Heartbreaking Bravery

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Tag: Smiling Buddha

METZ at Smiling Buddha – 6/22/14 (Review, Photos, Video)

METZ XXVII

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.

Smiling Buddha: Pleasure Leftists, Holy Fuck, METZ (Photo Gallery)

NXNE: Day 4 + 5 (Review, Photos)

Courtney Barnett XIV

[AUTHOR’S NOTE: Once again, apologies are necessary for the long drought of material. I have been organizing, writing, shooting, editing, and attending more events than usual. This has taken up a considerable amount of time but Heartbreaking Bravery hasn’t been forgotten. In fact, most of it has been for the site and will be posted about shortly. Full attention will return shortly and regular posting will resume along with it.]

NXNE is now more than a month in the past but it’s difficult not to keep returning to those shows. The last two days of that Toronto trip were made up of some of the most explosively visceral and gratifying shows anyone could possibly ask for. Two of those shows won’t be accounted for in this review as they weren’t official parts of the festival. Both shows will be given their own full reviews following everything here. Now that all of that’s out of the way, onto the shows themselves.

Day 4 of NXNE kicked off at Sonic Boom where noise/hardcore duo Creep Highway immediately set about providing as much sonic destruction as they possibly could. The duo, led by guitarist/vocalist Michael DeForge, played a fierce, ragged set that saw inflections of powerviolence weaving in and out of their songs. It was an arresting start and both DeForge and drummer Patrick Kyle looked exhausted, but happy, when the last bits of feedback were finally cut off. After happily enduring their onslaught, it was a mad dash over to The Great Hall for Perfect Pussy, looking to avoid another unfortunate situation.

Not two steps were taken into a crowded Great Hall before hearing Graves’ earnest “Hi, we’re Perfect Pussy” led the band straight into their usual chaos. Only this time, unlike the (admittedly mesmerizing) performance not even twelve hours prior, everything went off without a hitch. Their levels were mixed well, Graves’ confrontational pleading was audible, Greg Ambler’s bass- and bass amp- were both in tact, and the audience fed into the band’s energy with a strong display of their own. All of the usual highlights remained extraordinarily strong moments (“Interference Fits”, in particular- still as much of a contender for “song of the decade” as it’s ever been) and by the time Shaun Sutkus’ loops were turning into decays in the epilogue section of “Advance Upon the Real”, Graves was sitting onstage with her backpack, entranced by her bandmate, and looking deservedly pleased. All in all, it was over in about twenty minutes and wound up as another strong example of their live prowess.

After sticking around to hear a few enchanting songs from ANAIKA and leaving with Graves for a very revealing conversation about the previous nights events, it was off to the Ryerson University outdoor stage for an enchanting set from Frankie Cosmos. Graced with good weather and good sound, the young (and very prolific) singer-songwriter delivered each of her songs in high spirits to a small but appreciative crowd. Fan favorite “On the Lips” proved to be an easy high point; it’s as sweet and startling as it’s ever been. All of Cosmos’ bands played off her to near-perfection, each seeming like a natural extension of her songs themselves. By the end of the set, they were all miming their respective parts before falling down in a memorable bit of unassuming humor that wound up being the perfect capper to what was one of the festival’s most endearing performances.

When Frankie Cosmos’ set had come to a close, it was difficult to keep up (any serious festival attendee or reporter will attest to how exhausting the most extensive can be) so there was a dead-zone until Swearin’ took things over at Smiling Buddha. After dealing with some unfortunate mixing situations the previous night, it was a thrill that bordered on catharsis to enter a venue and hear the band in fine form, mixed to perfection. Once again, they offered up an incredibly balanced set that had clear highlights in particularly fiery renditions of “What A Dump”, “Dust in the Gold Sack”, and “Movie Star”. By the time their set had drawn to a close, they’d thrown down the perfect reminder of why they’ve earned so much critical adoration and fan loyalty. Swearin’ are one of the best bands out there- not an easy claim to make, but an impossible one to ignore after seeing a set like that one. A perfect way to end the official festival portion of Day 4.

Day 5 would be split between two venues and only one of them was an official NXNE showcase, which is why this is being included here instead of given separate billing. That showcase took place, once more, at Sonic Boom (and was graciously hosted by the inimitable Chart Attack– who had hosted the previous day as well). It began with a rousing set from one of Australia’s finest exports, Courtney Barnett. An early crowd had formed for the on-the-rise artist and Barnett delivered the way she always does; with warmth, grace, and an endless supply of smiles. No one in the band seemed able to contain their happiness or gratitude and were even smiling through their technical difficulties (which were expertly maneuvered into noise sections that fit the songs so perfectly that it almost felt like they should be integral parts of the band’s sound/records). It was a surprisingly ragged set (made even more ragged by Barnett’s virtue of refusing to use a pick) that sounded as blissed-out as the band looked, even in some fairly startling heaviness the band’s adopted into their palette. Everything about Barnett’s set pointed to one thing: her name isn’t one that will be disappearing anytime soon.

Local band Army Girls‘ bluesy post-punk leanings were next to be featured and the duo lived up to the promise of their recordings. It was one of their first appearances in a while and if there was any rust, it didn’t show. Between seriously impressive displays of fretwork and control from guitarist/vocalist Carmen Elle and drummer Andy Smith, Elle would offer up some biting banter before launching into the next song. Nearly everyone in Sonic Boom couldn’t seem to take their eyes off of them; even Courtney Barnett was dancing in between the aisles and shouting between-song encouragement. She wasn’t alone. Army Girls’ set had an even, practiced feel to it that warranted both attention and investment. If this band ever decides to make a serious run, it’ll be one to keep both eyes on. That their set was the last official NXNE showcase to be taken in felt appropriate; it was another perfect example of the independent spirit that the festival built itself on- and of the city that hosted it. Here’s to NXNE XX- and here’s to looking forward to the 21st installment.

The photo galleries of both days can be accessed below.

NXNE: Day 4 (Photo Gallery)
NXNE: Day 5 (Photo Gallery)

Smiling Buddha: Pleasure Leftists, Holy Fuck, METZ (Photo Gallery)

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A note: All night tonight Heartbreaking Bravery will be running photo galleries from the recent Toronto trip. All of these galleries will have full reviews to accompany them in the near future. The preceding galleries all came with additional notes out of necessity but this will be the short reminder that runs with the remainder. Enjoy the photographs below and keep an eye out for the upcoming reviews. Neither of the final two galleries (Soybomb HQ and Smiling Buddha) were part of NXNE- but both were definite highlights.

NXNE Day 4: Creep Highway, Perfect Pussy, Frankie Cosmos, Swearin’

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A note: All night tonight Heartbreaking Bravery will be running photo galleries from the recent Toronto trip. All of these galleries will have full reviews to accompany them in the near future. The preceding galleries all came with additional notes out of necessity but this will be the short reminder that runs with the remainder. Enjoy the photographs below and keep an eye out for the upcoming reviews.

NXNE: Day 2 (Pictorial Review, Video)

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After Day 1 of NXNE got the festival off to a strong start, Day 2 is when the madness kicked into high gear. From late afternoon to well past midnight, there were sets from Caddywhompus, Speedy Ortiz, PS I Love You, Pissed Jeans, The Pizza Underground (although it’s still unclear if that could actually be called a set), Shannon & the Clams, Odonis Odonis, The Yips, and Sam Coffey & the Iron Lungs. These were spread out across four venues and, at the bottom of these writings, there’s visual documentation of all of them.

Day 2 started off at the gorgeous (and gorgeously lit) Mod Club Theatre, which boasted a stacked bill that was headlined by Pissed Jeans- who delivered what would be one of the most memorable single sets of the festival. Before that, there were several standout moments from each of the three bands preceding Pissed Jeans. Caddywhompus set the wheels in motion with their enticing combination of traditional math elements and post-punk. From their surprisingly sweet vocal melodies to the power drumming and guitar fireworks that drove the momentum of their set, it’s easy to see why people are starting to latch onto this band. Proving even more impressive was their use of noise-prone ambient transitions to seamlessly segue between many of their songs. Somewhere between their terrifyingly precise tempo shifts and their soaring choruses, they’ve carved out something even more impressive; a wide-open future.

Site favorites Speedy Ortiz were next to take the stage and delivered a set laced with great moments from Major Arcana as well as a song they’re currently prepping to release as a single for an Adult Swim series that’s entitled “Bigger Party”, which is the band at their most definitive. Grass is Green‘s Devin McKnight has taken up the space recently vacated by guitarist Matt Robidux and managed to come off as an integral (and more importantly, incredibly dynamic) part of the band. By the end of Speedy Ortiz’s set, they’d made the most of their penchant for irreverence by keeping the between-song moments lively with genuinely funny banter and a great rapport. There were no lulls or dull moments; the evening had hit its stride early with what would ultimately become one of the night’s most engaging sets.

Canadian favorites PS I Love You were the next ones up and have the benefit of a great new album on deck that they seemed eager to tease. Immediately apparent was their fondness for blistering volumes, which in lesser hands may have distracted from their musicality- not here. Add in a generous layer of fuzz and the jaw-dropping guitar heroics of Paul Saulnier (who also controlled blasts of bass-driven organ chords through wired presets on a pedalboard- and had sweat dripping off his fingers less than three songs into their set) and it wound up being a fairly staggering showcase for both Saulnier and the relentless drumming of Benjamin Nelson. While their set did drop its momentum after the ecstatic highs brought on by a genuinely impassioned performance of “Facelove“, things were restored by the very end of their set thanks to the strength of the songs on their outstanding upcoming full-length, For Those Who Stay.

After PS I Love You called it night, one thing suddenly became very clear: everything was about to become all about sludge-indebted hardcore titans Pissed Jeans. They didn’t disappoint. All but storming the stage, vocalist Matt Korvette started their set by immediately declaring that the band had a very important announcement to make: “We are no longer Pissed Jeans. We are now Virgin Mobile Pissed Jeans”- a possible dig at the festival’s increased incorporation of corporate sponsorship. Following that subtly-tinged bit of possible vitriol, their levels all quickly rocketed to seething. With Korvette absolutely owning the Mod Club Theatre stage (both Nick Cave and Iggy Pop frequently came to mind- and that’s saying quite a bit), his band exploded around him and consistently matched his energy level. Between songs, he would faux-berate the audience for not trying hard enough or for not being more into the performance- and at one point he even paused to conduct a music lecture on guitar composition (extended fives, sweeping fours, and triple sevens were all covered).

Never letting the energy levels drop even a fraction, Pissed Jeans annihilated just about every expectation and ended with what’s undoubtedly one of the strangest encores to ever be performed at NXNE. Here’s what happened: after a small but meaningful attempt from the audience to get the band back on stage for one more song, Korvette reappeared and took the reigns on bass and began playing a tribal-sounding bassline over and over, occasionally walking from the stage to the wings before disappearing completely (while still playing the bass). At one point, the guitarist became the drummer for a strange misdirect- and didn’t play a single note before getting off the throne and exiting the stage. Finally, after Korvette hadn’t appeared for about two minutes, he suddenly slid the bass out quite a ways onto the stage floor from his spot in the wings and the show was officially over. All of it caused one audience member to scream out “What did that even mean?!” which was shortly followed by his still-very-confused “…like, technically?!”. If only anyone knew.

Going from what was arguably the festival’s highlight to Lee’s Palace for what was inarguably the most uncomfortable set (courtesy of The Pizza Underground) was a little jarring. As mentioned up above, it’s difficult to know whether or not this could even be called a set-  it was more of a comedy variety hour. At any rate, Maculay Culkin’s Velvet Underground-aping Pizza project had a hard time finding or developing any sort of noticeable rhythm and it kept tripping over itself to bring in new ideas or guests- among them: Plop Dylan (Bob Dylan songs with the lyrics altered so that they were about feces), a karaoke section from #PUSSYJOEL (Billy Joel songs about cats- the only thing the internet loves more than pizza), and a bizarre Tony Danza-impersonating stand-up comedian. The most clever of these wound up being the least tactful; Kurt Cobain’d- a man dressed up as Kurt Cobain (who was arguably the best musician to be featured throughout their set) doing Nirvana songs where all of the present tense verbs were switched to the past tense. By the end of their set, they were barely doing any of their original (a term used very loosely, all things considered) material. At least they bought Pizza for everyone.

An additional benefit of The Pizza Underground’s set? Culkin’s celebrity draw prompted one of the biggest non-Yonge Dundas Square turnouts and several of them stuck around- and were subsequently blown away- by an incendiary set from Shannon & the Clams. The band had previously caused a lot of people to fall pretty hard for them with an extraordinary track record of releases through Burger Records and Hardly Art. Live, the band more than lived up to the promise of their studio releases and quickly filled the spots in Lee’s Palace that had been abandoned after The Pizza Underground left a bad taste in much of the audience’s respective mouths. Not too long into their set, the entire standing section was full of people grinning widely and dancing their hearts out to Shannon & the Clams’ throwback rock n’ soul basement pop. All things considered, that lasting image was one of the best takeaway moments of NXNE.

After Shannon & the Clams had left everyone smiling, the plan was to go to Smiling Buddha to settle in for The Yips and Sam Coffey & the Iron Lungs- fortunately, after running into Speedy Ortiz- we were redirected to Odonis Odonis’ set at The Garrison. Arriving mid-set meant the audience was already packed. The members of Speedy Ortiz, looking a touch exhausted, snagged a spot at the adjacent bar and advised us to go in to catch the band. Already being anxious to catch Odonis Odonis (who appeared on Heartbreaking Bravery’s First Quarter Finish mixtape), caused no hesitation in a move for the venue doors. Only a few songs were caught but it didn’t take long for Odonis Odonis to establish their connection to METZ: both bands have the same intense careening-all-over-the-place stage presence and love of ear-shattering volume levels. Their spastic synth-driven noise-punk freakouts managed to re-establish a new energy precedent for the evening and wound up being the best surprise set of the festival.

The Garrison was then left behind for the second consecutive night at Smiling Buddha (which would be visited again on nights 4 and 5) for late shows from The Yips and Sam Coffey & the Iron Lungs. Both bands made the best use of a very small stage that they didn’t quite seem to fit on. All five members of The Yips kept grinning and bouncing off each other as if they were having the time of their lives- a trend that was continued by the six member lineup of Sam Coffey & the Iron Lungs. Where The Yips played surf-friendly basement pop that hinted at some art-friendly trappings, Sam Coffey & the Iron Lungs went the full blue-collar basement punk route. Both bands drew huge reactions from the crowd and there was more than one instance of crowd surfing. The Yips had people dancing. Sam Coffey & the Iron Lungs incited mass crowd sing-a-longs. There was clear-cut camaraderie between the bands and their audience in a small-scale environment- which is what all of the best festivals strive to achieve. It was a genuinely incredible end to an extraordinary day of sets and sent expectation skyrocketing for Day 3.

Watch videos from Caddywhompus, Pissed Jeans, Shannon & the Clams, The Yips, and Sam Coffey & the Iron Lungs below (apologies for the slightly blown-out audio)- beneath those, the photo gallery containing each band mentioned n the review. Enjoy.

Caddywhompus

Pissed Jeans

Shannon & the Clams

The Yips

Sam Coffey & the Iron Lungs

Watch This: Vol. 31

In the midst of the NXNE coverage that will continue to run, there are times where a look back will provide a sense of gratitude. Sometimes something as trivial as investing in a new camera to move away from the old one manages to open a few new doors. With that in mind, this week’s Watch This, while a little late, is full of the gratitude mentioned above. It’s a unique entry in the series in the sense that a lot of it will serve as a preview for upcoming pieces. Each and every one of these was shot in Toronto- a few as part of the festival and a few outside of it. All of these shows were memorable for varying reasons and the last video included may very well wind up on the top of this site’s inevitable “Best Shows of the Year” list. So, sit back, select the HD option, pardon the sound, relax, and Watch This.

1. Spoon – Small Stakes (Live at the Legendary Horseshoe Tavern)

There may have been some unnecessary behind-the-scenes drama happening with Spoon’s involvement as a “secret” headliner on NXNE’s best bill during it’s third day- but the band puts on a hell of a performance. Boasting one of the more consistent discographies of the past ten years, songs like Kill the Moonlight highlight “Small Stakes” still sound as vibrant as they did when they were first released. Seeing a band of this magnitude play a venue as small as The Legendary Horseshoe Tavern was a surreal experience- it’s just hard not to wish it was under better circumstances.

2. Shannon & the Clams – Ozma (Live at Lee’s Palace)

In a short while, the Day 2 review will be going up on this site. A paragraph of this is dedicated to Shannon & the Clams’ near-perfect set at Lee’s Palace. “Ozma”, in particular, stood out- it’s one of those songs that deserves to be considered a classic generations down the line- and the band manages to do that statement more than a little justice in the below performance.

3. Pleasure Leftists (Live at Smiling Buddha)

During their time in Toronto, Pleasure Leftists played two incredible shows and neither were an official part of NXNE. On the first night, they co-headlined the Summer Melt unofficial festival with actual secret headliners Perfect Pussy (video of their set occupies this week’s fifth slot) and the next day they tore up Smiling Buddha’s stage as an opener for a bill that included Holy Fuck and METZ. Despite not being NXNE official, Pleasure Leftists wound up delivering two of the best sets- and standing out as one of the best live bands- of the entire trip. Watch the video below for reassurance.

4. Speedy Ortiz – No Below (Live at The Legendary Horseshoe Tavern)

There are very few songs that hold as much emotion and contrast as Speedy Ortiz’s “No Below”. Here, they perform it with meaning and it resonates just as strongly as it ever has. When guitarist Devin McKnight jumps into that solo? Chills. It’s tough to illustrate how incredible this song and this performance is with something as simple as words- so stop reading and just watch the video.

5. Perfect Pussy – Advance Upon the Real (Live at Soy Bomb)

When someone came into the bar next to The Great Hall and asked Meredith Graves if Perfect Pussy wanted to be added onto a late bill that Pleasure Leftists were playing, her face lit up. It was impossible not to be right there with her. More details emerged: it was at a half pipe, a slew of local bands were playing, it would run late into the night. It sounded perfect in theory but did it hold up to its promise? Yes. Absolutely. After Pleasure Leftists scorched the floor around them, Perfect Pussy set up and delivered one of their most blistering sets to date. It’s tough not to just write a full review of this right now but that would take up way too much space and a full post dedicated to this show specifically is a much more appropriate place for that to reside. In the meantime, use this as a sneak peek and catch this band live as soon as humanly possible.

NXNE: Day 1 (Pictorial Review, Video)

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And so it begins; the photographs are undergoing their respective editing phases, the videos are being uploaded, and the countless thoughts pertaining to this year’s NXNE are being organized. There will be a lot of coverage that gets run here in various formats: video features, summaries, pictorial reviews, full reviews, and more. Virtually all of it will be posted immediately after the final edits are made so expect a wealth of daily content to close out this week and throughout next week as well. With all of that out of the way, let’s move on to the photographs and video that got captured during Day 1 of NXNE 2014- and the summaries to help give them some context.

Day 1 began with a stunning contrast; the manic post-everything insanity of Guerilla Toss vs. their unusually elegant surroundings (The Great Hall). Arriving a little bit late to Guerilla Toss’ set didn’t prove to be too much of an issue- the crowd that had gathered for them was abysmally small- but they played like they always do, unleashing virtually everything they’ve got (and showcasing some very promising new material in the process). It wasn’t too long before at least one band member had lost an article of clothing (though they’re notorious for losing much more) and were coercing everyone up onto the stage. With the crowd now split, half on the stage and half still in the standing area, the band instructed those that were on the stage to promptly get off of it, then join hands and surround the audience members who didn’t come up in a circle. From that point forward, the hand-held circle was now instructed to run counterclockwise at the start of their next song, increasingly tightening around the audience in the middle in an effort to force them out and onto the stage. This somehow lasted for close to three songs before it dispersed- and Guerilla Toss left soon after, looking visibly spent and more than a little ecstatic.

After Guerilla Toss’ well-intentioned shenanigans, The Great Hall was abandoned for Toronto’s best sweatbox: Smiling Buddha. Arriving just after a dispute of some sort had broken out inside the venue caused a brief delay while the police were called to the scene. After everything had fallen back into pace, people were admitted once again- and just in time for Mexican Slang. It may have been due to whatever the disturbance was (no one seemed to know the specifics) but Mexican Slang wound up playing the shortest set of the festival. While they weren’t NXNE’s most engaging or energetic live band, it’s worth noting that their sound was very tight-knit and the last song of their set was one of the very best of Day 1.

Greys took the stage soon after that, tuning and setting up as usual before doing something very unusual: they announced they were done before they played a single song. Instead of starting their set, they cleared the stage for their labelmates The Beverleys and allowed them a couple songs. There were many speculating this was a reaction to NXNE’s problematic “radius clause” that prohibited several bands from participating in conflicting non-festival shows (this clause was, thankfully, lifted before the festival came to a close). The Beverleys took full advantage of the opportunity and played with genuine heart making for the festival’s first truly great moment.

Greys then took their mantle back up and guitarist/vocalist Shehzaad Jiwani delivered a heartfelt speech which addressed the young musicians in the audience, making sure they remembered that they didn’t work for the music industry- that the music industry worked for them. Following that, the band tore through a blistering set that leaned heavily on their extraordinary just-released Carpark debut If Anything. All of the songs seemed to melt into each other, giving the whole thing a feeling that was as relentless as their music.  It was easily the best set of Day 1 and even found time for a ferocious cover of Mission of Burma’s “That’s How I Escaped My Certain Fate”. By the time their set had come to a close, it was evident that more than a few people would be making sure to see them at least one more time before the festival came to a close. Packaged with everything else, it was a fairly strong start to what would prove to be an incredibly memorale festival.

Watch a slightly blown-out sounding video of Greys performing “I’m Okay” below and look through the photo gallery of Day 1 beneath the video.