The chill in the air on September 28th seemed fitting to welcome the Icelandic band Of Monsters And Men to Vancouver for their first show in three years. If you’re a devoted reader of 987 then this band needs absolutely no introduction.
With lights down and nervous cheers rising up, Thunderbird Arena at UBC took on an almost ethereal, church-like feeling. Slow viking tones wavered over the crowd as the five band members took their positions in near darkness. With just the soulful high notes crying out from Brynjar Leifsson‘s guitar, he was joined by the underlying bass of Kristján Páll Kristjánsson before everything else came crashing into place in perfect precision.
Nanna Bryndis Hulmardottir threw the band into their first song “Alligator” which comes from their latest album “Fever Dream“. Her energetic singing and presence set off the Vancouver show, creating a playful atmosphere.
A huge eye from the cover of Fever Dream hung at the back of stage, looking out over the crowd with a watchful stare. The stage was awash with red and white lighting, the songs moving from upbeat to the more soulful offerings from their older albums. Nanna was a true joy to watch while she would jump back and forth between playfully beating the drums alongside Arnar Rósenkranz Hilmarsson, then running to the front of the stage with her guitar and vocals that cut crystal clear across the arena. Ragnar Porhallsson had the sort of soothing voice that felt like you were being played a lullaby softly.
The band’s dynamic played out well on stage and the lighting was perfectly matched with the emotion of each song. The band’s drummer, Arnar, was like a meerkat constantly standing atop his drum kit to engage with the crowd, while still playing with his feet. As if begging not to be forgotten behind his hulking drum-kit, he would clap his sticks high in the air to get the crowd going.
When slower songs were played, almost everyone in the venue raised their phone flashlights to create and ethereal feeling that matched Nanna’s soulful musings. She commented that the sentiment had not gone unnoticed, saying she was almost moved to tears by the show of solidarity with their songs.
The band left the stage for several minutes, before coming back to play four more songs that had the entire stadium singing along. Nanna ran into the crowd guided by a flashlight, skipping in a full circle before climbing back onto stage to finish the set.
Vancouver was the last leg of their five week North American tour, the band now sets sail for Ireland to begin their UK Tour.
Curated by NOFX frontman, Fat Mike, Punk in Drublic is a touring festival that celebrates the hedonistic, beer-soaked spirit of punk rock by bringing together a line-up of fresh and legacy punk bands, along with a beer festival offering unique craft beer.
I joined the hoards of punk rockers that descended upon the PNE Amphitheatre for the second-ever Canadian date, which featured NOFX,Bad Religion, Anti-Flag, The Real McKenzies, and Chixdiggit. The sky was clear and the sun beat down. By the time I’d made it through the gates, I was damn thirsty.
In a slightly un-punk move, the craft beer tents were only open for a few hours at the beginning of the day. This made for an in-cohesive festival experience as the beer fest and punk shows were separate entities. Either way, there was no way I was going to waste my precious beer tokens so I chose to endure long lines in the blazing parking lot to make the most of my short time at the beer festival. Here are my thoughts on the beers I got to sample:
Fuggles & Warlock– Fusion West Coast IPA: Kinda standard IPA with hoppy, woody tones. I was a little disappointed because F&W make the Kiwami Plum Sour which is one of my favourite beers ever, and it’s just so unusual tasting. I was hoping for something weirder from them.
House of Funk Brewing Co.– Funk Juice Vol. 8, Coconut and Pineapple: I’m a sucker for a sour and this was probably my favourite beer of the fest. It was yummy, potent juice and in the midday heat, it conjured up visions of a sandy tropical island.
Taylight Brewing Inc. – Slack Tide Hazy Pale Ale: Tasty af, rich, and fragrant. This one had a flavour you had to literally scrape off the back of your tongue. I could probably only drink one or two of these. It was probably only 5% but tasted like 7%, for sure.
Dead Frog Brewery – Moscow Mule Lime Ginger White Ale: Fresh, light, and fizzy with a ginger-lime aftertaste! A decent summer lager that helped rinse my palate after the heavy Taylight. This one really quenched my thirst, thank you.
Electric Bicycle Brewing – Tart Pale Ale: I was drawn to Electric Bicycle because of their psychedelic red and blue tent that hurt my eyes to look at. I didn’t regret my decision. I could’ve mistaken this ale for a sour as it was so citrusy and acidic. Loved it.
Because of my beer tasting diversion, I only caught the end of Chixdiggit. The Calgary band offered your standard Fat Wreck style polished pop-punk. Nasally vocals, whoas and all. With the crowd still filtering over from the beer fest, the sound seemed lost in the space of the half-empty arena. The high-end guitars didn’t quite cut and the bass was boomy and washed out. Singer, KJ Jansen, gave a slightly obnoxious speech which featured many shout-outs, including several to himself. People seemed to dig their last song, “Geocities Kitty”and there were lots of sing-alongs in the chorus. The band got the crowd going, but their peppy shtik wasn’t for me.
Despite being the only straight-edge band at the festival, political punks Anti-Flag proved that they can have fun too. The sound wasn’t much better, but they had the stage presence and tunes to make up for it. Their setlist rarely ventured beyond 2006 and featured “Turncoat” and the frantic “Fuck Police Brutality,” which welcomed the day’s first circle pit. Whether performing flailing stage acrobatics or preaching super-focused political messages, Anti-Flag’s energy was consistently intense. The set felt fleeting but they definitely left everyone wanting more.
The crowd swelled in size to pay respects to the legendary Bad Religion. While the band members now look like a bunch of college professors (and I’m pretty sure vocalist Greg Graffin actually is a college professor…) they’re definitely not past it. They blasted through a 20 song, career-spanning setlist. The opener, “Fuck Armageddon,” was raw and ferocious with its speedy power chords, soaring vocal melodies and harmonies. “You” won the nostalgia award for giving me flashbacks to playing Tony Hawk’s Pro Skater 2 on PS1.
They mostly played tunes from their 2019 album, Age of Unreason. New songs like “Chaos from Within” and “End of History” stay true to Bad Religion’s melodic punk roots but exemplified the fact that in all the years they’ve existed, the band has remained more or less unchanged in terms of style. I’ve really got to give it to Bad Religion for their passion and professionalism. These guys have been together for almost 40 years but still played harder and faster than bands half their age.
The last time I saw NOFX live was over 10 years ago, so when they danced onstage to “Time Warp” from Rocky Horror Picture Show, it seemed pretty on point. I soon realized that even though so much time had passed, not much had changed.
They played a ton of fan favourites, “Linoleum” and “Perfect Government,” and the second Tony Hawk’s Pro Skater jam of the day, “Separation of Church and Skate.” The classic tracks whipped the crowd up into a sweaty mass of mohawks, dreads, and bare torsos. They also peppered the set with some reggae numbers, including a cover of Rancid’s “Radio,” that helped to switch up the pace and added to the fun, party vibe.
Drummer, Smelly, was relentless as he smashed the kit with his signature beats. Guitarist, El Hefe, parped away at his trumpet as the audience oi-oi’d their way through “Bob” and he backed up Fat Mike’s leads with flawless vocal harmonies throughout the performance.
As I mentioned earlier, the fest was plagued with sketchy sound, which was a shame for NOFX, a band that loves to talk shit between songs. From my position, I could barely hear their stage banter. Fat Mike and co seemed unaware though, as there was A LOT of it. I did catch one particularly offensive joke that I wouldn’t dare repeat. Even after last years’ Punk in Drublic controversy, they still found time to try and cause offence.
Like partying with your oldest buds, there’s something extremely comforting about the familiar fun of a NOFX show. After 10 years, I thought things might be vastly different. But what I got was NOFX by numbers and that’s not necessarily a bad thing.
It’s not everyday that a park is overtaken by a pop-up music festival in the heart of the contemporary suburb Mount Pleasant.
I bring to you “The Park Show”. An eclectic lineup of musicians, we hit the ground running with a DJ set from locally renowned producer, MyGayHusband!
As this was part of the Vancouver Mural Festival, a mural was being painted in tandem with the first two opening acts. Iskwé was up next, bringing her alternative taste to the mix. If you haven’t heard of Iskwé, she’s an indigenous singer hailing originally from Winnipeg. Her songs were reminiscent of early 2000’s band Evanescence, in a teenage indie/alt raw kind of way.
She had an important message to share with the crowd, dedicating her performance to the indigenous women of Canada who are missing. Her songs were well received by both families with young children and the drinking millennials alike.
It was truly refreshing seeing a performer like Iskwé being unapologetically herself on stage, speaking her mind and singing songs she had penned herself.
And then, just like the murals, there was a strange shift from one act to the next that didn’t completely make sense. BADBADNOTGOOD hit the stage running, and never seemed to stop until their set was over.
The Toronto-based band played jazz with a twist. Their songs incorporated electronic sounds as well as unusually structured melodies and formats that made for unique listening. There were confounding choices of melody paired with scattered drumming and frantic piano. This jazz fusion band certainly turned heads with their energetic performance and non-stop instrumentals.
Our final act was the headliner “LP”. The moment the lights dimmed, the scattered crowd surged forward, eager to be a part of Laura Pergolizzi‘s performance. I can tell you she did not disappoint. Entering the stage to a building instrumental, she wore a top hat and an equally impressive outfit to match. Smoke machines and soft blue lights made her entrance feel magical, almost like we were being graced with the presence of The Wizard of Oz, after a trek through the other musical acts.
Grey skies from earlier rains loomed over with ghostlike vibes, while LP cried out her high notes over the screaming of fans. Someone had bought an absurdly oversized red balloon with “LP” written on it, and proceeded to throw it into the crowd where it bounced around until the end. The band played with a cinematic urgency, creating a storm of people and feelings.
While it felt like we were on a roller coaster of emotions with the variance of musical genre from each different act, LP bought it all together with her commanding performance.
The Park Show was unique in its offerings, but so was the crowd. From families with young children and babies, to adults aged well over 60, and everything in between. Music merged everyone together in the best way possible and made for a great day out in the park at The Vancouver Mural Festival.
Vancouver Mural Festival is currently in full force for 10 days of art and music. As the festival comes to an end, VMF and Live Nation have teamed up to bring us The Park Showthis Saturday!
This year’s all-star lineup includes:
Laura Pergolizzi aka LP, a New York native who has been gracing the stage since the late nineties. Not only has Laura been making original music for over two decades, but she has also written songs for musicians such as Cher, Rihanna, The Backstreet Boys, Leona Lewis, and Christina Aguilera. This singer-songwriter legend will be headlining this year’s Park Show.
BADBADNOTGOOD, an instrumental group hailing from Toronto. The original three members, (Matthew Tavares, Alexander Sowinski, and Chester Hansen), met while attending the Humber College jazz program back in 2010. Ever since, they have been creating jazz music influenced with hip-hop, funk, and electronica. 2016 saw the addition of Leland Whitty on saxophone. Catch this critically acclaimed quartet this Saturday.
iskwēis a Juno Award winning Indigenous singer from Winnipeg who has been making electro-pop music for the better half of a decade. Through her songs, iskwē bridges her cultural background with some of the struggles she has faced. With two albums already released, iskwē will be performing many of her award-winning tracks for The Park Show this weekend.
Jason Sulyma aka MY!GAY!HUSBAND! is a legend in the Vancouver electronic music scene. He has been in the industry for 15+ years and has shared the stage with giants such as: Diplo, Andrew W.K., Metronomy, Samo Soundboy, Diamond Rings, Blood Diamonds, Teen Daze, Neon Indian, Alex of Blue Hawaii. Not only has Jason performed in many of our city’s venues, but he is also the founder of Glory Days, a weekly social event that takes place at The Biltmore every Saturday night. He’s sure to be a great start to The Park Show this Saturday!
We all have that one friend that is quirky, cool af, and all-around badass. Add a killer voice, talented band and captivating stage presence and you have King Princess.
Performing to a sold out show at The Vogue Theatre on Thursday April 25th, 2019, King Princess treated the audience to a mix of tracks off their upcoming album and familiar classics that got the crowd bumpin’.
We arrived to the venue as the opening act finished up, leaving just enough time to find a decent spot to stand among the excited fans. Barely time to grab a drink, the lights dimmed and the crowd goes crazy. King Princess walks out casually in a simple white tee and slacks, following her band – a guitarist, bassist, drummer and keyboardist, the most hipster-cool band I’ve seen.
Hailing from Brooklyn, New York, King Princess (aka Mikaela Straus) has a soulful voice far surpassing her 20 years of age. Opening with ‘Cheap Queen’, Michaela had us all captivated right off the bat; calm, cool and collected as she playfully teases the audience with her coy smile. Shifting gears to the rock-and-roll vibes of ‘Upper West Side,’ she grabs her guitar and rocks out, crowd still singing along. A casual chat at the end of this song revealed that their second album is close to being completed. In a bold, surprising power move, they launch into the third song, a fan-fave and arguably their most loved song to date, ‘1950’. What a power move. This tune is my personal fave as well, so I was stoked they were playing it so soon. Mikaela is a quirky character, gliding across the stage with sassy little dance moves and taking a drag of her vape as she gets ready to hit the next tune.
After a new song I don’t know the name of, they come out with ‘Pussy is God’ someone in front of me proudly waves a paper sign that says “TOP ME”. Bras are waving in the air, the mood is light and everyone is having fun. Before beginning almost every song, Mikaela playfully says ‘Give it to me Mr. Antoine,” her guitarist who passionately strums away. A special guest, Banoffee(the opening act), pops out on stage midway through ‘Forget About It’. The chemistry on stage was electric and wildly fun. At one point, Mikaela reaches down to the audience, receiving a sex toy from a fan. She laughed deeply and set it down gently on stage.
After performing ‘Talia’, they all exit the stage, but not before a guitarist grabs a film camera and snaps a pic of the crowd. Such a simple move but so damn cool, just like King Princess.
After chanting ‘encore’, stomping their feet and clapping their hands, the audience managed to coax King Princess out for a couple more tunes. The lighters come out for the second last song which brought out all the feels, followed by a sultry, rock and roll tune ‘Ohio’. The spotlight was a glowing, smoky halo around Mikaela, making the moment dramatic and sincere. With a quick wave and drag of her vape, Mikaela exits the stage. The crowd disperses slowly, letting the performance we all just watched sink it. Damn, that was a good show.
I never thought I’d get to enjoy the likes of Drake, Usher and Kanye West when I descended the stairs of the Biltmore Cabaret. Winner of Play Surrey Contest, Nylez K delivers when it comes to hip-hop and R&B tributes. Opening the night with Kanye West and closing with Ginuwine’s “Pony”, the Vancouver native knows how to work a nostalgic crowd. While well-versed in the classics, he holds his own performing his own tracks including “Remind Me” and “VibeTing” and kept the crowd chanting “Nylez, Nylez, Nylez” throughout the show. We were all begging for an encore at the end. I caught up with Nylez after the show:
A: You just played two back to back shows at the Biltmore and at Surrey Canada Day. How was the Biltmore show different from Canada Day?
N: I could personalize and be more intimate with the crowd. I was more emotionally connected with the audience. This was the first time I played with a full band, except for back in the day when I used to do Bollywood songs. I never imagined I’d have my own band and do my own songs.
A: What was it like playing at Rifflandia?
N: I was able to bless the stage thanks to my really good friend DJ Hark. Me and him produced the song “Remind Me”. We did that track together and when he told me he got an opening for Rifflandia, I said “heck yeah we’re going to perform this song”!
A: What was it like going to the Much Music Video Awards?
N: Getting to experience the red carpet…it was very very special to me. After that moment, I knew that I wanted to be who I am today. I knew that I wanted to make sure music is my main thing. I never wanted to look back after that
A: Your dad is a performer. What did he do?
N: He was mostly in the Bollywood genre and did a lot of Hindi songs. Back then, he used to do a bunch of stage performances, fundraisers, stuff like that. For him, it was always for fun
A: Do you have any shows coming up?
N: Not as of right now. My main focus is I want to finish off this project I’ve been working on. I’m trying to come up with an EP right now. I really want to hit the hearts of my fellow R&B and hip-hop listeners. I really want to home in on who I really am in this new EP and show, here’s what’s missing. That’s actually the title of the EP.
A: Last question. Bud Light Lime or Craft Beer?
N: I would say Craft Beer. If it’s from Vancouver, I’m definitely going to be drinking it.
Watch for his EP, dropping by the end of the year.
They have the looks, they have the vibes; it’s no wonder this Vancouver-based group of friends are killing it in the music scene.
Established back in 2016, TANGLERS consists of 6 lifelong pals; which shows in the chemistry they have on any stage they grace. It’s tough to pin them down to one genre, but if forced to laymanize it, perhaps they’re like an “indie/surf rock/psych/grooves to make you move” kinda band.
Currently touring Western USA in support of their newest album, “Tangled In Time,” this six piece ensemble are cruising down to Cali and back, taking over each major city in their way.
987 was fortunate enough to catch TANGLERS‘ tour kickoff show at The Biltmore on the 12th of July. This was the second time we’ve seen them live. We liked the first, but LOVED the second. TANGLERS have proven that hard work really does pay off. Each member added a crisp element to the sounds we experienced in the sweaty basement club that night. They got the crowd moving; including myself, who usually stands at the back with a Bud Light Lime (or equivalent) sporting major RBF. The best part (or one of): the guys on stage looked like they were having as much fun as we were. It’s such a treat to see artists who truly love what they do.
They recently released a music video for their extremely addictive hit single “Tallboy” – which perfectly captures the sounds, style, atmosphere, and vibes that is TANGLERS, check it out:
If you’re ready to get into some serious summer moods, have a listen to TANGLERS (here)
Rise & Shine is a smaller festival that literally takes place in a backyard (albeit a large one). The intimate setting lends itself to a unique experience in a world where “the festival” has gone the way of the corporation and can tend to feel like more of a money grab than musical celebration. It also differentiates itself by taking place over one day and having 100% of their proceeds go to Rise & Shine: Captain Camps. Yes, that means that all these RAD artists are volunteering their time for a good cause: #partywithpurpose
Our one-day (and night) began in Vancouver. After eating at one of the Vancouver brunch hot spots while waiting for one of our crew to arrive, we drove to Pemberton where Rise and Shine takes place. Pemberton sits about 30 minutes north of Whistler, in a valley that accumulates residual heat. This effect makes for painful heat later in summer, but allows for nearly perfect conditions in June. Rise and Shine was met with sun that allowed for all festival goers to tent and party all night in total comfort.
Camping
Upon arrival at the festival grounds, we were directed to camp virtually wherever we pleased. There are essentially two campgrounds divided by a small ditch (that one member of NineEightSeven would later have trouble navigating). Each camp is a stone’s throw away from the festival stage – leading to an atmosphere that allows any festival music to be heard and felt upon entrance to the property, at the campground, and almost anywhere onsite. One campground came complete with a secondary stage / party scene operating out of a bus (ft. a beach volleyball court). The other campground had to pause partying while a school bus, surfed by one Rise and Shiner, found its spot.
Nine Eight Seven brought disc slam to the fest. We found that there were few who weren’t keen to take a toss or two of the Frisbee when walking by our campsite. The site itself is less camping-à-festival, and more one total experience.
Festival
The way the festival (and the acts themselves) is set-up creates a constant supply of beats to lose yourself in. We filtered in and out of the stage area over the course of the afternoon, evening, and night and each time were greeted with something dancey and different. From the more mellow afternoon WMNSTUDIES, to the vocals and drums of DiRTY RADiO, to the violin mastery of Kytami, each act progressed the night in a new way, and R&S founders/duo Average Gypsy throwing down a late set for the ages.
As the sun set and prior to his turn, we found ourselves in line for burgers with Shadi of DiRTY RADiO. Bonded by hunger, we chatted about the venue, and our excitement for the live vocals in their act. As we parted, we promised we wouldn’t miss their set.
DiRTY RADiO delivered, uniting the entire festival with a “commanding vocal performance” (as once described by Pitchfork). But more importantly, delivering the entire festival from the last rays of sunlight into the night.
The rest of the evening is a blur of dancing and music, and bright lights suspended in the stage-side shrubbery.
In a world so tirelessly fixated on nostalgia, it can be easy to become cynical towards the current wave of young bands borrowing sounds from the past.
This issue has been a cause for discussion in music media recently because of bands like Greta Van Fleet, who came under fire for sounding too much like their main influence, Led Zeppelin, cashing in on our fondness for familiarity without offering anything new.
Parcels focus on recycling rather than regurgitating by celebrating both past and contemporary sounds. The band are a smorgasbord of 70s funk and disco, and the kind of indie pop regularly featured on Urban Outfitters and Topman playlists. The fact they were discovered by Daft Punk and self-produced their glistening debut which was released on hip electronic music label, Kitsuné, adds a layer of authenticity to their intention as a throwback band.
Parcels performed the 10th consecutive sell-out show of their expansive 2019 world tour at Fortune Sound Club.
Sporting flashy matching jumpsuits, support act, Penthouse Boys, played a set of old school hip-hop influenced synth-pop. Their cheeky lyrics, fun personality, and energetic dad-dance breaks could be a hit for a liquored up and flirty 2am crowd. Unfortunately, in the context of this show, Penthouse Boys felt a little jarring. The performance was overshadowed by overzealous use of that siren sound and a lack of memorable tunes. Like a personal joke between a group of friends that you’ve been left out of, it was difficult to follow the punch line.
The enthusiastic crowd was already chanting “Parcels” long before the lights dimmed. The band launched straight into the first track of their debut album, “Comedown,” pausing dramatically to allow the audience to release a deafening scream before the bass dropped in.
Breaks were few and far between and the set flowed almost seamlessly. This was both a blessing and a curse as their sound is so consistent that it was sometimes hard to distinguish between individual songs until they got to the hooks in the choruses.
Parcels are an extremely talented band that were exhilarating to watch live. The percussive, muted guitar plucks, pounding bass, and tight drumming led a driving rhythm that kept everyone dancing from beginning to end. The four-part harmonies were pitch-perfect and the band members switched lead vocal duties which allowed the unique qualities of each of their voices to shine through. Keyboard duo, Louie Swain and Patrick Hetherington, were the stars of the show, delivering unconventional sounds and impressive displays of talent as they frantically bashed the keys while never missing a note.
Despite their cool and artsy visual aesthetic, Parcels had a playful and charming aura. It was a pleasure to see the band truly enjoying themselves and bouncing off the positive energy in the room. Hetherington was particularly fun to watch as he looked as though he was having the time of his life.
As the band wear their influences on their sleeve, comparisons to acts like The Bee Gees and Chic, as well as tunes off Daft Punk’s “Random Access Memories” album are a given. But they blend the retro sounds so well and have just enough of a modern twist to feel fresh. Parcels’ live performance felt like a loving tribute and they radiated an infectious sense of joy that left me hoping that this was not just a lightning in a bottle moment.
With a wide and brimming instrumental to simmer against a typically cold Vancouver night, VHS Collection took to the stage at the East Side venue of Fox Cabaret. There was little aplomb as they dove into their first song “One”, throwing out a quick “What’s up Vancouver?” before flinging themselves wholeheartedly into the set.
Frontman James Bohannon delivered an earnest performance around the stage, with a vibrancy that was matched only by his equally enthusiastic vocals and lively melodies. With each song, lighting was timed to match the rhythm, making for a cohesive and moody show.
Hailing from New York, VHS Collection felt like a culmination of a chilled rock band, oozing with cool millennial indifference, only to be surpassed by the energy and movement from the lead singer. The crowd lapped up every moment, the front row bleary eyed with happiness as they sung along to each song and held their hands out to grasp the moment out of the air.
James managed to overlook the phones and hands waved wildly in his face, and used the stage as his own private dance floor, while fans moved along with the building beats and melodies.
With cool vibes and a great stage presence from the entire band, the music felt like the perfect soundtrack to be enjoyed with friends at a lake getaway.
The opening act – Whelming, provided a modern take on what singer/guitarist Erik Severinson describes as “Bohemian Rock”. There was a positivity and a freshness in the performance, making Whelming a great opener for VHS Collection.
The reverb on the vocals and careful licks of the guitar made for a well oiled performance from the Vancouver natives.
Ending on crowd favourites, VHS Collection wrapped up a successful show with their popular songs “Waiting on the Summer” & “Ghost” from their 2016 album Stereo Hype.
A great night, filled with energy and creative music, both VHS Collection and Whelming delivered a sweet set that I thoroughly enjoyed.
