On May 25, Purity Ring turned the Hollywood Theatre into a multi-dimensional soundscape and 987 was there to try and take it all in.
The Edmonton duo of Megan James and Corin Roddick have always been as focused on atmosphere as they are on songwriting, and that came through immediately during the Vancouver stop of their Place of My Own Tour. Opening with “many lives“, the song’s swelling synths and dreamlike atmosphere set the stage for a performance that felt less like a sequence of songs and more like entry into a carefully constructed world.
The most striking element of the production was a series of spinning LED fan displays suspended through stage. Instead of traditional screens, Purity Ring used them to project floating 3D images that appeared to hover in midair. Stars, symbols, landscapes, and ghostly and fantastical figures drifted in and out of view, creating visuals that felt uncanny and constantly shifting. At times it was genuinely difficult to tell where the physical stage ended and where James began.
What made the visuals work was how closely they served the music. They never felt like a distraction or an attempt to overwhelm the audience. Early in the set, “Obedear” drew one of the night’s strongest reactions (or at least from this reviewer). More than a decade after its release—and years after its appearance in the cult-loved Search Party—the song still hit with the same mix of sweetness and menace that helped define Purity Ring‘s early work. As the music intensified, so did the lighting and projections; when the arrangements pulled back, the production followed suit, leaving space for quieter moments to breathe.
James‘ voice remains the emotional center of Purity Ring‘s music. Live, her vocals carried the same delicate, floating quality that first defined the band, while Roddick‘s production provided the contrast: massive synth textures, deep bass, and rhythms that could feel crushing one moment and weightless the next. Together, they recreated much of the atmosphere that made albums like Shrines and Womb so enduring.
The set wandered through new and older material. It felt like an effort to fully realize the visual and thematic ideas surrounding the band’s self-titled record. Fantasy influences appeared throughout the staging, but Purity Ring approached them with restraint. Rather than spelling everything out, the show let mood and imagery do the storytelling.
That sense of restraint ultimately became one of the performance’s greatest strengths. Many electronic shows rely on sheer visual excess, while others can feel detached despite their scale. Purity Ring found a balance between the two. The band closed with “place of my own” and “begin again“, ending the night on an intimate note. After 90 minutes of meticulously crafted visuals and immersive sound, the final songs wound the set down and waved goodnight in the stars.
For 987, few venues in Vancouver feel as naturally suited to electronic music as Malkin Bowl. Hidden inside Stanley Park and framed by towering evergreens, the outdoor amphitheatre already carries a kind of escapist energy before a single track even plays. On May 9, The Martinez Brothers took full advantage of that atmosphere, delivering a set that transformed the space into something closer to an afterparty than a standard Vancouver outdoor concert.
By sunset, the crowd had fully settled into the mood. The cool evening air, the open sky, and the park surroundings gave the night a looseness that larger venues rarely manage to create. It felt communal from the beginning, less like a massive event and more like a gathering built around rhythm and movement.
Chris and Steve Martinez leaned into that energy immediately. Their set moved fluidly between sleek tech house, rolling percussion, and warm Latin-influenced grooves. Rather than relying on oversized drops or flashy production tricks, they built tension gradually, layering hypnotic basslines and crisp percussion until the entire crowd locked into the same pulse.
The transitions were smooth and understated. Tracks blended seamlessly into one another, keeping the dancefloor moving without interruption for nearly the entire night.
And the crowd absolutely fed off it. Vancouver audiences can sometimes carry a reputation for being reserved, but Malkin Bowl felt fully unhinged in the best possible way. From the packed front rail to the grassy edges of the venue, people were partying hard all night, dancing nonstop, shouting lyrics, throwing their hands in the air, and treating the entire bowl like one giant open-air club. The crowd seemed fully locked in, sweating and grooving throughout the set.
Their approach never felt rigid or overly choreographed. There was room for spontaneity, long blends, and moments where the groove itself became more important than any individual track selection. That club sensibility gave the night its staying power.
As darkness settled over Stanley Park, the visuals and lighting became more pronounced, but never overwhelmed the setting. Instead, the natural environment remained part of the experience. Malkin Bowl proved once again why it remains one of Vancouver’s most quintessential live music venues. For a few hours, Vancouver let go.
At last Sticky Fingers made their long-awaited return to Vancouver on April 3rd at the PNE Forum to a Sold-Out crowd.
Sticky Fingers is one of the quintessential Australian indie/psychedelic rock bands you will most likely hear blasting in every ski restore across Canada. It was no surprise to walk into the PNE Forum and feel like you took a trip down under with probably 80% of the audience being Australian themselves!
But don’t worry there was something for us Canadians too, with our very own Ontario-born Ruby Waters kicking off the show. A star in her own right, Ruby Waters has sold out her own headlining tours across Canada, USA, Europe and the UK. She has toured as an opening act with the likes of City and Colour, and Aussie indie rock royalty Ocean Alley.
The Juno-Nominated artist took no time warming up the crowd with her raw, emotional lyrics. Ruby Waters has a grit to her vocal performance that captivated everyone, and soon enough the entire crowd were hanging on to every note she sang. Ruby’s music feels like the perfect west coast summer day in the forest, probably by a lake or river, most likely a little stoned with all your friends.
When Sticky Fingers stepped on stage, the venue erupted. It was the moment they’ve been waiting for 6 years! Every song Sticky Fingers played was a hit, with their deep discography there was something for everyone in the crowd. The crowd went wild for songs like How To Fly, Cool & Calm, Gold Snafu and These Girls, which hadn’t been on the setlist for quite some time.
If you had seen Sticky Fingers before, you’d have noticed there was a significant change of who was on stage. For this tour, Claude Bailey took center mic. A daunting task to take on lead vocals for such a beloved band but the crowd did not care and sang along to every song that Bailey and the rest of the band performed for them.
Whether you just started listening to Sticky Fingers, or been a fan since day one this show was everything we all hoped for and more. It’s especially sweet after waiting 6 long years to finally see Sticky Fingers back on the west coast! Let’s just hope it’s not another 6-year wait to see them back in Vancouver again!
Oh it felt good to be “back” at the yard! It’s been a few year since Nine Eight Seven has attended a Phillips Backyard Music Festival, but this year’s lineup was too good to miss. All the stars aligned for some hot hot heat, good beers, and great tunes. Here’s what we took away from the weekend:
Day 1:
On paper, if you know me personally, you’d safely assume that this would be THE night for me. I grew up listening to Cold War Kids, learned all the songs off Robbers & Cowards by heart, and even tried to ‘somewhat’ mimic their sound in my high school band. They’ve always been an inspiration, and one of the reasons I got more involved in the music industry. But, before it was time for CWK, we were treated to a couple amazing bands in the lead up.
By the time I made it down to Victoria, me and the crew made it in just in time for The Bankes Brothers. Now I’ve heard a lot about this group, but this was the first time I got to see them live. I was pleasantly surprised! Especially learning that they had just returned from a tour Europe two days before on the Wednesday, played a show in Vancouver opening for Band of Skulls on the Thursday, then making it across to Victoria for their backyarder set with 3 hours to spare. Impressive.
Brothers Morgan and Nelson Bankes fronted this five piece band, along side Carson Cleaver (lead guitar), Ross Haskett (bass), and Gray Oxley (drums). I can’t quite put my finger on it, but they remind me of a few bands I listen to all mixed into one. I mean this in a good way, not in a “they’ve stolen other people’s sound” kinda way. Although short, their set left me excited to see them again, would recommend.
Next up, an old personal fave of mine, Band of Skulls. I like this band for more than just their music. Back in the late 2000’s my sister showed me “I Know What I Am” for the first time and my mind was blown. Raw rock and roll. Later that year she bought us tickets to their show in Vancouver, maybe at The Commodore, and that was the beginning of this new musical connection with my sister, who has been my number one concert buddy ever since.
Band of Skulls were crispy. You can tell they’ve been around for over two decades just by seeing how good they are at their craft. From their powerful vocals to their air tight instrumentals, it was a fun show from start to finish.
Last but not least, the moment I was waiting for, Cold War Kids. Like I mentioned before, I’ve been following these guys for years! This must have been my 8th or 9th time seeing them.
They opened strong with “Love is Mystical“, and didn’t slow down one bit. Next they played “Run Away with Me” into “Miracle Mile” followed by “So Tied Up“. My eyes were lit up, my friends even had to go get my beers for me as I refused to leave my spot. I want to list off all the songs I loved from the night but then I might as well just post a photo of their set list.
Lead singer Nathan Willett looked like he was a having a great time on stage, which in turn makes the crowd have more fun. Bassist Matt Maust, the only other band member who has been there from the get go in 2004, looked as serious as ever. The first time I saw him I questioned it, but after a few CWK gigs you quickly realize it’s just his stage presence. Just really into it. Strong start with day 1.
Day 2:
Saturdays at Backyarders are always my “unofficial favourite” no matter who is on the lineup. No work before the show starts, and no work the day after, easy.
The day started off strong with Steve Bays (formerly of Hot Hot Heat). He opened with one of my personal favourites “Kid Who Stay in the Picture” – and even though this technically wasn’t a Hot Hot Heat concert, my dreams of seeing them felt like they came true. Steve had some playful banter with the crowd, commenting on a mistake he made (which I’m sure no one in the crowd noticed, I sure didn’t). Great start to the day!
Next up, Young Friend. I’ve had “PINCH ME” on repeat since before the Tilt lineup was even announced, so when I saw they were on the bill…
This was the final show of a cross-country tour, so you could tell there was some fatigue, but they were giving it everything they had. What more could you ask for? The crowd still loved it. Laid back, easy going vibes, Young Friend was a perfect afternoon set on this sunny Saturday. Personal fave track of the set, “Golden Rule“.
Closing of night two was Unknown Mortal Orchestra. From New Zealand but based in Portland, OR; these psychedelic rockers blew me away. They made it look SO easy. Midway through the set they threw down arguably their most popular track “So Good at Being in Trouble” – which had the whole crowd singing along. I wish I knew the names of more songs, because there were so many I want to give a shout out too, and I didn’t want to be that guy who was Shazamming mid-concert.
Day 3:
I was surprised to see how much energy these festival-goers had on day 3 of a festival! I had a bit of a slow morning…so I only made it in for Snotty Nose Rez Kids onwards, but holy did they ever bring the heat.
I’ve seen this indigenous hip hop duo a handful of times, so I knew what I was getting in to. Composed of Darren “Young D” Metz and Quinton “Young Trybez” Nyce, from the Haisla Nation in Kitamaat, these guys always get a crowd going. Quinton might not remember it but we used to play pool together back in university days at The Manchester Pub in Kits (shameless name drop).
Reviving us from this day 3 hangover, playing fan favourites like “Boujee Natives” and “Skoden“, SNRK were the perfect penultimate set for what had been an amazing Phillips Backyard edition. One of the only acts of the weekend that managed to hype me up while simultaneously giving me chills, 9.87/10.
The final show of both the night AND the weekend, G-Eazy. This was my first time seeing him, and even though it’s not my regular cup of tea, I left a big fan. The energy he brought was taken in by the crowd, and given right back. You can imagine the deafening cheers when he played “Me, Myself & I” – a song I didn’t even realize I knew so many words. I would post the video I took, but I was a bit tipsy and it looks like I was using an iPhone 3. It was a packed crowd to say the least, but he was so captivating he made it seem like it was just “Him & I” – hah (sorry).
All in all, this was one of my favourite editions of Phillips Backyard I’ve been to. I’ve already started planning my outfits for Reverb. Hope to see you all there! Tickets still available here.
Living the millennial dream, Franz Ferdinand headlined at Vancouver’s Commodore Ballroom on an unusually warm Tuesday evening in March.
With the Junos in town for the weekend, there was an excited buzz to the city, with Franz Ferdinand set to play 2 shows back to back on the 25th and 26th. This was their first headline tour back in Vancouver since 2018 and post you-know-what shut down the world.
The opening act was presented by a what felt like a garage band of lads from Los Angeles and now based in New York, Telescreens.
They oozed confidence on stage with lead singer Jackson Hamm carrying himself with the same level of confidence as a performer decades older. The energy coming from the entire group was high octane, with keyboardist Josiah Valerius and Bassist Austin Brenner creating an engaging mix of crunchy guitars, sublime electronics and vocals that meandered between solid rock and the stuff of shoegazing.
Though it was their first time playing in Vancouver, they worked the tough crowd (as many a support act in Vancouver can attest to), enticing them in by the middle of their second song. Once the crowd had properly warmed, the band’s drummer, Oliver Graf, led them into a stampeding beat that felt reminiscent of rock bands from the 2010’s. Fitting, seeing as who they were opening for.
The complete band looked like an 80’s dream, in 2000’s form, playing songs in 2025. The cross era songwriting, really took the crowd on a lyrical and musical journey. Hamm announced they were playing 2 more songs but were urged by a frazzled stage manager to only play one more, after going into overtime.
In between sets the eclectic crowd consisted of ladies in floral tops firmly in their 50’s, 40 year old rock guys clad in leather jackets, and millennials in ‘a fancy top and good jeans’, with a few younger 20 somethings sprinkled amongst the rest.
10 minutes past set start time, an unexpected jazzy intro blasted into the space, welcoming Franz Ferdinand onto stage. Then we were off to the races. With little aplomb, the band threw themselves into their first of a 20 song set, Night or Day.
Alex Kapranos performed with a careful Scottish diction and imperfect pitch that felt effortlessly cool in a way only the Europeans seem to have mastered. The compression on Kapranos‘ live vocals held a 60’s nostalgia, reminiscent of rock and roll gods of the past, with their slicked back hair and shiny suits.
Bassist, Bob Hardy, and drummer, Audrey Tait, kept the flow running in the fast paced set, rolling from one song to another seamlessly.
By song 6, Do You Want To, the audience was lapping up every one of Kapranos‘ commands. Waving their hands back and forth, clapping on beat, and singing entire parts of the song back to him.
Dino Bardot and Julian Corrie (on guitar and keys respectively) felt very much like the glue to the fast paced flow into each new song, with the frenetic guitar melodies and keys leading the way without much fanfare, unless you count the matching beats played by Tait.
There was a great moment when the crowd participated in a call and response of sorts, with Alex singing the lyrics to Bar Lonely, then holding his microphone out for the crowd to sing the next lines. It felt like everyone knew all the words by heart.
When the melodic song Stand on the Horizon finished, Krapanos took his first sip of whatever he was drinking from his white coffee mug, while a stage hand bought out a mandolin for him. They flew into Black Eyelashes, a Greek inspired track that instantly transported the venue to a Greek island somewhere.
Driving track Michael threw us right back, firmly into the rock set, the crowd jumping up and down until the floor shook.
They shared an endearing story about how they didn’t play Lucid Dreams the last time they were here in Vancouver after a fan had requested it; Alex explained that the band hadn’t rehearsed it back then. To make up for it, they played it in its entirety this time, hoping that the same fan was out there in the crowd and listening.
Prominently their most famous song,Take Me Out came towards the end of the set, the crowd scream-singing their way through it while hyping each other up.
They closed out with Outsiders but came back with an encore of four more songs for the chanting crowd.
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.
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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.
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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.
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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.
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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.”
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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.
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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.
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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.
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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.
The opening act was “Rat-Man” Franklin 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.
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.
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.
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.
