The Vancouver based Sam Tudor’s Quotidian Dream is what Tudor calls his first album technically but third in actuality. Tudor is a young and brilliant folk musician who artfully obsesses over his homemade soundscapes. The 22 year old is wise beyond his years yet his music drips with youthful authenticity. The album is quite spectacular; it invites you into the dusty basement of Tudors psyche and makes you feel right at home. The ten song strong record is ambitiously emotional, vulnerable and complicated. Tudor experiments with generous lyrical metaphors and intense transparency. The album begins with the track New Apartment that immediately sets the tone in its wise songwriting paired by haunting musical backdrop. It features the shattering lyrics: washing up on a beach of carpet / you were drowned and you found the shore. Little things that keep you sober / keep them close when I’m far away. As the tide is moving lower / I think it’s time for you to stay. This is followed by the brazen track Quotidian Boy that unabashedly investigates the facets of childhood difficulty. The album continues to generously explore the depths of the beautiful and tragic human experience. The final track Silver Lining Skies provides a sense of closure, making one feel that they’re never alone in that awkward moment between birth and death.
Tudor grew up in a small town outside of Williams Lake and played music throughout his adolescence. He shared that “In the past I didn’t know what I was doing sound wise. It was hard enough trying to make something that sounded good. I didn’t have the mental energy to actually think about an album’s aesthetic. I was just trying to make an album that didn’t fall apart”. This self-deprecation certainly paid off as Tudor learned to refine his particular brand, which is severely fragile and rare. He manages to pull off Andy Shauf-esque velvet melancholy that dances in depression. Tudor further explained “ I am much more confident now and know how to record and write, so I can put more intention into the actual sound. That’s why although this is my third record, it feels like my debut album”.
Quotidian Dream does feel like a debut album in the way Ryan Adam’s Heartbreaker is his debut album. It is triumphant declaration of musical catharsis that is waiting to be heard and not just heard but cherished. Tudor produced the album himself and mostly in his bedroom, yes he is obnoxiously talented. He is joined by an avalanche of local talent such as Harry Tudor on drums and percussion, Jasper Wrinch on electric bass, Nathan Turner on upright bass and Tegan Wahlgren on violin, viola and vocals. The musical landscape is rich and transporting which impossibly intuitive to the lyrical tapestry. Quotidian Dream is an uncommon invitation to the intimacy of one’s honest internal exploration; there is nothing quotidian about him.
Courtney Barnett and Kurt Vile-Lotta Sea Lice
This one was highly anticipated by myself and many other desert loving, psych rock adoring and reverb attics that I know. I fell in love with Barnett’s music three years ago at Pickathon- my favourite music festival on this godforsaken rock. She was spilling out witty and clever lyrics while simultaneously demolishing her guitar seemingly effortlessly inside a steaming hot barn around midnight. It was impossible to take your eyes off her. The audience seemed to avoid blinking in fear of missing this supernova who has now deservingly reached international success.
Vile is a truly distinctive artist that left the War on Drugs to pursue his illustrious solo career. His music grasps the melancholic void and executes this highly relatable yet obscure sensation into rock and roll lullabies. The two could not be more suited to play music together and fans lost it when they heard they wouldn’t only record this album but follow it up with an extensive tour. They both have a knack for gracefully extended guitar freakouts, honing a particularly attractive brand of garage rock and gently delivering powerful lyrics. Lotta Sea Lice is a collection of old and new songs written by both. The single “Over Everything” gives insight towards how amiable and intoxicating this project is. The entire album plays like a dream that reels in and casts out of reality, it’s ambiguous who wrote what, which is simply a testament towards how much the two compliment one another.
The War on Drugs- A Deeper Understanding
The ever so talented Adam Granduciel leads the dreamy, innovative and nostalgic Philadelphia based band The War on Drugs. The musical marvel spent generous amounts of time in the studio mulling and obsessing over his impressive material. The band’s fourth studio album Deeper Understanding was highly anticipated as a follow up to their iconic Lost in The Dream released in 2014. A Deeper Understanding is a remarkable portrayal of complex expression, detailed instrumentation and the, if you will deeper understanding (I’m sorry) of musical catharsis. Granduciel takes you on a scenic walk through his moody, prophetic and infinite imagination. A Deeper Understanding is a tenacious sonic dreamscape that completely explores the depths of sonic possibilities, leaving no stone unturned. There is a lot going on in this work yet it’s completely accessible which is likely why the band gets reduced to “dad rock”.
Aerialists is the brainchild of Canadian folk sweethearts Adam Iredale-Gray (Fish & Bird) on guitar and Elise Boeur (Jenny Ritter) on the fiddle joined by Scottish harpist Mairi Chaimbeul (Darol Anger & The Furies) who began collaborating extensively at the prestigious Berklee College of Music. Their music is best described as “prog trad” implying an intentional contradiction while properly expressing a contemporary revision of traditional folk music. They are a genre bending, rule defying, brain shattering collection of wildly astute purveyors of sound. Their eclectic skills and intuitive instrumentation create an stirring tapestry of music dripping with range, emotion and history. Aerialists truly grasp the diversity and possibilities of folk music and it’s various sub-genres. They are young people inspired by old music yet their sound is timeless.
Their first full length album Group Manoeuvre is a commanding collection of brilliant songwriting, evocative harmonies and imaginative arrangements. It is cunning, exhilarating and at times almost emotionally overwhelming. They are fully committed to their complex and difficult music. The hauntingly powerful vocalist Emily Millard is featured on the record; her voice is as intense as it is gentle which is impossibly well suited to the avalanche of sound surrounding her. Their arrangements are palpably meticulously sculpted and derive from their original compositions and traditional Scottish, Irish and Swedish fiddle songs. Iredale-Gray produced the album himself in his hometown of Main Island, B.C on behalf of his very own label Fiddlehead Records.
LCD Soundsystem- American Dream
There is no band quite like the avant-garde LCD Soundsystem. Front man James Murphy began the project when he was in his thirties and wrote the accidental smash hit “Losing My Edge” which pokes fun at mainstream artists which ironically made him a mainstream artist.Their eponymous debut title album received a Grammy for best electronic/dance album in 2005. This was followed by the exemplary Sound of Silver released in 2007 and This is Happening in 2010 and they essentially headlined every major music festival simultaneously. In April of 2011 the band sold out Madison Square Garden at a performance billed as their final one, which clearly wasn’t.
LCD is like the choose your own adventure of bands as you can digest their music as rich feasts or light tapas and either way, it’s delicious.Their music captures the evocative backbone of strong electronica and the tender resonation of strong songwriting. It’s ambiguous towards what era they are most inspired by, their sound is a unique blend of 80s,90s and the future. American Dream is misanthropic dance music that speaks to the hips as much as the brain.It is a soundtrack for our current generation.It is vulnerable, manic, hopeful yet conflicted;just like us. It wavers between dreamy electronic terrain and gut wrenching belts of cynicism.American Dream speaks volumes to late capitalism and the unwillingness to conform which Murphy has mastered musically.
Queens of the Stone Age- Villains
Let me begin this my stating this potentially unpopular opinion- Queens of the Stone Age are my least favourite band that Josh Homme is in. I adore the Desert Sessions, Them Crooked Vultures and The Eagles of Death Metal. However, Queens of the Stone Age are my favourite mainstream modern rock band. I always take a while to warm up to a QOTSA album but when I do, which I always do I need to rethink that entire statement but I still land on the same consensus-these are the games I play in my head. That said, I strongly enjoy Queens of the Stone Age but I think Josh Homme should essentially be in the dirtiest, grimiest and most obscure band in the business. However, an album like Villains reminds me why this shouldn’t and couldn’t be.
QOTSA bridges the gap between metal heads and pop fans and everyone in between. Their music is intentionally radio friendly even though Homme is THE quintessential badass. Producer extraordinaire Mark Ronson is all over this record, the same Mark Ronson who produced Bruno Mars’ Uptown Funk and Amy Winehouses’ Valerie- he’s a hit machine. Ronson’s craftsmenship successfully pulled out the abundantly rich and complex soundscape that the band has mastered. The record is a condensed tale of inclusive disorderly rock. It invites all listener’s into the magic of rebellious music without making them feel undeserving of the experience and that’s what makes this band so special. Villains is arguably their most accessible album which further celebrates the band’s wonderfully bizarre and friendly mandate.
Odd Future’s front man Tyler,the Creator is an ever evolving musical marvel that is wise beyond his years yet the poster child for juvenile deliquence.It takes a rare kind of intelligence to challenge the norms of hip hop,fashion and manners. Tyler is often found making brash statements during interviews while keeping his sexuality and sobriety ambiguous.He is in the mecca of the mainstream yet authentically creative.This isn’t accidental,the 26 year old started the rap group Odd Future ten years ago alongside sustaining a successful solo career,fashion label and a music festival.
Flower Boy is easily Tyler’s most impressive album yet and one of the most exciting records of the year. It is a sophisticated,refined and cohesive arrangement of tracks that compliment each other.It is much more accessible than his previous work which evidently really works for him.His tendency to rub some people the wrong way has been due to exclusivity and seemingly gratuitous offensive lyrical content that lacks apology. As somebody who appreciates inaccessible hip hop I have always been fond of Tyler.That said,he has reduced his intelligence and talent in the past by running improvisational lyrics about cheese and highly produced content about stabbing Bruno Mars. He is been under fire for making blatantly mysongynisic and homophobic lyrics which he has always promoted as ironic.This is believable due to Odd Future being one of the few hip hop groups with two queer members and the fact that he is clearly intelligent. In lieu of this intelligence he recognized that being questionably bigoted is getting old and decided to execute the highly meditative Flower Boy.
The album is gentle,lyrically vulnerable and musically evolved.It delivers a diverse arrangement of hypnotic melodies and radical self exposure. It is sonic dreamscape that is relentlessly charming.It’s fragile like a summer afternoon yet as real as the internal struggles he is finally revealing. It wavers between wildly triumphant to incredibly mellow. It certainly contains that unmistakable rough and rogue Tyler flair yet he has fine tuned his particular brand of mischievous. It is as if he is responding,but not apologizing to the feedback he has received through these liberated lyrics. Lil Wayne,Estelle and A$AP Rocky are featured on the record amongst an arsenal of underground artists.
On the track Forward he raps “Shoutout to the girls I have led on,for occasional head to keep my bed warm and trying they hardest to keep my head on straight” which is followed by “I have been kissing white boys since 2004”. This has caused quite the internet storm towards questioning his sexuality,which we all know he won’t clarify which makes him even more interesting to the masses.The gorgeous track Garden Shed plays like a daydream and encompasses that hip hop ease we miss in Digable Planets or Slum Village. My personal favourite song on the album Boredom is about the relatable paradoxical nature of desolation in the summer.
If you have ever questioned if Tyler,The Creator is rarely talented or just some entitled punk,Flower Boy definitely suggests it’s the former.
Photo by Chris Strong Photography
There are good concerts, great concerts, excellent concerts and then there are concerts like this. Mavis Staples is a 77 year old R&B, soul and gospel singer from the iconic band with her family members, The Staples Singers. She is a civil rights activist who sings powerful songs about marching in DC and the injustice towards marginalized people. Her voice is the perfect canvas for evoking emotion, she transports people with her tender lyrics and volcanic pipes. She has been singing professionally her whole life and her voice only seems to be improving, she is a rare and truly special artist.
Her performance at the Winnipeg Jazz Festival took place at the historic Burton Cummings Theatre on Wednesday night. The intoxicating Kandace Springs from Nashville provided a stunning and generous performance as an opening act. Springs resembles the likes of Nina Simone and Billy Holiday, while still incorporating a contemporary flare. She plays the piano and keyboard as well as she sings; beautifully and refined. Staples then took the stage, with all five of her bandmates, creating a remarkable presence that wasn’t lost on anybody in the room. She broke out in song immediately, delivering outstanding vocals that quickly hit you right in gut. Her band is a classic compilation of talented backup singers and individually brilliant artists. They create a picture perfect musical landscape well suited to the pristine performance. She then spoke to the crowd, revealing her stand up comedian side-she is as funny as she is charming on top of her mountain of talent. She engages with people, exemplifying her genuine belief towards unity and human compassion. She made jokes about her age, how a loving heckler was her “cousin” and how Madonna ripped her off. She also gracefully reeled into her eternal fight for freedom, the importance of being kind to one another and marching in D.C. Every part of the two hour performance was noteworthy and memorable. However, a particular highlight was during the song “Reach Out, Touch a Hand, Make a Friend” where she did just that to the front row.This was soon followed by a fan who walked right up to the stage with an old record and was abruptly withheld by security. Mavis politely invited him back to stage in which he revealed he had an authentic 78 of one of her first recordings with Pops Staples. She was truly moved by the gesture, signed the recording and took a picture with it. She even apologized to the security guard and held his hand briefly, he was melted. She glows with joy, has an infectious voice and sings about the various ways in which we can be better people with not even a dose of cheese or patronization. Although it may be cliched I was hoping she would sing The Staples Singer’s most notable hit “I’ll take you there” Not only did she sing it but ended this outstanding performance with it in which they entire crowd was invited to sing along for over 10 minutes. Her guitar player did wonders to the already perfect song, everybody there for at least that moment was connected-just as she planned. In our current world of division and hatred we could all be a little more like Mavis, she takes you there.
The Victoria, B.C Ska and Reggae Festival is a wonderfully rare music event that is well suited in the enigmatic marvel that is Victoria. The festival takes place smack dab in the core of the tiny yet wildly fun oasis that manages to keep a gyrating pulse on music and art. This year the legendary Booker T. Jones, Mad Caddies, Los Furios, Illvis Freshly,The Black Seeds and Tarrus Riley headlined the four day festival.
The Mad Caddies were a particularly noteworthy event in this buffet of ska and reggae. The Mad Caddies helped revolutionize the return of Ska movement in the 90’s along with Reel Big Fish, The Mighty Migthy Bosstones and Less Than Jake. Bands like the Specials and Madness pioneered it in North America in the 70’s but it’s roots are from Jamaica in the 50’s. When people ask what Ska is, the easy answer is that it is super fun and accessible reggae meets punk with horns. This could also have a variety of other answers, but that’s for another time and place.
The Mad Caddies are from Solvang, California-they ooze the essence of California in the 90’s including the charming low maintenance style and the rolling with my homies scene from Clueless. It is simplistic yet bizarre, political but not alienating and now nostalgic in a way that reminds us of who we really are (if you grew up then). They are a seven piece musical carnival of freedom and anarchy. Their current trombone player is Chris Butcher from Winnipeg whom I happen to kind of know from my childhood. The juxtaposition of seeing a Winnipeger (who currently resides in New Orleans and has played with Jane Bunnet and Hilario Duran) in the most Californian band ever (maybe besides the Red Hot Chilli Peppers) made this show even more enjoyable. Every individual in the band was extremely passionate towards their musical delivery which is refined yet sloppy in all of the right variables. They have six full length albums under their belt and have sold over 400,000 copies of them. They have a loyal following, many of whom attended this lovely outdoor evening concert and were completely entranced by this stellar performance. There was also a mosh pit, crowd surfing and most notably skanking (the dance you do to ska, it’s really easy) and crowd surfing. It’s hard to compare other kinds of concerts in terms of a good time to an outdoor ska show in front of the ocean while crowd surfing sandwiched between beer gardens. Ska may not be the most sophisticated genre but it’s probably the most fun. However, the Mad Caddies do encompass depth in their music in both their impressive music ability and lyrical content. They tell sad stories and share liberal political anecdotes in music you can move your entire body to. You can even push people around you as it’s consensual and mutual in the well mannered mosh pit. They are everything good and pure about this dissolving genre that Victoria manages to keep alive.
LYNX & the Servants of Song are a multifaceted wall of talent based out of Portland, Oregon, led by the immensely talented Caitlin ‘LYNX’ DeMuth. They have just released their debut album Northlands. Northlands is a collection of exquisitely arranged stories, well earned lessons and refined anecdotes. The lyrics are charmingly insightful, tastefully sentimental and truly moving. LYNX’s wanderlust and relentlessly generous spirit is palpable throughout the entire record. This is one of those rare emotionally transparent albums like Lucinda’s William’s Car Wheels and A Gravel Road and Joni Mitchell’s Blue. There is an influence of Fleetwood Mac, Alabama Shakes and First Aid Kit in their music that is notable but not overpowering. The instrumentation gracefully wavers between Americana and the Blues, it’s both soft yet tough.Her voice is an experience, an avalanche of emotion and a wall of talent. There is heartache, depth, wisdom and playfulness in every note she delivers. There are no shortcuts in her rendering, she fully commits to singing her homemade songs straight from the basement of her heart.
She has been writing, producing and performing professionally for over a decade. The Servants of Song features Cheya Mackay on guitar, Nickles D’onofrio on bass, Julian Fritz on drums and Asher Fulero on keys.
LYNX always thrives in collaborative endeavours and in addition to the band she is also producing and co-writing two records for two up and coming artists. Her intentional analogue approach to Northlands showcases her instrumental talent as a guitarist and composer that pairs perfectly with her singing and songwriting ability. This is one of those albums that breaks you apart, feeds your soul then gracefully sews you back together. You can check out their single Coming on Strong from Northlands HERE
We have all likely heard somebody say the token term that they like all music, except for country and metal (and sometimes rap, rap is like the y vowel in this equation). The people that say this are generally not huge music people and that’s completely acceptable. I realize not everybody feels the need to sub categorized genres with slightly different nuances and discuss it with their like minded peers almost always. That stated, the statement is a giant brushstroke towards two extremely multifaceted genres.
Let’s begin with Country, shall we? Country music is a unique and ageless genre. The term was popularized in the 1920’s, however ancient Appalachian folk music had country elements that shaped music as we know it. As time went on country music evolved and often collaborated with other misunderstood genres such as bluegrass, roots and americana. Country features all kinds of exciting stringed instruments such as the banjo, dobro and slide guitar. It also involves heart-wrenching songwriting, elevating harmonies and unparalleled instrumental bridges. Some of the world’s most treasured musicians play country such as: Jonny Cash, John Prine, Emmylou Harris, Townes Van Zandt, Lucinda Williams, Hank Williams, Willie Nelson, Dolly Parton and Kris Kristofferson. When people say they don’t like country I don’t believe this is who they are referring to. Who they very well could be referring to is the pop infused top 40 bubble gum country void of those heart breaking lyrics and moving harmonies such as Garth Brooks, Carrie Underwood, Shania Twain, and Blake Shelton. These musicians play pop music with a country garnish and it seems to excite a great deal of people. They are country musicians in the way that U2 is a rock band or Kenny G is a jazz musician.
Now let’s move on to Metal, shall we? Metal is easily the most musically impressive genre there is. Few people understand it but those who do treat it like a religion and there is something to that. It’s instrumentally complex, packed with emotion and doesn’t follow the rules. It’s origins are diverse, international and experimental. Metal has a multitude of subgenres such as-death metal,math metal, black metal, Christian metal, Avant-garde, heavy metal and hair metal. Some of the most exciting bands from the 70’s features metal elements such as Black Sabbath, Led Zeppelin and Iron Maiden. Other extraordinary metal bands include: Slayer, Pantera, Mastodon, Motorhead, Opeth, Tool and Lamb of God. Each of who play beautifully complex music not catered to the untrained ear. I believe that those who don’t enjoy metal hear incessant screaming and lyrics that refer mostly to goat sacrifice and satan. This is clearly an untrue and unnecessary generalization but it speaks volumes towards the problematic nature of oversimplification.
I would even argue that country and metal are quite similar; they both cater to the outlaws of society and relish in the art of not conforming. The are both timeless, distinctive and powerful genres. They both involve music festivals that accommodate to a very specific kind of person. When people say they don’t like country or metal, they are demonstrating the tedious consequence of generalization. Art is about the details, the interpretation and the freedom to rebel.
Leif Vollebekk is a remarkable Montreal based singer-songwriter and multi- instrumentalist. He is in the midst of an extensive tour in celebration of his third album Twin Solitude. Vollebekk has been touring with the brilliant Gregory Alan Isakov and has previously toured with Canadian gems Daniel Lanois and Patrick Watson.
Vollebekk’s concert at the Biltmore was notably packed especially in comparison to the last concert of his I attended in 2015 at the intimate and tiny Media Club. It is clear Twin Solitude has put him on the music map he deserves to be on. It’s a beautiful album, as are Inland (2010) and North Americana (2013). His music is highly emotive and rarely visceral. His compassionate lyrical delivery is mesmerizing, it’s as if his lyrics hurt to sing yet he must release the words. He appears almost possessed by his own complexity. It’s clear Vollebekk can’t not make music, his entire body is ubiquitously immersed in the art of doing so. Although his music is emotional it never feels sorry for itself. He writes whimsical songs about falling in and out of love and the vast beauty of Canadian cities. He sings about friends, wine, perfume, book stores, evolving, devolving and the road to Venus. His unusual and striking voice that generously belt his expressive lyrics are reminiscent of Jeff Buckley and Nick Drake.
This performance was cripplingly captivating, everyone was frozen by the wrath of his lullabies. He sang a diverse set of well selected songs from his bank of material. His knack for covers is impressive which is apparent in his rendition of The Killer’s Ready my Mind. He finalized this concert with Joni Mitchell’s A Case of You which not only shattered me into a fervent mosaic but also proves the profound talent of this young man. His music is a wonderfully unusual landmark in Canadian folk that grips to your ribs.
Kendrick Lamar is easily one of the most important rappers of our generation. His music is a unique dichotomy of highly emotive reflections of our broken society and bona fide club bangers. His lyrical composition and verbal agility is unparalleled. You can just as easily weep to the intense yet wildly real subject matter in his material as you could dance to the fervent musical landscape that surrounds. His 2015 release To Pimp a Butterfly not only revolutionized hip hop but music itself. It featured a wall of heavy musicians such as Kamasi Washington alongside ground breaking lyrics. The album became an anthem for the Black Lives Matters movement and is timelessly important. His fourth album Damn is the first follow to the iconic record so it naturally held some great anticipation and pressure. Damn is nothing short of brilliant, his music doesn’t plateau it perpetuates. He has found his distinct voice and he is unapologetically himself. Damn is fun, sensual but serious which is an unusual balance that Lamar has perfected.There is something so rare and enjoyable about music that moves your heart and your hips simultaneously.
Fame hasn’t removed any of the authenticity that pumps ferociously through his music. Damn even features samples of criticism that he has received towards some of his lyrics on To Pimp a Butterfly said by Fox News Commentator Kimberly Guilfoyle. Lamar seems to welcome controversy and criticism, perhaps he even uses it as inspiration. He directly criticizes Geraldo Rivera, a hip hop critic who stated “This is why I say that hip-hop has done more damage to African Americans than racism in recent years”. Lamar also slams President Trump and doesn’t bother with making it subtle. Some of the lyrics featured on Damn are easily Lamar’s best yet.The song Humble features the lyrics “I am so sick of the photoshop, show me something natural like afro on Richard Pryor, show me something natural like ass with some stretch marks”.The track XXX. which interestingly features Bono, Lamar states some willdy astute lyrics such as “It’s nasty when you set us up, then roll the dice to bet us up, overnight the rifles, then tell Fox to be scared of us” which is followed up with “ain’t no black power when your baby killed by a coward” as a reflection of his friend losing his son. The album points out the many flaws of humanity while reeling themes of forgiveness and redemption. He intersperses some biblical verses throughout the record, most notably on the track Fear. Damn concludes with a story about Lamar’s Father and the his producer Top Dawg about an incriminating encounter they had at KFC in the 80’s. There are many facets to this behemoth emotional avalanche of a record but it’s unusual accessibly let’s you choose what you want to take from it.
Photo by Eugenie Johnson
Why? is an introspective and distinctive band from Berkley, California. Their music is a rare execution of indie-rock, emotionally driven hip-hop and poly-rhythmic folk. They have released five brilliant albums, including their latest Moh Lhean (Anticton), which came out earlier this month. Their concert at Venue smack dab in the core of downtown Vancouver on Saturday night celebrated this new release and well selected previous work. The intimate show was notably juxtaposed by being at Venue, which typically caters to a top 40-club crowd. The audience was a polite group of sincere fans that were prepared for an emotional avalanche of a performance. The band’s configuration at this rather regal venue was an art piece in and of itself. Each member’s unique set up of electronic and acoustic instruments was draped with vintage light bulbs in a charmingly DIY manor. This impressive stage arrangement created an atmosphere astutely suited to their sound- comforting, powerful and rare. Lead singer Jonathan “Yoni” Wolf is an extraordinary songwriter, poet and singer and he commands a crowd effortlessly. Every person there was completely transfixed by the music as they sang along to their contentious lyrics and wiped tears from their cheeks. Why? concerts are not social dance parties. They are beautifully introspective experiences shared publicly. Their performance was an excellent balance of old and new songs gently shattering hearts, and then gracefully sewing them back together. They dynamic between band members, including brothers Yoni and Josiah is notably compassionate. Yoni’s witty banter on stage was a helpful break from the severely touching music echoing almost every member of the audience. Their lyrics explain abstract and uncomfortable feelings that one seldom can achieve describing, yet somehow, Why? manages to create catchy songs true to their emotional weight. To end the evening, Why?’s encore consisted of the band cuddling around a single microphone, armed with only their voices and a few acoustic instruments. They did quaint renditions of some of their more well know material to which the audience was held completely silent and frozen. What refreshingly frank music for a Granville St. Saturday night.