The last full bill to get taken in during the Toronto trip wasn’t part of a festival but it was at the venue that housed several of the best NXNE shows: Smiling Buddha. Up to bat for the all-ages isolated bill this time around was Pleasure Leftists, Holy Fuck, and noise-punk titans METZ. Pleasure Leftists had already torn apart Soybomb HQ the night before, in what was easily the most stacked non-festival bill to take place all week and were more than poised to take Smiling Buddha over in the exact same fashion: fearlessly and without pause. Once again, vocalist Haley Morris proved to be as spellbinding as the music pouring out of the cabs behind her. Frantically shifting from side to side, Morris commanded attention and channeled the relative bleakness of the increasingly spectacular songs into something entrancing and indefinable. There’s a certain spirit permeating throughout Pleasure Leftists’ work and presentation that so many bands are trying to do but failing miserably in their attempts. It’s an intangible element and it resonates throughout all of their songs to an absurd degree. Moments of nervousness, dread, tension, fear, anger, and the unknown all get emphasized in one way or another through Pleasure Leftists’ songs and the band, time and time again, manages to find a way to harness it. Both of their performances were unforgettable affairs but the masterfully mixed levels at Smiling Buddha put their second performance just a notch above the first. Both outings proved that the band has found the perfect balancing point between the graceful and the intimidating. Both times it was extraordinary.
Toronto noise/electronic/experimental trio Holy Fuck graced the stage after Pleasure Leftists’ set left a few more uninitiated attendees completely stunned. If there was any trepidation over how well Holy Fuck’s set, a relative outlier, the band eased those doubts within a few songs. Being one of the few acts playing their brand of music to feature live drums on a full drumkit worked out to the band’s advantage in more ways than one. Did it make them a more suitable fit for the bill? Yes. Absolutely. Was it beneficial during the band’s early sound problems? Undoubtedly. Each member of the trio attacked their instruments with unbridled passion, clearly loving every moment of their time on stage. While the drums were being pounded into oblivion, both multi-instrumentalists set about utilizing everything in their arsenal to its maximum potential. Their audience ate it up; people were headbanging, dancing, and attempting to project as much energy onto the band as the band was projecting onto them. What some assumed would be an unmitigated booking disaster instead wound up presenting a clearly-loved contrast (or reprieve) from the moodiness exhibited by both Pleasure Leftists and METZ. Holy Fuck kept things going for as long as they could, smiling all the way through. At set’s end, they were all drenched in sweat, still smiling, and looking at an entire venue smiling right back at them.
After delivering an insane set last year in a very small room of an arts center in Champaign-Urbana, IL as part of the Pygmalion Festival, expectations were considerably lofty for METZ- especially considering the fact they were playing to a hometown crowd. They didn’t disappoint. They didn’t even come close. METZ didn’t even manage to make it through their first few songs before the crowd had tipped over into verging-on-volatile, killing the stage flood lights completely. Instead of getting hung up on an understandable technical issue, the trio subverted expectations in a way only they can, pleading with the photographers present to use their brightest flashes to create a natural strobe light effect. All of them obliged. What followed from that point forward was an exercise in endurance for both the audience, a constantly shifting heaving mass of bodies, and the band themselves, who each managed to turn their clothes a few shades darker via profuse, hard-earned, sweat. The band’s self-titled Sub Pop LP is still their defining achievement and most of it was played- but they did manage to throw in a crowd-assisted cover of “Neat Neat Neat” as well as a new song or two, while providing discography balance wherever they could. Audience members were actively encouraged to climb onstage and hang out for a song or two while also being given the standard reminder that “if you see anyone fall down in the pit, pick their ass back up, give them a kiss on the cheek, and keep going”. No one gets hurt at a METZ show and everyone looks out for each other. No matter how much screeching feedback, pure chaos, total noise, and unrelenting darkness there was, it never felt too dangerous. METZ refused to let it get too dangerous, even though they know exactly how to walk right up to the border. That underlying humanism is part of what makes a METZ show feel so enlightening; this is outstanding music being made by genuinely great people- and it’s worthy of being celebrated on all accounts.
Follow the link provided below to see a photo gallery of this show. Beneath that is a video of Pleasure Leftists’ set hitting its stride.