Our music writers weigh in on Osheaga performances from Friday, July 29, the first day of the festival’s 11th edition.
Caveboy (1-1:35, Green Stage) The Montreal-based trio clearly felt right at home greeting the incoming fans as one of the first acts to start the 11th year of the festival. Despite a few sound hiccups, the women from Caveboy delivered a great, rhythmic performance and loosened up the audience. – Mick Côté
Banners (1-1:40, River Stage) “Thank you for putting up with my feelings,” said an all-too self-aware Michael Joseph Nelson to the festival early birds who beat the rush to make his fest opening set. An astute observation, as the Liverpool artist displayed a penchant for plaintive rock with rousing choruses. His “rock god” guitarist helped beef things up, so it wasn’t all midday confessionals. – Erik Leijon
Elephant Stone (1:35-2:05, Valley Stage) Elephant Stone confirmed their status early on Osheaga 2016 Day One as an export to be proud of. Rishi Dhir and his band have consistently expanded on their psychedelia/raga sound, fully integrating those elements into the broader pallete we call rock. The clubby Where I’m Going led into the spacey Andromeda, and when Dhir sat down centrestage with his sitar for Don’t You Know, you had a perfect intro tableau for the fest: local, global, rock-meets-exotic. – Mark Lepage
Dragonette (1:40-2:25, Mountain Stage) During their early I Get Around days, there was something subversive about Dragonette’s fierce, hooky electropop. It was honest, but also a little cheeky. The Toronto trio isn’t necessarily more serious these days, but they’re so adept at penning heart-on-sleeve pop for the club, it’s hard not to take infectious anthems like Hello at anything less than face value. – Erik Leijon
Kaleo (2:25-3:10, River Stage) If you were lured by the heartstopping video for All The Pretty Girls, you were expecting Kaleo to light the amber bonfires and wax all Scando-indie-folk. Imagine your surprise when they unloaded a sound out of Houses of the Holy. Leader Jökull Júlíusson, singer-guitarist and Reykjavik rock hunk, barked in a voice from some imaginary Icelandic blooz-rock Delta while his band crunched and stomped through No Good and Broken Bones. By the time Júlíusson strapped on a resonator guitar of alien fabrication (kidding, it’s by Pete Turner) for the aforementioned falsetto hit and singalong, this was a rout, and you had a new fave band, two bands in. Good start, Osheaga 2016. – Mark Lepage
Safia Nolin (2:45-3:25, Tree Stage) Forced to compete with a rowdy neighbouring stage bleeding into the intimate Tree Stage (“Is it Skrillex?” She jokingly asked), the Quebec singer-songwriter had no choice but to cut through the noise with her arresting vocals. Her fans rewarded her with an extended ovation, and in turn Nolin surprised them with a slowed down cover of Rihanna’s Work on acoustic guitar.
Musician Elle King performs during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
Elle King (3:10-3:55, Mountain Stage) There’s a kind of modern rockabilly feel to Elle King. An attitude, a “don’t mess with me but I’ll rock your socks off behaviour. Her Joplinesque rasp, the cigarette on stage, the belting out of big impressive notes. I mean, forget the Ex’s and Oh’s single. Though the song obviously got the biggest response from the crowd, it’s in the rest of the material that King truly rocks. “I’ve only been dumped once and it’ll never f—– happen again.” I’d be warned if I were the next guy to come around. – Mick Côté
Silversun Pickups (3:55-4:40, River Stage) “Seriously, there’s only one place in the world I can say this about,” Brian Aubert of Silversun Pickups told the River Stage crowd. “This is hands-down our favorite festival in the world. Because it’s the best one.” Crowd duly hosanna’d, he and his L.A. band powered through Nightlight and Well Thought Out Twinkles. With Aubert’s idiosyncratic voice and slashing guitar offset by bassist Nikki Monninger’s solid lines and drummer Chris Guanlao’s attack. Aubert goaded the crowd into staring at Monninger as she took half of the vocal for Circadian Rhythm (Last Dance). Double win: conveniently, this L.A. band’s neo-Pumpkins sound means Billy Corgan can remain way out in his web-conspiracy Twilight Zone. – Mark Lepage
Sophie (4-5, Piknic Électronik Stage) A strange enough set to thin out the usually adventurous electronic music crowd. The UK producer’s springy, bubbly and altogether unnatural sounding beats were anything but danceable, but in terms of sheer uniqueness, Sophie’s snaps and curdles was future-minded pop wrapped in slippery latex. He’s been working on a project with Montrealer Mozart’s Sister, who came out for the closer. – Erik Leijon
Oh Wonder (4:10-4:55, Valley Stage) It’s no wonder Oh Wonder can draw in a crowd. The twists and turns of Josephine and Anthony’s voices fill the melodies and the lyrics are thought out and poetic. There’s a certain ease to their performance, a kind of simplicity in the synth tracks that carries right through the crowd. – Mick Côté
English musician Passenger (Michael David Rosenberg) performs during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
Passenger (4:40-5:30, Mountain Stage) Amply bearded, Michael David Rosenberg was armed with just an acoustic guitar and charisma, the English former busker was duly gobsmacked to look out at “all you absolutely beautiful people, f***in’ ‘ell.” And with busker timing, “I’m going to play some depressing songs for you. Wow, nobody’s ever cheered that.” The gushing sincerity of Fairytales & Firesides followed, and so it went. Comic intros of “My hit, Let Her Go – not Let It Go, from Frozen… but it’s my only one, so I’m gonna play it 10 times.” He was well-drilled in the craft of self-deprecation and forceful prompting of the crowd – even addressing my issues with that latter when he mocked about being the performer who constantly demands sing-alongs… then doing it anyway. A Sounds of Silence cover was (too) full of dramatic pauses and shifts, but there was no arguing with his populist cheerleading or the sub-David Gray sincerity. He served a useful role; and winningly, he announced that he’d be busking outside Place des Arts Saturday. – Mark Lepage
Wolf Parade (4:55-5:40, Green Stage) The first hometown show by the newly reformed indie rockers wasn’t a mushy one. Besides a simple “we’re back” salutation by co-frontman Spencer Krug and a “there’s no place like Montreal” conclusion, the quartet largely stuck to the music – primarily decade-old debut Apologies to the Queen Mary. There was also an extended version of At Mount Zoomer deep cut Fine Young Cannibals unexpectedly thrown into the mix. Not that 2011 is a long time ago, but the band has re-emerged as if they’d never left. – Erik Leijon
Zach Condon of the American band Beirut performs during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
Beirut (5:30-6:20, River Stage) It was impossible to dislike Beirut’s eclectic set, that meandered from brassy Mexican fare to trumpet-driven world grooves to…..well I don’t know exactly what. There were some serious musical chops on display from frontman Zach Condon and his five-piece backing band but it somehow didn’t really lift the crowd. It was at least partly due to Condon’s introverted on-stage style. He doesn’t really do the interaction thing, letting the music speak for itself. – Brendan Kelly
The Wombats (5:40-6:25, Valley Stage) Given their enthusiasm, and the fact that it was their first Montreal appearance (according to them), one could have been forgiven for assuming this Liverpool rock trio was made up of wide-eyed wunderkinds. Alas their debut album is nearly ten years old. With that mind, some of their more noticeable influences (Robert Smith, The Cribs) came across as a little less beguiling. The Wombats worked best when they kept the keys at bay and fattened the bass. – Erik Leijon
White Lung (5:40-6:25, Trees Stage) Ah – Trees Stage, my favourite, reliably punk enclave, where B.C. quartet White Lung raised the flag. The platinum-blonde flag. Led by Mish Way, this was white-lightning punk with slashes of post-punk and even industrial from the razor-sharp Kenneth William on guitar. All the badassery came from the snarling, soaring Way, who headbanged in Hollywood hair, then rolled around in her black shawl, shorts and boots. All the ‘tude came from her, but the colours and edges came from Williams and the propulsion from Anne-Marie Vassiliou on drums and Lindsey Troy on bass. No way to tell whether Way’s terse “Thanks” at the end was objection over what she may have thought should have been a far larger crowd, or just punk. She was the frontwoman Courtney Love and her fans think and wish she had been. – Mark Lepage
Sen Dog of the American hip hop group Cypress Hill performs during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
Cypress Hill (6:20-7:20, Mountain Stage) B-Real lit up a giant cone of a joint at the start of Roll It Up, Light It Up, Smoke It Up and by that point, in case you weren’t following closely, it all became clear. Cypress Hill smoke weed! Who knew? B-Real, sporting a ‘Dope Man’ t-shirt, made it even a little more clearer minutes later when he mentioned that he got high every day. So they were on the avant-garde of the whole ‘legalize it’ movement. They also happen to be a pioneering hip-hop band who even at this advanced age have more energy than most young punk acts and they rock it old-school. Oh yeah and they did Insane in the Brain. So really what more do you need? Nothing more. – Brendan Kelly
Bloc Party (6:25-7:15, Green Stage) Then there are the bands that just never hit you the right way, despite the raves and acclaim. Bloc Party were tucked away on the subsidiary Osheaga site, and justly so. Angular and odd with a sound that fills a space between six other alt bands and styles. “Come on, Osheaga – show us what you got!” said singer Kele Okereke, and they were timely in the State-of-Trump song Hunting For Witches, simmeringly intense in Mercury and Virtue. And to these ears, still sounding like a car crash between The Cure and Talking Heads, with the songs wheeled away DOA. – Mark Lepage
Paul Kalkbrenner (7-9, Piknic Électronik Stage) Rarely is a non-headlining Osheaga act afforded enough time for a slow build, although the German electronic music producer probably considers 90 minutes a light sprint. After spending most of his allotted time in traditional trance territory (plus a mid-set Jefferson Airplane vocal sample), Kalbrenner found another gear towards the end, with his beats pushing from the background into the foreground. It was a rewarding payoff for the patient dancers who stuck with him. – Erik Leijon
Years and Years (7:15-8, Valley Stage) Lead singer Olly Alexander showed up a bit late on stage to announce the band’s synth player was ill and wouldn’t make the set. It was cancel or improvise — and so they stripped down the songs just enough to accommodate for the missing member. The result was splendid and their performance of main singles like Worship and King were only propelled further by an electric cover of Katy Perry’s Dark Horse mixed with Drake’s Hotline Bling. I mean, festival material at its best. – Mick Côté
Devon Portielje of the Canadian indie rock band Half Moon Run performs during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
Half Moon Run (7:20-8:20, River Stage) The group formed the first half of a double-essay on Authenticity – the local one. Singer-guitarist Devon Portielje, guitarist-vocalist Conner Molander and drummer-vocalist Dylan Phillips vocals opened with the tootling, twitchy Turn Your Love before unfolding the swelling I Can’t Figure Out What’s Going On five minutes into the set. That’s confidence. But then, “It’s so good to be home.” And that was indeed an impressive Fleur-de-Lys jersey on Molander. The verbal/sartorial expressions of a burning musical sincerity. The band pulled it back in Nerve, revved it back up again in Devil May Care and She Wants To Know, mainlining a genuine if slightly histrionic connection with their audience. Closing hymn Full Circle was inevitable for the right, fully satisfying reasons. – Mark Lepage
Wesley Schultz of the American folk rock band The Lumineers performs during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
The Lumineers (8:20-9:20, Mountain Stage) The Lumineers brought the more immediately accessible, dirt-floor version of heartfelt roots or Americana. Praised by Jack White, dissed by Alice Cooper, the Denver band is far more doctrinaire than HMR, but aiming for the Big Authentic as well, this time via instrumentation. The knock on the genre is that offers as much grit as an Appalachia Starbucks. However, after singer Wesley Keith Schultz led them into the y’all-homespunnery of opener Sleep On the Floor and Ophelia, the band brought it all back home, gathering around the drums for a cover of Subterranean Homesick Blues on acoustic, standup and cello – and well, there’s no denying that. At nightfall, a rousing Gun Song. Convincing. – Mark Lepage
Vince Staples (9-9:50, Valley Stage) If only the impetuous and scrappy rapper’s microphone had been turned up to an adequate level. The 23-year-old Long Beach MC served as a guide for his hardened hood to an accompanying blast of low-end. Volume issues aside, Staples rapped with unrelenting intensity, while ducking and juking across the stage like a prizefighter in the ring. For set closer Blue Suede, Staples leapt into the crowd and was hoisted in the air by the fans. – Erik Leijon
Anthony Kiedis of the American band Red Hot Chili Peppers performs during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016. (Dario Ayala / Montreal Gazette)
Red Hot Chili Peppers (9:20-10:50, River Stage)
“Well, I have pondered, I have considered,” singer Anthony Kiedis of the Red Hot Chili Peppers was saying as he stalked the River Stage. “I have steeped in my thoughts.”
“And I have concluded that I love Canada.”
As he bounced away in his trucker hat and quite-the-’stache, the affection, c’était réciproque in the distinct part of Canada known as Montréal, Parc Jean-Drapeau and Osheaga 2016.
Anthony Kiedis, right, and bassist Flea, left, of the American band Red Hot Chili Peppers perform during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
The opening night headliners brought their equation: E = RHCP. With a three-decade live rep and more hits than you’d remember, they dropped an opening shred-jam with eternally shirtless bassist Flea and guitarist Josh Klinghoffer in a skree-fight before Kiedis bounded out.
Given it had already been a day of confident sets, no surprise that they locked into the math-funk of Can’t Stop, followed breathlessly by the largeness of Dani California and Scar Tissue. It was broadcast to a massive crowd by the perfectly excessive stage design of five circular backdrop screens to go with the three goliath stage-side Osheaga scrims, switching between black-and-white and superlurid colour. When Klinghoffer soloed for a gentle guitar/vocal in Leonard Cohen’s Chelsea Hotel, it was a clear gift to the city and the moment.
After that bolt of hits, there was an inevitable lull, relatively speaking. That is indeed part of the DNA of the RHCP; or as they’re generally known around my house, Jumpin’ In Short Pants. It must be said, you always pull for a live band. And it must also be said, the latest album… I couldn’t. I’m sorry, but The Getaway sounded like a Chili Peppers cover album. Dark Necessities is a rehash/fusion-splice of a half-dozen previous genre-mashes or style-hacks. It’s a Xerox cubed. Go Robot, I will not address. Also, drummer Chad Smith really, really does look like Will Ferrell. Shot from below for the videoscreens, it almost seemed like a gag as he pounded resoundingly.
Bassist Flea of the American band Red Hot Chili Peppers performs during day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
Now that that’s over, back to the confessional. You pull for the live band. Klinghoffer shredded creatively throughout. Californication was probably one Cali ref too many, dudes. But can you blame them? The weather was a Montreal late-July stunner.
Music fans cheer during the performance of the American band Red Hot Chili Peppers performs on day one of the Osheaga Music Festival at Jean-Drapeau Park in Montreal on Friday, July 29, 2016.
The vibe on-site had been exquisite throughout the day and evening. Flea made a speech about peace and love, and Kiedis Kiedis-rapped his way through the catalogue. For an evening, they were exiles, or escapees, from the asylum to the south.
They were happy; the massive crowd was likewise. When the undeniable Under The Bridge delivered them to the inevitable Give It Away, the Peppers had ridden in on their reputation and ridden out with it intact.
Click here for our music writers’ complete coverage from Day 1 of the Osheaga Music and Arts Festival’s 11th edition. – Mark Lepage
Flume (9:50-10:50, Green Stage) The wildly popular Australian producer had the audience on his side from the onset, which proved helpful when things got a little too disjointed in the early going. His sonic palette of warm, choppy synth sounds and hip hop and soul vocal samples makes for compelling one-off moments, but it wasn’t till the end – after guest vocal turns by Kai and Vince Staples – that he found a steady groove or a sense of progression. No fireworks or a blinding light show to close the night, unlike Kygo last year. On the other hand, Flume embraced his most maximalist tendencies in a musical sense. – Erik Leijon