 2017 album Folk Hop N’Roll.

Running into the crowd and all the way to the back of the theatre, Judah made sure to high five as many fans as possible (something that must have been a nightmare for his security). He announced that he wanted to “bring out the rowdy” from the crowd, urging all of us to let go of our shyness and just dance, or do what felt right.


Though this was the 54th show on their Pep Talk tour, the band showed no signs of fatigue.

There was a truly touching moment when Judah played a song on his twelve string, slowing everything down to truly connect with the crowd. Nate had several gorgeous banjo solo’s, showcasing his true talent of the instrument, with quick fingered bluegrass riffs. Not to be outdone by his bandmates, Brian switched between various guitars and the mandolin throughout the entire set. The supporting band members were just as incredible with their energetic playing and tight beats.


This is a band that needs to be seen live to have a masterclass in what a great performance looks like. From the cohesion that came with telling stories between songs through light and sound, to the rad dance moves of Judah moving like liquid and solid state all at the same time, there was not one fault during the almost two hour long set.

Positivity oozed from the band, and they reinforced the importance of family, love, respect and not letting your negatives stop you from doing anything.

Their encore consisted of three final songs, the crowd practically yelling the lyrics to “Take It All Back”. Once the final curtain had closed and the lights were up, the crowd walked out on clouds of elation. People that were once strangers felt like friends, not a single unsmiling face was seen in the Orpheum.



Review: Melissa Riemer

Photos: Louis Lay

Boy & Bear // Commodore Ballroom


Australian folk/indie band Boy & Bear played at the iconic Commodore Ballroom with Stu Larsen as their opener.

Stu had a voice that felt like a lullaby washing over the crowd. His style was aptly suited to Boy & Bear fans and his mellow vibes created a gentle sway that felt soft and soothing to everyone that arrived early.


Without aplomb, Boy & Bear entered the stage shortly after Larsen‘s final song to begin their set. David Hosking‘s vocals were moody, sounding like something straight from a record. There was a gritty soulfulness that added depth to each song, something that needs to be heard live rather than on an mp3 recording.

Their set consisted of old interspersed within new tracks. Their latest album “Suck On Light” was released five days before the concert, with Hosking introducing the title song to the crowd proudly. One lucky fan at the front was handed a bright orange vinyl pressing of the album, Hosking explained that even the band hadn’t received their own copies.


Killian Gavin‘s guitar work was simple but soulful, the rest of the band playing beautifully to create the sort of dreamy atmosphere that suited the songs. Hosking had a way of delivering the lyrics to each song, as if telling a story for the first time. The moodiness of the lighting show matched the warm fall/autumn sentiment that had settled over Vancouver on this grey, drizzly night.

The backing vocals and harmonies of all the band members melded into one voice, creating a warmth to meet Hosking‘s solidarity in his bold vocals.


During song changes, several of the members were seen drinking beers on stage, making the concert feel more like an intimate backyard show rather than a large theatre performance.

Once Boy & Bear had finished their set they left the stage, only to return moments later to perform the encore fans patiently waited for. David announced that they had never done encore’s in the past and that this tour was their first time trying it out.

Finishing with four more songs, midway through the encore Stu Larsen was invited back on stage. A hush fell over the crowd as people knew they were about to hear a fan favourite. Jonathan Hart‘s iconic banjo riff signalled the beginning of Boy & Bear‘s most famous cover from Melbourne band, Crowded House. “Fall At Your Feet was a treat to hear live, the harmonies were nothing short of breathtaking, with every member joining in, including an impressive show from Tim Hart, playing both drums and vocals in unison.


Review/Photos: Melissa Riemer