It's nights like this that completely restore my faith in the Vancouver music scene. A typically early evening at Richards club started around 7:45, with local act Young + Sexy. Previously a five-piece, they've undergone some changes earlier this year, leaving them as a trio. Between songs, they referred to themselves as the former Young + Sexy, so perhaps we'll see a name change from them in the near future. Drummerless and one-less-guitaristless for the time being, they do a remarkable job of keeping people engaged with their sweet, down-home love songs. The intertwined vocals of Lucy Brain and Paul Hixon Pittman sound gorgeous together. Not a very active band onstage, much of the physical emotion comes from Brain gently playing her hands about her shoulders and chest. They appropriately finished their set with the song "Young & Sexy," off their 2003 release, Life Through One Speaker.

Following that gentle performance, Stars came on. I'd seen them not so long ago, but the show had a much different dynamic than the one I was about to see. The last show was with Arts & Crafts labelmates Broken Social Scene and Jason Collett, and everyone joined everyone else to play a big hobnob of a show. This time around, they were on their own on stage. This band is just charming. That would seem to be the most accurate word to describe them overall, though they aren't exactly innocent or pure or whatever goodness that word drums up. Of course, that's not to mean they're entirely subversive either, but through the sugary-sounding music (reminds me a bit of a modern indie Morrissey), the peppier portions, and the outwardly tra-la-la lyrics, you can hear that the love they sing about is fiery and fierce and determined, sometimes sad and longing.

Singer Torquil Campbell has a riveting stage presence, and interacts with his audience to no end. He'll crouch at the edge of the stage with his eyes closed, or staring into the crowd, with one arm clutched to his belly, before bringing the microphone back to his mouth to sing, stand, play the tambourine or the trumpet... or he'll spot someone dancing in the crowd and try to coax them to stagefront to continue doing so... or he'll be wrenching and twining his shirt up with his hands while he stumbles around the stage in a singing fit. Between songs, he speaks with a storyteller's voice, as at one point he decided to dedicate a song to all the people who work in glass buildings. He then asked who in the room worked in big glass buildings, and when the crowd remained silent, he said "No one? You useless bunch of fucking pricks."

The band also played a heap of new songs in the middle of the set. Campbell introduced us to those songs by asking us to pretend the band were six-year-olds doing a school play, and that everything they do is amazing. It was an unnecessary comment, as the songs were quite wonderful. One tune was called, "Soft Revolution," to which Campbell suggested that the world's problems could be solved if everyone would turn into a girl. Vocal duties are also shared by guitarist Amy Millan, who carries a sweet, girly voice that complements the songs well. All told, they're pretty theatrical on stage too, batting eyes, waving hands, stomping feet. Partway through the set, they brought up a fellow named Rob, who does the band's merchandise and road managing. He played bass on a couple of songs, while otherwise-bassist Evan Cranley picked up a guitar.

Being on a schedule this evening, I had to leave the show a little early, missing maybe a quarter of their set. I dashed across town to the Media Club, dodging literally hundreds of fans leaving the hockey game at the nearby stadium. I had thought I'd missed one or two bands at the Media Club, but upon my arrival at the small, cozy, dark bar, I discovered that I was just in the nick of time to catch show openers, my project : blue. The five-piece had a great indie-rock sound, complete with three different synths going on (or sometimes two and a bass), drums, two guitars, and both male and female vocals. The guy in the voice category is Chad Blue, essentially the founder of the band, and he carries a distinct sort of rasping, forced sound. It's incredibly unique, if not of the most 'songbird' quality. The best part about that, is that the music seems to warrant the off-kilter vocals, especially alongside Jill Southern's soft lilt to balance it all out. The full set, they had seemingly-random visuals projected on a large screen beside the stage. And starting off what would end up being the evening's theme, drummer Ben Frey dropped his sticks, stood up behind his kit and started clapping his hands furiously above his head until the crowd joined in. For the most part, the audience was still hanging back and a little bit hesitant, but even as my project : blue's set wore on, people trickled towards the front, seeking some space to stand. The Media Club is pretty small, and on a night like this, it was sure to fill up in a hurry.

The set was pretty short, and after a pretty efficient change-up, Brundlefly took to the stage. I haven't seen them play since last May, which is simply ridiculous. This band has been kicking around Vancouver in various forms and in various stages of recognition, for quite a few years. This most recent incarnation, which I was seeing for the first time, is a huge change from how they were before. I was simply stunned and awed. Gone was the rough, slow rock. In its place was a soft, swimming, shimmery pop. Lead vocals are provided by Ian Somers, who still has the gravel to his voice, but he now sings with a bit more fluidity. Somers also does keys on some songs, alternating from time to time with Lucas Rose, the band's newest addition. Rose also plays guitar, and does so with one hell of an intensity. His face tells how much he's feeling the music.

Partway through the set, Brundlefly played a tune called "Hot Summer Dry," during which an extremely prominent cowbell sound suddenly issued from behind the drumkit, provided by Chris Copeland. At this point, they were also joined onstage by Boompa-guy and Salteen, Rob Calder on trumpet. And yes, partway through the song, Rose and bassist Shane Turner dropped their hands from their respective instruments and launched into an intricate clapping sequence.

Another change-up, and then, a couple of colourful and boppy videos by Australian band Sekiden. This was actually a very exciting moment for me. I've been hearing tons of amazing things about them for months and months, and they keep playing shows that I keep missing because of other shows/events/duties/passing-out-at-gig-due-to-heatstroke. But tonight was my night! The trio definitely met, and probably even passed the hype they'd been given. This was huge, fun, airy power-pop at its absolute finest. And my goodness, this band can jump. Keyboardist/vocalist Seja Vogel just simply didn't stop leaping during the songs. The energy level was off the hook; it was almost ridiculous. Seja's brother Mirko on drums didn't let up either. His count-ins to songs were generally spent with him standing up and pointing with a stick at the sky, looking around with a wide-eyed, drop-jawed expression on his face. Drumsticks were twirling in the air, words were screamed, general mayhem ensued. Vocalist/guitarist Simon Graydon also spent half the set with one arm or another in the air, or else he was on his knees shredding his guitar to pieces. I don't know how they kept it up for the whole set. What are they feeding them in Australia?? Seriously, what are these people on? The music went along with the physical performance quite nicely, replete with synth noises reminiscent of old video games, and quick vocals. I was reminded at times of the Dandy Warhols in their happier-sounding moments.

A bit more than halfway through the set, they invited Billy the Kid (of Billy and the Lost Boys) up on stage with them to sing a cover of the Ramones' "Beat on the Brat," to much fanfare. Think I'd leave the clap-alongs out of this one? No way. The entire band got into it at various points, but Mirko was the catalyst most of the time. He also spent a couple minutes before their last song, getting the audience to do a bit-part cheer on the song that was to follow. He was just raging and maniacal about getting people to pipe up, having different sections of the crowd try it out before getting everyone to do it together. And as the band finished that song, they pulled out all the effects and feedback and skin-splitting drumming possible to go out with a huge bang. Definitely a must-see band. Despite their Brisbane heritage, they play very frequently in Canada, so keep an eye out.

The night continued from there with a viewing of the Salteens brand new video "Thoughts From Sounds", which features babe-a-licious models chowing down on burgers, and the band likewise chowing down on burgers, and the ladies spitting out the burgers post-take. And the ladies on mechanical bulls, and other strange suggestive things expressed in an ironic light. After that was complete, congratulations and rounds of applause were given due course, the band hit the stage to cap off an evening of energetic music with an aptly boisterous set.

The clapping was going on in overdrive the whole time. The five-piece has a snappy, pop-rock sound that's ridiculously catchy. The entire crowd was crammed up to the front as far as possible and just grooving down. While the movement on stage was off the dial the whole time, the most outstanding rock n' roll moment occurred when singer/guitarist Scott Walker, guitarist/trumpet-guy Calder, and bassman Kevin Cooper all spun in unison towards drummer Brent Follett, dropped to their knees, launched their guitars in the air above them and rocked shit out for a full musical interlude. Insanity, I couldn't believe it! Do they practice this? Do they have a sign to indicate to each other when they should do that? Was it a coincidence? Were they just feeling it? Extremely effective, nonetheless. This band also followed the other almost-full theme of the evening with the gal who plays keys at least part of the time. Erin Jane took care of the synthy-goodness for this band, looking bubbly and incredibly happy as she smiled away back there. Mid set, Calder set down his guitar, grabbed up a second set of drumsticks, and dashed wildly around back and forth in front of the drum kit, duo-drumming with Follett in a huge thrumming frenzy.

A full evening of mostly-pop music, some a bit more quirky than others, all unique. I have little to complain about with anything that I saw. People slowly filed out of the Media Club, looking as though all the joy from the evening had seeped right into their souls. It's pleasing to see a crowd so positively affected by the music they see. A+! Check out links below for times to catch these bands, and music/info.

Elsewhere

By Andy Scheffler
Photos : Andy Scheffler
Published : April 22, 2004.