It was great to see Ben Marzouk in person for the first time in a while – and to finally meet Wes. I loved hearing how much Broken Social Scene had meant to Wes over the years.
Below are some live reactions…
--- In my many 9:30 Club shows, I’ve never been on the left side before. It’s not a huge difference, but it was cool to discover the massive album collection they have in the back left.
--- I recognize “KC Accidental” immediately. It’s a smart start: driving, upbeat, with a melody. As Ben points out, the trumpet and trombone make a difference.
--- “Stars and Sons”: weakkk vocal, strong instrumentals, especially the extended multi-instrument riff at the end.
--- “Almost Crimes”: including female vocals make it a whole new ball game!! Love how she holds out the mic. I can’t believe I thought this was lackluster on the album. The extended dark electric riff contrast so well with her vocals. Could be renamed “Mrs. Brightside.”
--- “Looks Just Like The Sun”: At first I thought it was sleepy. It works really well though: the trumpet, the woman’s autotune, and as Ben said, “the layering.”
--- “Pacific Theme”: Heh, the trombone steals the song. Love how the electric guitarist points to him like, “Dude’s got it.”
--- “Cause = Time”: solid, spacy swirl. I like the way it keeps moving in and out. Chill.
--- “7/4 [Skyline]”: “One of the best things in my life is when I get to sing this is with her -- friends since summer camp back in the day.” She’s clearly the secret weapon. Ben: “I love the way they layer in her voice.”
--- “Fire Eye’d Boy”: stays in the same basic spot, but it’s a good spot.
--- Ooh, I like the shift to plink. “Shampoo Suicide”!!! Never heard of it, friggin’ love it. The simplicity of the vocal: haunting. “All the lights we were.” Now it’s video game boops and beeps?! Drags on a bit, but still a high point.
--- “I’m Still Your Fag”: interesting intro, excellent contrast, quiet trombone FTW.
--- Aww, nice shout-out to 9:30 and all they went through during the pandemic.
--- Heh, I think they’re mocking the idea of them having to trot out “Sweetest Kill,” a hit. If that’s what they’re implying, I agree. Doesn’t go much of anywhere…
--- Awww, the band just took a selfie for someone in the front row.
--- Ummm, this psychopath in front of Wes chided him for quietly talking about a film in between songs. I’m the first person to get angry when people are jabbering on about the weather mid songs because they think anything slow or quiet is boring. This was between songs though, and from her distance, he was straight-up whispering. Nuts. Plus, she expressed it in this aggressive, entitled, disgusted manner that in no way fit the ‘crime.’ Some people…
--- “Lover’s Spit”: outstanding spare keyboard intro and BUILD!! Ben’s bouncing. The trombone’s slidddding. Ben nails it again: “love when songs meander like that.”
--- We can’t hear something from the crowd that was repeated. Hard to hear over all of Wes’ shouting…
--- “It’s All Gonna Break” is an apparent rarity that’s loud without a clear melody. I did like unexpected drum blasts near the end.
--- To me, the slight “Anthems for a Seventeen-Year-Old” is an odd choice for a closer. Overall, though, I enjoyed the show and the chance to bond.
Grade: B+
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