Still Woozy performed a sold out show at the Biltmore last Friday and it was super good.
Still Woozy (aka Sven Gambsky) hails from Oakland Cali, and makes jazzy, dreamy pop, apparently entirely on his laptop in his garage.
He’s thought to be a part of the “bedroom pop” movement aka DIY music (self-composed, produced, released, etc).
Gambsky started Still Woozy just over a year ago, and hasn’t yet released an album or EP, just 7 singles as well as 2 music videos which are…pretty funny to watch. Really cool track art though.
His first ever show as Still Woozy was around a year ago, which makes it that much crazier how he’s been able to sell out most of his hefty North American Tour, and land a slot at Coachella this year.
It all makes sense if you listen to his music. It’s unique, globally appreciated, and catchy af.
About the show itself: Still Woozy is technically just composed of one man, although on Friday he was accompanied by two band mates who played the drums and guitar. They danced A LOT and got the crowd amped while Gabsky mainly stuck to singing, guitar, and his Macbook.
He and his pals were pretty entertaining to watch. Having a good time just dancing and belting it out. Considering their “bedroom pop” categorization, it was surprisingly more “real” than I was expecting. Not just Sven and his laptop. All the jams sounded pretty similar: dreamy, funky and very chill…and it was damn good! The show was short but sweet. Pretty much his 7 songs on Spotify, shuffled, plus a couple unreleased tracks he graced us with.
Have a listen. He’s on the up for sure. Absolutely deservedly.
November 3rd, the Biltmore Cabaret had the pleasure of turning the noise levels up to the Master Volume for the first time with Ontario rockers, The Dirty Nil. Hot off the press, the new album delivers uncompromising energy, huge riffs, and sing-along choruses that were clearly designed for a live setting.
The first songs I caught by opening act, Eamon McGrath, were rooted in folk and country rock. All smooth lap guitars and gravelly crooning, hometowns and heartbreak. The performance took an unexpected turn with a feedback-laden noise section. This led into intriguing heavier cuts that explored more unusual sonic textures and intricate instrumentation.
McGrath ended his set with a fast rock ‘n’ roll number that contrasted the heartfelt, melancholic tracks. Although the country vibe wasn’t to my personal taste, tracks like “Cold Alberta Nights” got two thumbs up and a Spotify ‘Save’ from my Albertan roommate.
The crowd was fairly sparse for the beginning of Dead Soft, which was a damn shame, because first tune, “Phase,” is a total banger. The band blend some of the best 90s and 00s alternative rock sounds to create a delicious smoothie of melodic, grunge-tinged pop-punk. The result is reminiscent of Weezer and Canadian heroes, Pure, with a touch of Archers of Loaf during their more intimate moments.
Set highlights included the gloomy, “I’m Afraid,” and head-banging, “Bones” from 2018 EP New Emotion, as well as the staccato rager, “Death is at My Door” from the self-titled album.
While lead singer, Nathaniel Epp’s, softer vocals were occasionally lost in the mix, the clean melodies really cut through when backed-up harmonies from guitarist Kyle Schick and bass player Keeley Rochon. And he sounded punishing when pushing his vocal cords raw.
The Dirty Nil bounded onstage to Darude’s club anthem, “Sandstorm”. This may seem like an odd choice for a punk rock show, but it perfectly encapsulated the good-natured fun and excess of their live performance.
The crowd began singing at the beginning of the set for “That’s What Heaven Feels Like,” and continued right the way through “Bathed In Light” and “Pain Of Infinity”. The fact so many audience members knew all the words to the three tracks that introduce Master Volume is a testament to the album’s memorability. Especially when you consider that it only came out last month.
With tongues placed firmly in cheeks, The Dirty Nil embraced all the cheese and flair of classic rock. From guitarist and lead vocalist, Luke Bentham’s, star-spangled shirts and bubble gum-blowing bravado, to the floor-sprawling guitar solos, and cliché, cocky stage banter. This could come across as cringe-inducing coming from anyone else, but The Dirty Nil radiate enough charm to somehow pull it off.
Bassist, Ross Millar, was a particularly curious presence as he karate-kicked, fist-pumped, and made outrageous bass-faces throughout the performance.
The set featured a nod to the older fans with “Cinnamon” from the demo compilation, Minimum RnB, as well as “No Weaknesses” and “Know Your Rodent” from 2016’s Higher Power.
But it was Master Volume that truly stole the show. The band slowed down the pace to a waltz for “Auf Wiedersehen,” an alluring drawler that builds towards a heavy crescendo for which Bentham turned the mic to the crowd for impassioned shouts of “FUCK YOU!” during the climax. They even pulled a shredding punk cover of Metallica’s “Hit the Lights” out the bag which elicited a predictably hectic response. Of course, before the mayhem ensued, Millar took to the mic to do his best James Hetfield“YEAH” impression.
The Dirty Nil seem destined for bigger things and larger stages. And while these accolades are probably well-deserved, the promise of success is almost bitter-sweet when their sweat-box performances feel this good.
Opening three minutes early, Banners, or Michael Joseph Nelson, entered the stage at The Commodore stating “I’m called Banners. These are my friends. Thank you for coming.” With that, the Liverpool native jumped into what can only be described as an inspiringly wholesome concert. Banners is humble. He apologetically adopts his band-leader position with no presumptions of star-status, even while an entire crowd leaps and yells at his direction. The energetic and constant strobe lights of the stage were counteracted by the honey-toned fairy lights behind him and his pop/indie/stadium rock style contrasted by lyrics that encouraged a generalized acceptance and niceness.
In addition to his released music, Banners shyly introduced two new songs, giving the audience permission to leave if they didn’t like it. When we reached the hit “Someone to You”, the band slowed things down, singing with an acoustic guitar, one mic, claps, and an endearing commitment to the message. I’m not entirely clear on what that message is, but frankly, I was just happy to be a part of it. Echoing by his opening line, Banners really did seem to be on stage with his friends. He had to stop as they teased him on stage in the middle of “Someone to You” to laugh with his friends, and the crowd shared in the tender moment. We were also treated to a full volume rendition of the song at the close.
What struck me most was Banners commitment to creating a vibe, a community, a space of support and acceptance of some unnamed quality – possibly expensive beer and plaid, but likely something more altruistic. Even if Banners isn’t your particular style of music, you’re rooting for these guys. The audience echoed his friendship, his care, his calm. It radiated, and it made for a great show.
Anyone who might have stumbled in off the street (as if- tickets for both shows sold out months ago) into one of the two annual thanksgiving 54-40 shows at the Commodore Ballroom in Vancouver would have felt the immediate wave of contagious energy spreading from the band, into the crowd of mostly 50-somethings, through the stretches of the ballroom, and pouring down the stairs to the street.
For the duration of the show, hundreds of listeners followed the band’s lead in throwing their bodies and voices into the full range of the band’s extensive repertoire of Vancouver classics. The audience carried an invariable ease and full-heartedness that can only come from hundreds of lifetimes spent listening to the same rock songs over, over and over again. This was a crowd who had been faithful to the Tsawwassen-based band as they grew up through the ‘80s, spread their sound through Canada, and developed an international fan base.
The show was opened by Toronto-based The Skydiggers, who delivered energetic, classically-Canadian rock that is decades in the making. A perfect pairing in style, charisma and energy to 54-40, a group that is 30+ years in- with no sign of stopping, as they put it.
Words never ringing more true to the quartet – composed of lead vocalist Neil Osbourne, bassist Brad Merritt, drummer Matt Johnson, and guitarist Dave Genn – than on this weekend. Hours before the October 5th show, the beloved band had seven of their vintage, one-of-a-kind guitars stolen out of a u-Haul van in New Westminster. The instruments were worth a combined $50,000 – but irreplaceable to members of the band.
“You fall in love with [the instruments] and you feel so good when you play them…they’re part of your identity”, said one in an interview with Global News.
With only a few hours to absorb the loss, find borrowed and rented instruments, and turn around to deliver a top-quality show to hundreds of fans, the band held true to their promise of not stopping – or even slowing.
The group delivered an unwavering, uncompromised show, with enthusiasm and intensity that spanned the show and only grew as the band rocked through extended renditions of fan favourites like How’s Your Day Going, Sucker For Your Love, and, the long-time Canadian favourite that nobody could get enough of, Ocean Pearl. To say the band left the crowd satisfied is an understatement- they played a full show and only stopped after not one, but two encores.
“Well this wasn’t supposed to happen” – Osbourne, after relentless cheering, stomping and howling pulled the band back on stage for the second time.
In a brief pause between songs, Osbourne, perhaps reflecting on their loss that day, paused to say as much to himself as to the blur of faces before him:
“At thanksgiving we count our blessings. More importantly, we should make our blessings count. I don’t know, man, I just want love.”
If what the band wanted was love, they got it that night at the Commodore- from the fan sporting an original ‘80s 54-40 jersey, to the familiar faces the band pointed out in the crowd, and the somewhat-spontaneous but totally-awesome on-stage collaboration with Andy Maize of The Skydiggers.
…They also got five of their seven guitars back a few days later, thanks to anonymous love from a police tip leading to a storage locker in Surrey.
A lot has happened with The Carters since the first On the Run tour in 2014. The public has since witnessed a saga of marital issues in the form of songs on Beyoncé’s “Lemonade” and their collab album “Everything Is Love.” For their most recent tour, On The Run 2, The Carters tied it all together and put on a show that tells the story of betrayal, confession, forgiveness and, most of all, love.
Initially for their duets, Jay-Z and Beyoncé used catwalks that ran across different sides of the crowd, allowing them to address the audience separately, symbolizing a divide. Come second half, The Carters shared a floating platform that moved over the crowd as clips of them renewing their vows played on the big screen. The band then performed through silhouettes of church windows, exemplifying forgiveness and redemption.
When performing their solo pieces, the couple had separate artistic aesthetics and owned the spotlight in their own ways. Beyoncé; with her army of strong female backup dancers in lush costumes that accented her glittering body suits. She oozed female empowerment through her choreography, performing as a unit with her dancers in “Formation” and “Run the World (Girls).” Jay-Z hypnotized the crowd with his masculine, truculent performance. He took over the stadium with his literal flame throwing spectacle of “Run This Town” and displayed political unrest in “99 Problems” where he wore a bull-proof vest and featured mugshots of fellow celebrities including Jane Fonda, Snoop Dogg and David Bowie.
Separately their performances brought messages of change within social justice and trials within ones self, making the large stadium feel intimate. Jay-Z’s performance of “The Story of OJ” and Beyoncé’s “Resentment” brought beauty with the small, quiet moments every show needs. When The Carters came together and performed as a unit with classics like “Crazy in Love,” “Bonnie and Clyde,” and “Naughty Girl,” the night moved towards reconciliation, bringing back these feel good favourites of the early 2000’s.
On the Run 2 made you feel like you were apart of this Hollywood ride, full of extravagance, beauty, political substance and personal trial, all leading to one union. Beyoncé in a long glistening black gown with gold embroidery stands next to Jay-Z as they bring the crowd down with “Young Forever.” The couple share a kiss as you experience The Carters’ happy ending where Everything is Love.
grandson (aka Jordan Edward Benjamin) is a Toronto-based musician who blurs the lines between rap, blues, rock, reggae, and electronic. It’s difficult to mesh such a variety of genres together, but grandson does it OH so well.
I had only heard about grandson (whose stage name stems from his grandfather being a major influence) for the first time maybe a week before he took over the stage at VENUE on the 6th of September. Blood // Water was played for me and I was instantly hooked.
It didn’t take long for me to catch on that his music, at times, is very politically motivated. His lyrics hit us hard as they display a significant amount of relevance in the world today. Songs about overdose, being broke, friends and family, corruption, etc. grandson is the start of a rock n roll revolution, “Rock n Roll is not, and shouldn’t be, what it used to.” His words make it clear that he’s attempting to evolve the genre, and so far…it’s working!
Not only did grandson absolutely dominate the stage, but his backing band also displayed an equal amount of enthusiasm. At no point, during the whole set, did any one of them stand still. They had our attention, from start to finish. It’s not every day we find a band so captivating that we don’t even want to leave the crowd to grab a drink!
This year, in addition the rad Hip Hop and R&B heavy lineup, Safe and Sound will feature some live art installations, host stand-up comedians, and add a basketball court into the mix.
Safe and Sound prides itself on being more than just a music festival by adding exciting elements to enhance the overall guest experience. So gear up, this fest will be one for the books!
Internationally renowned street artists Ben Tour, Tars, Naks, and Akews One, with decades of experience from graffiti to oil painted canvases, will be showcasing some live art pieces. Starting off with nothing but a blank canvas, festival goers will be able to watch the artists’ progress from start to finish.
It’s almost that time of year again! One of 987‘s favourite festivals is back and better than ever. Rifflandia will be taking over Victoria, BC for its 11th edition from September 13th to 16th, and we can’t wait!
As usual, the festival’s flagship main stage (and side stage) will be located at Royal Athletic Park, just minutes from downtown Victoria. For those of you who have never been, imagine this: world class music, green grass, delicious food + beer, and rad company. *All Ages*
If you’re like us and want the festival to keep going through the night, Rifflandia offers a couple night stages. Just walking distance from Royal Athletic Park, on Discovery St; this is where the night begins 😉 They have an impressive slate of artists set to play, so bring your dancing shoes! Sorry kiddos, this area is 19+
Whatever your music taste is, how ever old you are (minus the night stages), there will be something for you at Rifflandia (987 guarantee)!
Will Toledo’s project, Car Seat Headrest, has become a prolific examination of the human condition, it also happens to be noises that some people call independent rock and roll (Indie rock).
However, it came from humble beginnings. Toledo initially released eleven albums on bandcamp (2010-2014) before signing a cool record deal with Matador Records in 2015.
In this way, Toledo joins a niche of now-mainstream musicians that began releasing their sounds into the internet void, alongside the likes of Frankie Cosmos and Alex G. This is an empowering age we live in, as individuals like Toledo can act as beacons for our own potential affectations that we may hope to instill upon the world (from our rooms).
Car Seat Headrest in particular is known for super catchy licks and melodies while embodying nervous confessions. Because perhaps the most relatable we can be as humans is when we admit freely past blunders of patheticness, embarrassment, or anxiety. It seems that Toledo has found the perfect way to do this seamlessly, over and over and over, in each song. It is so damn relatable and catchy. Anyways, the show-
What I expected was a confessional, what I got was one of the sweatiest, emotional, beautiful mosh pits I have ever experienced.
Seven boys, accompanied with seven size 26 waist levis, were on stage. And they continued playing song after song theatrically and with perfect build up- peppering in hits like Fill in The Blank (first track from the critically acclaimed album “Teens of Denial” released in 2016), which sent the crowd erupting along through song, and chorus:
“You have no right to be depressed!
You haven’t tried hard enough to like it
You haven’t seen enough of this world yet
But it hurts, it hurts, it hurts, it hurts …
Stop your whining, try again!
No one wants to cause you pain
They’re just trying to let some air in
But you hold your breath, you hold your breath you hold it
I hold my breath I hold my breath I hold it …”
Which seems like a lot when you write it out or read it, but believe me, if you have ever dealt with mental illness, screaming this series of words while jumping around hundreds of other humans rejoicing with you about literally being so vulnerable, blaming yourself for your faults, suffering, and simply making fun of that, is so so so beautiful and healing. This alone made it worth getting up out of my bed thirty minutes before the concert, after accidentally eating two bags of chips for dinner and becoming the human embodiment of a slug.
“Embrace the pathetic nervousness of the human condition. Your life will be full of it and you can do nothing about it”
Capitol Hill Block Party is back! They’ve been killing it for over two decades, and this year’s edition is no exception. With world-class acts across the genre board set to play in this Seattle neighbourhood, the weekend of July 20-22 is gearing up to be one of the summer’s best.
(FATHER JOHN MISTY)
Capitol Hill, a colourful urban area just east of Downtown Seattle, will be host to this 6 stage festival and its 20,000+ attendees. This diverse neighbourhood boasts its hip bars, eateries and clubs, and is also the centre of the city’s LGBTQ community.
Previous years artists include:
ODESZA // Run the Jewels // CHVRCHES // A$AP Rocky // MGMT // Macklemore // The Lumineers // Jai Wolf // Mura Masa // Thundercat // The Flaming Lips // Girl Talk // Spoon // STRFKR // Jamie xx // Fleet Foxes // Vampire Weekend // Father John Misty // Angel Olsen // Dillon Francis // The War on Drugs // TV on the Radio // Grimes // Danny Brown // Thee Oh Sees // Major Lazer // Diplo // Lizzo // Toro Y Moi // Crystal Castles // Wolf Parade
(SPOON)
This year, CHBP have outdone themselves, yet again. With artists such as: Father John Misty, Brockhampton, Dillon Francis, Oh Wonder, and Alvvays, all announced as a part of the initial lineup release. Which means there’s more to come 🙂
(ALVVAYS)
On top of the already amazing Capitol Hill restaurants, CHBP will host a selection of Seattle’s best eats on their festival grounds, along side multiple beer gardens (21+) and a variety of bars. More info here.
(WOLF PARADE)
Nine Eight Seven can’t wait for this year’s instalment and we hope to see you all there!
