A few words with The Dandy Warhols


Hey The Dandy Warhols, thanks for taking the time to chat with us while on tour! Let’s dive right in…

Vancouver is one of the last stops on this tour…what has been your favourite stop so far, and why? And what has been a highlight of touring with The Black Angels?

Well, there are two main things about touring with The Black Angels that we love. The first is that artistically they are more or less a perfect band. The other is that they are about as great as people can reasonably get. So basically, every day is fun, but if I have to single a stop, it would be the weekend we had in San Francisco. Something about San Francisco and our relationship to it is unlike any other. We have a lot of history going back to our first year as a band in 1994. We played a lot of garage parties, we played squads, we played anything.

You’ve been to Vancouver quite a few times in your career and played at a handful of our iconic venues. Some that we at 987 didn’t even get a chance to experience! The Town Pump (1995), The Starfish Room (1997) to name a couple. What was it like playing in Vancouver in the 90’s vs the 2020’s?

Not only was the world a scuzzier place in the 90s, but we were playing small clubs that survived because they were in low rent areas. Very exciting times for us and a great time to be in your 20s. Smoking was allowed indoors so pretty much everybody and everything stank. We must’ve smelled horrible but, of course, we all did, so we didn’t care. There was always an element of fear just going from the van to this shop around the corner… just walking around, looking for a place to eat… certainly at night trying to find the right bar after the show was a treacherous noble mission.

After touring for so many years, do you think you’ve mastered it? What advice would you give yourself ~30 years ago (or any artist just starting out) before embarking on your first tour?

Yes, I think we are good at touring and we are told by other bands that we are. We are creature comfort people, so we have always put effort into keeping ourselves cozy and deciphering what is the balance between that and austerity which could make life the easiest. I would tell myself not to drink so much for far too many reasons to even start going on about.

Let’s touch on The Summer of Hate…what ‘feeling’ are you referring to in the chorus? You mentioned previously that the ‘Summer of Hate’ is based on the summer of 2020 in Portland, where ‘political extremists came to town and infiltrated [your] beloved city’ – has Portland since recovered? How were the summers of 2021-23?

No, Portland has certainly not recovered. It is a shithole of angry, violent, drug addicts, waving machetes in the parks and outside the schools.  Still lots of businesses are boarded up. The thing that makes it worse is that it isn’t creating an ‘artsy-fartsy‘, low-rent, underground art scene.

There are still enclave streets or series of streets, which have life and safety but it’s feudal. It’s the dark age of Portland.

That feeling” is this sort of ego that needs to be fed by extremes.  The individuals who make up the political extremes have a feeling that I don’t relate to. I try to be aware of my small feelings like petty jealousies or bitter competitive garbage, but there’s something going on with a lot of people that I don’t get.

These are very surprising times.

Speaking of other recent singles, how did a collaboration (IWNSLY) with Debbie Harry and NALA come to be? What an all-star group! Was the process of creating IWNSLY easy, or were there any difficulties narrowing down the musical thoughts of such a diverse group of artists?

We had Debbie sing on our record that is going to come out next year. We used to be managed by the same company that manages NALA and they asked about her doing a remix collaboration. I love her work, so we were like, “Hell yes! Let’s do it.

How has your sound evolved?

It seems like the only true evolution is having more skills on the technical side of recording. Since we are always casting out for some inspiration, which we have not explored before, I feel that we never actually “evolve”. We are always new to whatever it is we are trying to do and we are always trying to do something that no one else is doing, or at least not doing it well.

Do you think trying to break into the music scene today would be harder or easier than back in the 90’s? Has social media had a positive or negative impact on the process?

It is always hard to make it work financially as a musician. A handful make a huge name for themselves and a lot of money. A few make a good solid living. But almost everybody had better consider it a hobby.

And finally, a question that 987 asks all artists/bands we interview:

Bud Light Limes or Craft Beers?

I only drink wine.  At least 10 years old and hopefully French.

Thank you for your time! Excited for your show!

Thanks so much for your time and interest as well. It really means a lot to us.

Interview: Mikhail Din

Photo: Sean Lennon

Dope Lemon // Orpheum


The opening act was “Rat-ManFranklin Jonas, a.k.a Baby Jonas Brother (Ok no one calls him that, but he is the youngest offspring of the Jonas clan.)

Coming out in a furry suit dressed as a rat, Jonas’ vocals teetered between brilliance and “what exactly is this I’m listening to?” Don’t get me wrong, this guy was full of bravado that exuded a laissez-faire attitude towards entertaining. It came across as quite endearing and Franklin’s sound and performance would not be seen out of place at Longhorns in Whistler on a Friday evening.

His baby-pop anthemic songs had a sparkly quality to them with the inviting vibe feeling like a 2000’s backyard party (albeit an expensive one with cool lights). His love of performing came across loud and proud through his ease in which he spoke to the audience and had us all singing a chorus in participation.


When Dope Lemon took the stage, it was a very matter of fact entrance from lead singer/solo artist Angus Stone and the band musicians. Three out of the five members wore black Akubras (for all the non-Aussies/Crocodile Dundee fans, that’s a traditional Aussie cattle drover hat, thank you very much).

The first aching chords rung out; and as if on cue the crowd was swept to their feet and remained standing for the entire concert. Stone’s voice was clear cut and it’s obvious to see why the Australian performer is renown in his role as frontman for Dope Lemon as well as one half of brother/sister duo Angus & Julia Stone.


Second song in, Stone dropped the crowd favourite “Marinade”. Easily confused with the term “Marry Me” and guised under the Aussie accent when introduced, someone in the crowd enthusiastically yelled out “Yes, yes I will”. The easy, earthy surf tune made for a perfect segue into the set, establishing the mood for the rest of the evening.

In a moment that felt like a close friend talking to his large and captive audience of friends, Angus explained that his track “Hey Man, Don’t Look At Me Like That” was something he penned with an ex-girlfriend who was an actress emerging at the same time as his career was taking off. Presumably referring to Isabel Lucas, they both went through a life change of suddenly being recognizable on the streets by both strangers and paparazzi alike. Coming up with the term between one another, their inside joke became the title and leading hook for this track.


Throughout the show Stone and his players switched up instruments, with Stone taking to a gorgeous black sitar that he picked up on his far-flung travels. He told the audience that during his travels and psychedelic trips, he discovered the definitive quality that characterizes the Dope Lemon sound. One part shimmer and sparkle indie and one part psychedelic-western-surf, Dope Lemon bought a little piece of Australian warmth to Vancouver.


Review: Melissa Riemer

Photos: Aimeson King

Just Like Heaven 2023


Just Like Heaven returns for its third edition on May 13th, and it’s better than ever!

Some alums from the inaugural JLH 2019 return to the stage, such as Yeah Yeah Yeahs, MGMT, and STRFKR

…but this year Goldenvoice has outdone themselves by bringing out some bands that we at Nine Eight Seven never thought we would get to see, like The Walkmen and The Bravery.

This one day festival will be operating on the two stage format, running from 12pm-11pm, and the set times will be posted prior to the event. For more FAQs you can click the link here.

Get your passes now while they’re still available.

See you guys in May!

The Backseat Lovers // Commodore Ballroom


On Wednesday August 10th, the electric indie rock band The Backseat Lovers played in Vancouver for the first time since 2019. Only having heard a few songs on Spotify, such as “Sinking Ship” and of course, their viral Tik Tok hit “Kilby Girl,” I was looking forward to an upbeat indie performance. What I got was a full-on rock show.

Set in the historic Commodore Ballroom, I was surprised at how well the acoustics filled the large open space. As I entered the packed venue, I could tell I was in the presence of hard-core fans. Every conversation around me was about what album/EP they preferred or what song they hoped they were going to hear. The energy was all anticipation, I knew I was in for a rowdy time.


The Backseat Lovers entered like a burst of fire. The lead singer Joshua Harmon ran onto the stage shirtless, red lights beaming on him as he promptly led the band into a 3 and a half minute instrumental jam, showing off their powerful electric guitar skills that carry their signature sound. No intro, no lyrics; just head-banging guitar shredding.  Not at all the opening I expected from this Utah-based indie band.

The crowd swarmed the stage screaming; instantly there was a mosh pit of vintage t-shirts, mom jeans and cowboy boots dancing across the beer-soaked floor. They finished their instrumentals, looked out at their audience with massive grins, and jumped into their single “Pool House,” to which every person sang along to. The Backseat Lovers had their audience entranced, and they knew it.


The stage was minimalistic, with three long rectangles of painted glass windows framing the drum kit. There wasn’t any need for eccentric effects or dramatic lights when you have lead guitarist Jonas Swanson and Joshua Harmon sprinting back and forth across the stage, flipping their hair, and sweating all over their guitars. The band gave everything they had into their performance.

They played a 13 song set consisting mostly of songs from their well-known 2019 album, “When We Were Friends,” along with singles such as “Out of Tune,” “Just a Boy,” as well as a sneaky little acoustic rendition of “Address Your Letters.” They went on to play a couple soon-to-be released tunes such as “Growing and Dying,” which made the night even more special. The song was carried with a heavy acoustic guitar, accompanied by light Beatles-like vocals from Harmon. This feel-good tune was supplemented by a crew member throwing sunflowers into the crowd. Quite a vibe change from the heavy metal entrance. The audience didn’t mind, we were all swaying together, eyes glued to the stage, absorbed by the music.


The band was ecstatic to be back in Vancouver, addressing the crowd with grateful smiles. They reminisced about Vancouver being their first show outside of the United States back in 2019, which they had played in a skateboard shop, and now, 3 years later, to a nearly sold-out show at the Commodore Ballroom.


They closed the show with “Maple Syrup,” but the crowd was not ready for the show to end. The moment the four band members took their exit, every soul in the venue chanted for an encore. The Backseat Lovers did not need much convincing; after about thirty seconds (and a couple of bras tossed on stage), the boys were back with the same fire they entered with. The crowd turned into a roaring cheer as the band hopped on their instruments to play “Sinking Ship.” Joshua Harmon and bass guitarist KJ Ward came together, singing face to face, as Jonas Swanson jumped up beside drummer Juice Welch, shredding his guitar and flipping his hair so hard his hat went flying off the stage.

The boys closed the show with an unforgettable encore, leaving the stage with adoring fans chanting “Backseat! Backseat!” as the lights dimmed.



Review: Sophia Niewerth

Photos: Michaela De Ciantis-Wong

Bob Moses – Malkin Bowl


The finale of an international headlining tour, Bob Moses joined their family and friends in Stanley Park’s Malkin Bowl on Saturday May 21st. The duo took a risk that paid off, as the Vancouver weather gods shone through with sunshine and cloudless skies.

If you haven’t had the opportunity to visit Malkin Bowl, it sits nestled between the tall trees in Stanley Park and is a truly a beautiful stage for bands to play on. Front man Tom Howie spoke about how it was their first time at the Bowl, playing – or otherwise, and that “It feels so good to be home with our Vancouver family.


The set was an undulating ebb and flow of rock and electronic music..slow and fast. Howie‘s voice proved to be beautifully mellow and sweet, ringing out over the entire crowd in crystal clear clarity.

Spotted around the park grounds, were several parents/family members of the band. Their delight at the sold out show and very friendly crowd was evident as they walked through. At one point during the show, an audience member came and cleared all the discarded cups off the grass, showing just how considerate Bob Moses fans are.

While there wasn’t much talking throughout the concert, Jim Vallance spoke about their new album “The Silence In Between” and how their latest single “Love Brand New” just went number one in the US alternative charts, creating a special moment to find out about it in their hometown amongst family, fans and friends.


Powering into each song, Howie‘s vocals stayed on point the entire performance, receiving great backup vocals from their touring bassist Julio and powerful drum performance from Joe.

During their grammy-nominated song “Tearing Me Up”, Howie invoked audience participation by getting the crowd to sing the final chorus along with him.

While this was an all ages concert, there were only a handful of parents with young children, the majority of audience members being an eclectic mix of “hiking vancouverites” and the subset of “ravers and party goers”.


As the sun set and the park was shrouded in night, the visuals on the LED screens shone through. While simple in design, they were effective and well designed to suit each song. The lighting crew did a great job in basking the band in a warm glow that flashed and danced with each track.

Overall the entire set was an exploration of Prog rock, 80’s synth pop and electronic music. With nods to both Vallance‘s history in trance and techno music as well as Howie‘s rock background.

The final few songs included a cover of Australian band INXS “Need You Tonight” and a shout out to their entire crew and band members that have helped keep them safe while touring.


If you haven’t had the opportunity to see Bob Moses live, we highly recommend it. There was a lot of hometown pride seeing one of our own up on stage and having achieved so much. The support for this duo was obvious from the sold out crowd, and the eagerness to sing along to the songs.


Review: Melissa Riemer

Photos: Louis Lay

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