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Who Will Cut our Hair Now that The Unicorns are Gone?

Excitement and energy filled the Metropolis concert hall on the night that The Unicorns played Montreal after a ten-year hiatus. I walked into the room feeling nostalgic with memories of listening to The Unicorns as a teenager, but I had no real idea of what to expect from the live show. I heard amazing stories from my roommate who recalled seeing the guys in 2004 at a show in Toronto where they invited a random, rough-looking man on stage to drum for them, only to find out that he had excellent rhythm. I kept this story in the back of my mind.

For this particular portion of their reunion, the band was cast to close the 2014 edition of POP Montreal, playing on the last night of the five-day fest. POP Montreal, now in its 13th year of festival magic, would have been in its early beginnings at the same time that The Unicorns were in full swing. So it seemed as if the show was a planned perk for seasoned POP participants, and the buzz surrounding it was huge.

Before The Unicorns took the stage there were three extremely diverse, yet completely entertaining opening acts: local superstars The Adam Brown, Each Other, and Toronto drag/dance pop queen, Light Fires. The opening bands managed to feed the playful energy of the crowd, that was otherwise reduced to nursing their festival hangovers with over-priced cups of St. Amboise blonde in anticipation of the main act. 

The Unicorns' set opened with audio/visual recordings of what seemed to be amateur actors exclaiming, "I'm so excited to see The Unicorns perform tonight." This phrase easily summed up the overall sentiment in the room. There was an uncanny mutilation of the video, chopping and screwing the clips into undecipherable messages only to be replaced with classic '90s Microsoft screensavers for the duration of the show. Remember those 3D mazes, rotating peace signs, and flying toasters? This was a particularly clever and likely low-cost approach to a multi-media music show and artfully playing into the nostalgic feel of their set.

They sounded exactly like their recordings. The silly concept of "I was born a unicorn" contrasted against the heavy sentiment of "what will happen when we die?" is what is so mesmerizing both in the trio's recordings and their live set. Though the playful definitely outweighed the dark in this particular show.

However, the band ended up lacking in the showmanship that had come to be main staple in their performances a decade ago. They skipped the funny outfits and gimmicky gags, perhaps due to the venue. I can't imagine it's easy to get away with much in a place the size of Metropolis. Or perhaps it's the passage of time, as all 20-somethings turn into 30-somethings eventually. Still, the musicians interacted pleasurably with the crowd, responding to rowdy shouts of "I love you" and playing pranks on the eager audience awaiting the final encores. There was even a shout-out to Concordia University, so be proud Concordians! The audience crowd surfed, danced like maniacs, and audibly sang along to hits like "Jellybones" and "Inoculate and the Innocuous"

Predictably, but ever so satisfyingly, the band ended by playing a one-song encore with "I was Born (a Unicorn)." Concert complete. 

-- Christina Bell is one of CJLO's dedicated volunteers. Visit our Volunteer page to find out how you can join our team!

Presented by POP Montreal, Blue Skies Turn Black, and CJLO 1690AM

Last Saturday night during POP Montreal, Ty Segall, The Nymphets, and La Luz set out to not only entertain, but also pump up an energetic and sold-out crowd at Club Soda. The night started at 9 PM with a small early-bird crowd as trio The Nymphets showcased their seizure-like dance moves and fast punk rhythms. The band played for only 22 minutes, but the crowd seemed content given their drummer had a tough time keeping up with her tumultuously fast, rock 101 beats. Altogether, The Nymphets were an okay opener for Ty Segall, and definitely had some potential, though some more stage presence (for example, the band enjoying themselves on stage) would have helped their set for the better.

Moving on with the night, by 10 PM, female four-piece La Luz from Seattle won the hearts and set the standard for an almost full crowd at Club Soda. What La Luz did right among many things was have fun on stage. Of course their surf-rock sound was incredibly awesome, and quite unique too. It was their energy, synchronized dance moves, and fun interactions with each other and the audience that made their set so enjoyable. We even got to watch keyboardist and vocalist Alice Sandahl crowd surf near the end of the set. And let's not forget drummer Marian Li Pino, who didn't seem to miss a beat within her surprisingly complex syncopated rhythms. And if that didn't sell you, their four-part harmonies definitely put the icing on the cake. All in all, these girls were a must see at POP with their refreshing take on the surf-rock genre.

As for the highlight of the night, Club Soda could not have been a more perfect venue for Ty Segall. The room size was great for moshers to crowd-surf and bang heads near the stage, but also had a ton of standing space, and a seated balcony perfect for Ty's passive, yet dedicated listeners. Ty began the set with songs off his latest album, Manipulator (Drag City, 2014) and let his fuzz to drone out and included nasty guitar riffs to jolt an energetic, almost aggressive crowd. The moshers went wild, and the rest of the crowd roared unlike any other after hearing tracks from the new album including "Tall Man Skinny Lady", "It's Over", and "The Faker". Halfway through the set, Ty eased his long-time fans by playing songs off his previous, much harder albums like Twins (2012) and Sleeper (2013). In the end, the show was an absolute riot thanks to Ty's incredible energy on stage, especially while watching him crowd-surf in a god-like, standing position near the end of his set.

This show was truly one of the best concerts at POP this year, the sound mix at Club Soda was incredible, and Ty Segall, La Luz, and The Nymphets shook the house and, as each band hoped, left the audience wanting more. Before the show ended, Ty told the audience he'd be back as soon as he could, and knowing how fast he releases albums and side projects, I'd say we're likely to see him again in the next year. 

Sayonara, and remember kids, always wear earplugs!

--Matthew Rogers hosts Exposé every Wednesday at 5 PM on CJLO.

Presented by POP Montreal and the Montreal International Jazz Festival

Suzanne Vega's career has remained a mystery to me since the initial swath of hits I heard as a child in the nineties. I wondered if Vega's "clinically poetic eye" had evolved at all since then, so I wasn't sure what to expect from her show when I walked in to the Ukrainian Federation. Vega has had a fruitful career in that time, releasing several albums, with her eighth released earlier this year as the singer turned 55. Tales From The Realm Of The Queen Of Pentacles, which arrived seven years since her last album, was released by Vega's own record label, Amanuensis Productions, which began after she was dropped by Blue Note in recent years. It was a blend of folk and rock, with lively guitar, straightforward lyrics, and soft vocals. The sound was not radically different from the Suzanne I knew and loved, and I wondered which songs her set would feature. 

The venue was close to full, and the audience was peppered with members of all age groups, even the rare birds of the 60-plus crowd. The show openers, Tyler Messick and Elizabeth Anka Vajagic, were received warmly. Messick was joined by Special Noise from Halifax, playing a good set of upbeat tunes with catchy lyrics and interesting basslines. Vajagic's set was low-key and consisted of dramatic vocals, and an acoustic guitar.

The crowd was enthusiastic as Suzanne Vega energetically started her set shortly afterwards, playing material from her new album. With a light, charismatic demeanour, she had no trouble making the crowd laugh. Her entourage was humble. She was joined on stage by her guitarist, as well as her daughter on backup vocals towards the end of the show.

A few songs in, Vega asked the audience if they wanted to hear some old songs, to which the response was marked quietness and a faint sound of crickets in the distance. After cracking a joke about the crowd's hesitation, she played "Caramel", but with a reworked bossa nova sound. The rest of the show featured songs from several of her latest releases, including "Crack In The Wall", and "I Never Wear White". The crowd went wild during "Jacob and the Angel", which Vega explained was very personal to her own experiences with making it through tough times. She closed the show with "Luka" and "Tom's Diner". The show finished with Vega wearing a top hat, being loudly cheered and applauded, and even received some standing ovations.

-- Mariana V. is a frequent magazine contributor and dedicated volunteer at CJLO 1690AM

Presented by POP Montreal, Greenland, and Cult MTL 

Latino artists Bomba Estéreo, Boogat, and Bunga Bunga came together for POP Montreal this year at Le Late Night Little Burgundy. The set began with Bunga Bunga, with members Mariano Franco, Fernando Pinzon, and Stéphane Cerny. They had so much stage presence, especially the lead singer who was like an energy ball. Their music had a rock-rave vibe, making it very danceable. After Bunga Bunga performed, the band joined the crowd to watch the next performer. They stood right next to us and were so approachable, and their performance was the the best part of the whole show for me. Boogat hit the stage hard with a quintessentially Reggaeton flavour. It was quite endearing when he spoke French with a heavy Spanish accent. His set wasn't as original as Bunga Bunga, but it was a good segue into Bomba Estéreo. 

Bomba Estéreo from Bogotá, Colombia is an electro tropical music with Liliana Saumet on vocals, Simón Mejía playing synth, Kike Egurrola on drums, and Julián Salazar on the guitar. Bomba Estereo translates to "stereo bomb", and they their music lives up to the name. Liliana's voice was high pitched like a school girl, and I thought she was going to blow the speakers! The sound quality was good, but the volume was just too high. She really boosted the crowd, nonetheless. Although, I must pay owed to Mejia, the master of beats, for which were mucho groovable. They played their top song "Fuego" on their Blow Up Album from 2009. Even though its a couple years old, the crowd was loudest and most involved during that song. I highly recommend listening to their 2014 single "Que Bonito", with a beat that has an African/Reggaeton/Electro feel. Bomba Estéreo is such a versatile group, that it's difficult to pigeonhole them into one genre of music. They transform with the times, and their eclectic music speaks to a wide range of audiences. Many of their lyrics are Spanish, but the beats are so universal that even people that don't speak the language can jam to their music. 

The way they transformed Église Little Burgundy into a venue space kind of reminded me of a high school dance. Like any high school dance I've been to, I outcast myself and sat in the back. That's where I met the love of my life by the name of Fatboy. Sofa pads made of hugs, heavenly pillows to embrace my caboose... the only problem was getting out of them. I'm sure Le Late Night Little Burgundy has had some problems getting people to leave once their bodies we're glued to the Fatboys. I enjoyed sitting on them and watching the light show on stage. The lights were like an evil scientist's laboratory with surges of light growing upwards through poles, dots of sparked energy. It is possible that some body part of Frankenstein is indeed Latino.

Such life was brought to the Le Late Night Little Burgundy. POP Montreal brings artists and audiences together, allowing a certain intimacy in the venue. POP Montreal hosts conscious events in regard to the venues, the artists, and even sustainable living! The reusable plastic cups they had for drinks made me feel like a philanthropist just for having a beer out of one. Accounting for the performances, venue, lights, and reactions from the crowd, the night was overall another successful show put on by the gods POP Montreal.

May music save the earth and our children. Bless thy beats...

--DJ Misschief hosts Greedy Graffiti every Thursday at 2 PM on CJLO