RSS

Inside the crowded, cozy room of La Sala Rossa, Jonathan Richman and Tommy Larkins played to a crowd as eclectic as the cobbled-together, endearingly DIY-ed decor of the venue. It was as though the wind had blown Bar Star Bar’s Lord of the Rings trivia attendees from right next door straight into the mezzanine; their polite concert etiquette far outdid any of the other shows I’ve been to recently. As I stumbled inside from the dreary and drizzly evening with my dad, filled with dumplings from Harbin Dumpling next door, I was met with a crowd filled with other apparent father-daughter duos and lifelong Richman-heads who'd probably seen him no less than 8-times, minimum. It was as if there was a quota at the door, a requirement in fine print on the ticket, and I only nearly scraped through on the press list. 

As the old-head crowd was milling about, Jonathan took to the stage with a rendition of an instrumental classic from his Modern Lovers days, “Egyptian Reggae,” lulling the crowd into their designated floor spots and kicking off the evening in a rather spaced-out fashion. Introducing tour mate, Tommy Larkins, on the drums – who was dressed in bedazzled Elton John-esque sunglasses and baby blue Sergeant Pepper-style army jacket, the spitting image of a cartoon rockstar drummer in his 70s – the set kicked off with a bang, literally. The New England-born artist serenaded the 514 crowd in French with an accent so shockingly fluent it could placate even the most hardcore Quebec separatist. Switching seamlessly from French to English to Italian sung through the thickest Boston twang, there seemed to be no stone the 70-something-year-old Richman left unturned. 

Richman’s stage presence only improved as he warmed to the crowd, taking breaks from singing into the mic to shake his hips, jive and groove with the crowd, showing off his guitar swinging manoeuvre and two-step on more than one occasion. Channeling the energy of that old man you might encounter on the 55 bus at 11 am on a Tuesday, who is singing to himself and in his own world, bothering no one except those without joy and whimsy in their hearts. 

The show really took flight when he played his hit song, and one of my personal favourites, “I was Dancing in a Lesbian Bar” from his debut solo album, I, Jonathan, which elicited shrieks of joy and instantaneous hip sways of excitement from crowd members, both young and old. In a beautiful moment which united both the off-duty Irish Studies Professors and the 20-something diehards (who likely grew up listening to his music on road trips, as did I) in attendance, Jonathan playfully switched the lyrics of his iconic song to incorporate lyrics from Chappell Roan’s hit “Pink Pony Club” as he played a three chorus encore, whipping out a cowbell which he gleefully banged along to the tune. 

Playing classics like, “You Can’t Talk to the Dude,” “That Summer Feeling” and “Pablo Picasso” from both his solo career and from Jonathan Richman and the Modern Lovers, Richman played with the joie de vivre and unironic dad-jokes only found in a 70-year-old rockstar. Over his decades-long career, Richman has tapped into an unparalleled niche carved for himself, somewhere between SNL musical skit and childhood sleep-away camp songs, which have the ability to bond the masses – exactly what is needed in such a turbulent time as now. Jonathan’s palpable charm endeared him to the eager audience of lifelong fans and casual listeners alike, leaving me with a new sense of childlike wonder, joy and unabashed glee.

As quickly as it had begun, the set was over in just over an hour, which for a tour put on by a 73-year-old guy, I can’t exactly complain about. As my dad and I left his eighth and my first Jonathan Richman live concert experience respectively, I can safely say I’m fully indoctrinated into the cult of Richman. I look forward to catching him the next time he’s in town if he makes it out again!

In the dead of winter, at a bone-chilling -20 degrees on Sunday night, an army of dedicated fans defied the cold to pack Mtelus, awaiting the performance of Dublin's very own Inhaler for their second headline show in Montreal promoting their third studio album Open Wide. Wrapped in layers upon layers, the fans' unwavering passion transformed the harsh weather into a palpable,  electrifying celebration of live music. 

The crowd erupted, immediately matching the band’s intensity, shouting back every word as the quartet took over gripping their instruments like they had something to prove. There was no slow build—it was full throttle from the start. 

The band opened with “My Honest Face”, immediately drawing the audience in with energetic riffs and a confident vocal delivery that set the tone for the night. The transition into Eddie in the  Darkness was seamless, with every instrument locking into a tight rhythm that amplified the raw intensity on stage.

"Where the f*ck did all this energy come from?!" Inhaler's frontman, Elijah Hewson, asks the crowd within the first half of their set. The back-and-forth between the band and the audience makes their live shows feel more like a shared experience than a one-sided performance. The crowd was locked in from the start, singing every word and matching the vibrant energy, which only seemed to push them further. 

The band fed off that energy, delivering a performance that felt raw but controlled, tight but never rigid. The atmosphere shifted effortlessly between high-energy moments, like the pulsing  “When It Breaks”, and more introspective tracks like “A Question of You”, where the room seemed to breathe with the band. 

As the night moved into “Little Things” there was a noticeable shift—moments of intimacy emerged, giving the crowd a brief respite before the energy ramped up again with “Totally” and “The Charms”. The band’s performance during “Who’s Your Money On? (Plastic House)” — supported by a captivating bass, thanks to Bobby Skeetz — and X-Ray was particularly impressive; the intricate guitar work by guitarist Josh Jenkinson and pulsing drum beats effortlessly sounded by Ryan  McMahon created an almost hypnotic effect that had the audience completely captivated. 

A brief, soulful interlude in “My King Will Be Kind” showcased a softer side, allowing the band to connect on a deeper level before launching into the crowd favourite “Dublin in Ecstasy”. The crowd knew what was coming from the first few notes, their cheers swelling before the song even kicked in. The track’s euphoric build and release felt tailor-made for a live show, and the sheer volume of voices singing along proved just how much the band’s older material still resonates with their fans. 

That carried over into “Love Will Get You There”, a song that felt lighter on its feet but no less impactful, its melody rippling through the venue like a wave. The later part of the set, featuring “Billy  (Yeah Yeah Yeah)” and “Just to Keep You Satisfied”, was a masterclass in building momentum,  culminating in the uplifting energy of “Cheer Up Baby” as the main set came to a close. 

The encore supported the high level of performance with “Open Wide” sparking immediate excitement, followed by the reflective “It Won’t Always Be Like This,” which added an emotional depth to the night. The final number, “Your House,” served as a perfect farewell, leaving fans with a lasting impression of a night filled with both precision and heart.

The band's chemistry was evident throughout the performance. In addition to showcasing their musical range, their smooth transitions between bursts of intensity and slower, more contemplative periods produced an exciting and intimate shared experience. Every note and lyric was delivered with a sense of purpose, making it clear that Inhaler is a band worthy of taking over your Sunday night.

The crowd roared as the lights dimmed and the stage filled with haze, welcoming Foster the People on stage. After a 7-year absence from the city, the band was back in Montreal’s MTelus to promote their newest album Paradise State of Mind. 

Founded in 2009 by Mark Foster and drummer Mark Pontius, the band initially went by the name Foster & The People. People misheard the name as Foster the People, but it stuck ever since. The indie-pop band caught the attention of the masses in 2010 with their viral and breakthrough song “Pumped Up Kicks”.

“Helena Beat”, “Take Me Back”, “Coming of Age”, “Houdini” and “Sit Next to Me” brought the summer vibes back to the city in the middle of what seems to be a never-ending winter. Mixed in was the nostalgia of the band performing songs from their four studio albums, old and new. 

The band offered a true light show both on stage and throughout the venue. With a light setup placed behind them, graphics and lyrics that matched the songs were displayed on them. The lyrics of the chorus of “Call It What You Want” and “Don’t Stop (Color on the Walls)” were projected, emphasizing them. “Lamb’s Wool” and “A Diamond To Be Born” felt like a mesmerizing, out-of-body experience paired with a string of light being projected onto the ceiling.

From "See You In The Afterlife" to "Glitchzig", Foster The People demonstrated versatility in their new album but also as artists. 

Sat in seat D19 on the balcony, I had a perfect view of the stage. Foster showed a strong stage presence, but he could’ve interacted more with the crowd. My spot also allowed me to see the people in the front row roaring with energy throughout the night; however, that energy didn’t seem to translate to those above seated.

The band closed the night with their viral hit “Pumped Up Kicks”. The pumped-up energy could be felt throughout the venue (even on the balcony), ending the night on a high. 

High-energy Franco-American art-pop brother duo Faux Real graced the floors of Foufounes Electric with their toe shoes this week with openers Lola 1:2 and Sean Nicolas Savage.

Lola 1:2 is a fresh Montreal popstar with one released single and a sense of perfectionism holding back the rest of her set. Lola’s performance was energizing and fun, she ran circles around the stage while effortlessly untangling herself from the microphone cord. She struggled with her new sampler machine and explained to us that she hadn’t performed since October, I wouldn’t have known as it all sounded so cool. After announcing that she had one more song she spotted her friend in the audience who just arrived, “oh, okay I’ll do two more songs”, everyone cheered, “do you want trippy or emo?”, “trippy!!” the audience responded.     

Recovering from a health scare of almost-chopping-off-the-tip-of-his-finger-while-chopping-tomatoes-the-night-before Sean Nicolas Savage was so happy to be alive and well on stage with his fingers intact. His smiles and energy were big and wide and shining, twirling around on stage and again, untangling from mic cords. He has a new album coming this spring, from which he opened with the song ‘The Awakening’ which he described as something like a spell, as this is the time for spells. The energy of his performance and vocals, almost Caroline Polachek-ish, blew away the slow acoustic melodies of the music behind him. Although he filled the empty stage well, my ears did not feel saturated with sound to the degree he deserved. But what can I say, I’m a maximalist and not one for piano ballads.

Faux Real’s performance was more polished and annotated than when I saw them open for Cecile Believe at POP Montreal last October. Maybe they’re just tired from all the high kicks as this show wrapped up their North American tour leg, or they feel more confident in their music’s ability to capture an audience without an entire Pilates class. Their high-intensity performance is mesmerizing to watch, every move is analytically choreographed and practiced from switching coloured covers on stage lights to rugby-inspired moves of flinging each other into the air. The level of physical exertion they put out is really impressive, and they continually lose pieces of clothing as the show goes on, but the toe shoes stay on. The brothers are really good at using up every bit of space on the stage and when that's not enough they come into the pit with the audience, which is really fun until I’m worried I’m going to get hit in the head from a lightbulb on a rope getting spun around. 

The brothers were very excited to be back in Montreal, the use of Franglish makes it feel like home, and they love the snow. “We’ve never spent this much time in Canada” they told me, but they’re excited to continue their tour in Europe.