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On Monday evening, the energy of anticipation filled the air at HISTORY, where Alt-J’s monumental celebration of the 10th anniversary”An Awesome Wave.” As a devoted fan, the mere thought of witnessing the band live, unraveling the intricate layers of an album that has been the soundtrack to countless moments in my life, was so exciting. As the lights dimmed, a collective hush fell over the audience. The familiar opening chords of “Intro” resonated through the venue, signaling the beginning of a musical odyssey. Alt-J, silhouetted against an artfully designed stage, unleashed a sonic cascade that transported the crowd back to the very essence of “An Awesome Wave.” The seamless transition from “Interlude 1” to “Tessellate” showcased Alt-J’s mastery in creating a live experience that transcends the boundaries of a traditional concert. The visuals, synchronized with the music, painted an ethereal backdrop that enhanced the immersive nature of the performance. Alt-J’s ability to capture the nuances of their studio recordings while infusing each note with a raw, live energy was truly commendable. “Breezeblocks” reverberated through the venue, the haunting vocals and rhythmic beats creating a palpable tension that erupted into a cathartic release. The crowd, swaying in unison, became a living, breathing entity, connected by the shared emotional journey mapped out by the band. As “Something Good” and “Dissolve Me” unfolded, it became evident that Alt-J wasn’t merely recreating their album; they were reinterpreting it, breathing new life into tracks that have become anthems for a generation. The chemistry between the band members was palpable, each one contributing to the collective magic that defined the evening. The visual elements of the performance added another layer of complexity to the experience. Artistic projections, reminiscent of the album’s cover art, danced across the stage, creating a visual narrative that complemented the sonic landscape. The interplay between light and shadow heightened the emotional peaks and troughs, transforming the concert into a multisensory feast. During “Matilda” and “Bloodflood,” the venue was awash with a sea of colored lights, mirroring the ebb and flow of the music. Alt-J’s commitment to providing a holistic experience was evident, and it was a testament to their dedication to ensuring that every aspect of the performance resonated with the audience. Alt-J’s enigmatic stage presence was a force that held the audience captive throughout the night. Joe Newman’s distinct vocals, often haunting and ethereal, captured the essence of the album’s lyrical depth. Gus Unger-Hamilton’s keyboard skills added a layer of complexity, while Thom Sonny Green’s percussive mastery provided the heartbeat of the performance. The encore, featuring “Fitzpleasure” and “Taro,” left the crowd in a state of euphoria. Alt-J had not only celebrated a decade of “An Awesome Wave” but had also created a moment in time that would forever be etched in the memories of everyone present. Beyond the music, the concert at HISTORY was a celebration of community. There was a beautiful energy in the air with attendees all connected by the shared love for Alt-J and the profound impact “An Awesome Wave” had on their lives. In those moments, it wasn’t just a concert; it was a collective experience, a shared journey through the waves of emotion and sonic brilliance. As I left HISTORY that Monday night, the echoes of Alt-J’s performance lingered in my mind. The 10th anniversary celebration of “An Awesome Wave” had not just been a concert; it had been a testament to the enduring power of music to transcend time and create moments that resonate with the soul. Alt-J had not only revisited their past but had also paved the way for the future, leaving an indelible mark on the hearts of everyone fortunate enough to be part of that magical evening. Written and photographed by Gemma Mastroianni

Boys Like Girls played HISTORY in Toronto earlier this month. State Champs, The Summer Set, LOLO, and SayWeCanFly opened the night. Check out all photos edited and captured by Josiah Botting below: Boys Like Girls Setlist SUNDAY AT FOXWOODS Love Drunk Five Minutes to Midnight BLOOD AND SUGAR She’s Got a Boyfriend Now Dance Hall Drug LANGUAGE Heels Over Head The First Time Up Against the Wall I Told You So / The Only Way I Know How to Feel Thunder / Stuck in the Middle Born In the USA Heart Heart Heartbreak MIRACLE The Outfield Broken Man Life of the Party Hero/Heroine On Top of the World CRY THE OUTSIDE The Great Escape State Champs The Summer Set

On October 27th 2023, Icelandic modern jazz/bedroom pop singer-songwriter Laufey enchanted the Danforth Music Hall as part of The Bewitched tour. The line for her show wrapped around the corner of Broadview avenue and was dressed to the nines in dresses, suits and glamorous attire. The show was started off by indie folk-pop singer/songwriter Adam Melchor who played songs off of his FRUITLAND EP. Laufey herself performed tracks like the soothing bossa nova track “From The Start”, the cinematic “Fragile”and the enchanting “Valentine”. All photos by John Mendoza or @iblibs on Instagram.

On October 21st 2023, genre-bending progressive rock band Polyphia played a sold out show at History as part of their Remember That You Will Die tour. Esteemed progressive jazz duo Domi and JD Beck opened the show. Having listened to their unique brand of electronic jazzy drum and bass music before, I knew the audience would fall for their signature quirky sense of style, crispy rhythms and blistering synth solos. They mainly performed songs off of their Grammy-nominated debut album “NOT TiGht”, including “SMiLE” and “WHATUP”. They also did a very impressive cover of Weather Report’s “Havona”. Both musicians also effortlessly played their instruments while also singing individual parts for tracks like “BOWLiNG” – an impressive feat for even the best of musicians. As they finished off the end of their set, they walked off stage to a huge round of applause and what I hope to be a ton of new potential fans. Polyphia soon arrived afterwards, kicking off their set with “Loud”. Immediately, the crowd was hype. The whole stage was set ablaze with lights that matched the crowd’s energy. The series of LED panels on stage formed intricate light patterns that danced around Clay Aeschliman and the other performers. The band mainly performed tracks off of their 2022 album “Remember That You Will Die” such as the funk “Reverie” and the anthemic brassy “All Falls Apart”. They also performed a few selects from their previous projects such as the mind-bending “O.D.” from their 2018 album “New Levels New Devils” or “Champagne” from their 2014 album “Muse”. I was very glad to hear how clean and airy Polyphia’s guitar riffs and the drum fills are in person. Their musical chemistry during the show felt more notable than their recorded songs. It’s a testament to both the group’s songwriting ability that the crowd would verbalize their fast arpeggiated riffs and guitar solos as if it were a singer’s vocal melody. The crowd favourite song was “ABC” – a track that accompanies their technical virtuosity with bright bubblegum pop vocals from actress and singer Sophia Black. The crowd’s intensity heightened as people chanted the lyrics back at the band. It was very fun to witness people headbang and crowdsurf to the equivalent of a prog metal J-pop track. They closed off the night with a two song encore run of the flamenco/bossa nova-inspired “Playing God”, the brassy anthemic track “Genesis,” and the stank face-inducing, headbanging track “G.O.A.T.” Hands down, this was one of the best concerts I’ve been to this year. While I would’ve loved more audience interaction between songs, Polyphia is a band that knows how to entertain and keep the energy going. All photos by John Mendoza or @iblibs on Instagram.

Peter McPoland played in Toronto to a packed show at The Opera House earlier last week. Check out photos below captured and edited by Josiah Botting: Setlist Mold Make It Stop Tonight I Need You String Lights Dead Air Eloise My Baby (Won’t Mess Around) / Come Around Were You There? Slow Down Saint Peter Blue Find Me Out Dog Ceiling Fan/Piggy Turn Off The Noise I Want You Shit Show Romeo & Juliet Digital Silence Stephen Dawes

On October 16th 2023, Korean pop singer-songwriter and multi-hyphenate creative Eric Nam took the stage at the Danforth Music Hall as part of his House on a Hill tour. Kicking off the show was Canadian pop singer-songwriter Alexander Stewart. Dressed in a loose textured button-up over a white tank top, Stewart sang his heart out as he performed ballads like “House of Cards” and his more dancier pop hits like “when you love someone” and “Backwards.” Immediately upon looking at the audience, I noticed the sea of K-pop photo cards being flexed to strangers, adoring fans practicing his dance choreography and phones being prepared to make room for fancams. Now motivated by their passion for Eric Nam, I quickly stretched my legs both to take photos but also for the eventual dance break or two during songs. This was going to be a fun crowd and while my soul was willing to dance, my knees had mixed feelings. Just before his set, he was introduced by a screeching guitar, a pulsating bass and a tasteful drum groove. He then appeared out of what I can only assume to be the door frame of the “House on a Hill”, illuminated by a spotlight as if to greet us into his home. Nam performed songs from his most recent album along with selects from his extensive catalogue of hits, including “Wildfire”, “Sink or Swim” and “I Don’t Know You Anymore.” As he grooved on stage, it was clear that despite his lack of dancers on stage, his stage presence captivated the audience to dance along. While I knew he was an experienced podcast host, his charm and wittiness shined on stage as he would speak to the audience in between some of his songs. Eric spoke to the audience like you would banter with a friend, weaving little stories and comments about his experience as a Korean-American or exchanging quips with the audience. On one tangent, he explained that the album “House on a Hill” was inspired by him having an existential crisis. After asking the audience if they’ve experienced an existential crisis, he then went on to explain that there are only two answers: A: It happened or B: It’s coming. During another tangent, he announced his gratitude to all the unwilling boyfriends and parental chaperones in the crowd. He then transitioned into one of his dancier tracks and with his upbeat energy, you could witness the unwilling boyfriend slowly become start grooving to the music. The night was closed off with “Only For a Moment” and then an encore with “Congratulations”. While I was disappointed by not being able to see his dancers on stage with him, Eric Nam’s stage presence, smooth choreography and impressive vocals made this a memorable experience. All photos by John Mendoza or @iblibs on Instagram

I was very excited to finally see British punk-rock bands come back to Toronto after missing Royal Blood late last year, and they did not disappoint. The night was off to a slow and poor start from a media standpoint. Very long check-in points to get a media pass into the venue, and once I arrived the security guards in the pit were very unorganized. Unfortunately, I got a cut on my finger and it took me asking 4 different guards to finally find out where the first aid was planted and get a band-aid, while blood was trailed throughout the pit. Later in the show, it was very apparent to myself and a few others that the guards were ill-equipped to know what type of crowd they were going to be working with for the night. Again, it took me 4 guards to find out if I could give a member of the crowd a water bottle as they were feeling light-headed, and I witnessed many crowd surfers being scolded for enjoying a punk show the way it was meant to be enjoyed. Some people sat on their partner’s shoulders during a song and flashlights were shined in their faces advising everyone to get down. Meanwhile, the crowd was very safe and expressed their enthusiasm for the bands in safe and traditional ways that a punk/rock show is typically enjoyed. After finally getting a bandaid and back into the pit, Bad Nerves was able to bring my morale up and the London punk rockers played a great set. They seemed angry and pissed but in all the good ways, lots of energy on stage with each member jumping around very often. For the punk rocker’s first time playing in Canada, they played some great two-stepping songs for those in the crowd and even performed an unreleased demo to some great crowd engagement. One of the members wore a t-shirt stating “Who the fuck is Bad Nerves” to which I say now I know exactly who they are. Closing off the night was Royal Blood, which is kind of ironic given my previous events throughout the evening. Their performance included a great mixture of songs across their entire discography which keeps fans new and old entertained. Hits like “Lights Out,” “Little Monster” and “Trouble’s Coming” were played among some newer tracks like “Triggers,” “Waves” and “Mountains At Midnight.” The band had visited the CN Tower prior to the show as seen on their Instagram stories, so the drummer, Ben Thatcher, ripped on the sleeves of his souvenir and showed their support for the six. The duo (occasionally accompanied by a keyboardist) absolutely owned the crowd, fans bopped their head and danced along to the rock hits all night long. Some small and innocent crowdsurfing and moshing did occur which is a great sign that the fans were having a great time. The lighting queues were insanely on point, with some lights landing on just the singer and drummer which was perfect. Lots of strobe lighting is available behind with their circular lights lining the back of the stage but is used sparingly for those sensitive to lights. Some nice yellow circular lights are used to fill behind all the shots making it feel like you’re in a nostalgic music video. The crowd got fed a beautiful drum solo and was very respectful when the drummer Ben requested a wall of death without the death. Ben decided to jump in with the fans and jump around while maintaining a Red Sea-style pathway for the drummer to return for his “Out Of The Black” drum solo. The Brighton rockers returned to the show with a 3-song encore and closed off their set with an incredible performance of “Figure It Out” with every single person out of their seats singing along. We would be happy to host this duo anytime they want to return to Toronto. Photos and review written by Josiah Botting Royal Blood Bad Nerves

The Sound of Letting Go tour with All Time Low and Gym Class Heroes made its way to the History in Toronto on September 20th and what a night of live music. After getting stuck on the DVP and sadly missing out on the up and coming Lauran Hibberd, it was time to kick off the night with the Philidelphia boys, Grayscale. They started off the setlist by playing their brand new song “Not Afraid To Die” and finished the set with their classic “Fever Dream,” it was a great start to the show. Next up it’s a little bit of a throwback with Gym Class Heroes, based out of Geneva, New York. So many classics including “Cupid’s Chokehold” which got everyone singing the iconic “Da Da Da Da!” during the chorus. We followed it up with “Stereo Hearts” and “Billionaire” getting the whole crowd to shine their flashlights in the air and sing along, bringing back the early 2010’s nostalgia. To top it all off, we were treated to a surprise performance of “Ass Back Home” which was not on the original setlist for the tour prior to the show in Toronto. Finally, it was the boys in All Time Low to close off the night. The boys were well rested after their games of cornhole as seen set up in the parking lot during my walk to the media entrance, and they were ready to hit the stage. The crowd was very excited to see the well-designed stage brought to life with some snippets of the iconic “Mom, It wasn’t a phase, it’s a lifestyle” TikTok trend that blew up in late 2020 and some more fan favourites from All Time Low. The first song of the night was a great choice, “Lost In Stereo” played as a giant cassette player displayed on the screen. The crowd was insane. Great lighting, stage presence and design were impeccable, as we were brought through the discography of All Time Low from every perspective. The night was closed off with some fan picks like “Backseat Serenade,” “Jasey Rae” and of course to finish off an already impressive performance was none other than “Dear Maria, Count Me In.” Please see all photos below captured by Josiah Botting. All Time Low Setlist Lost in Stereo Damned If I Do Ya (Damned If I Don’t) Six Feet Under the Stars Poppin’ Champagne Modern Love Stella Tell Me I’m Alive Sleeping In Heroes Fake As Hell PMA New Religion Favorite Place Dark Side of Your Room The Way You Miss Me Missing You The Sound of Letting Go Calm Down Backseat Serenade Weightless Monsters Gym Class Heroes Setlist Kid Nothing and the Never-Ending Naked Nightmare Peace Sign/Index Down Cupid’s Chokehold Stereo Hearts Billionaire Loved Me Back to Life Ass Back Home Stop It Greyscale

The co-headlined PVRIS and POPPY tour took place at History on September 15th to a sold out crowd. Openers Pom Pom Squad from Brooklyn, New York played one of their first shows over the boarder bringing their alternative mellow rock sound to fresh ears starting off the night. Playing multiple unreleased demos that talk about life and relationships, the lead singer shouted out her ex-girlfriend for introducing her to some incredible musicians that she could now share a stage with every night and was the best F-You she could ever give to an ex. Walking and interacting with both sides of the stage lead singer, Mia Berrin, captivated the crowd with an impressive stage presence and was very interactive with fans, even threw some fresh flowers into the crowd for fans to catch. The stage lights shows a variety of colours and each member of the band shined on stage. If you are a fan of artists like Phoebe Bridgers, PVRIS, and Paramore, “Pom Pom Squad” features a nice blend of all three musical genres and comes across and fresh and unique. Next up was the pop-alternative rockers PVRIS from Massachusetts for their first performance in Toronto after their 2020 show with Halsey at at Budweiser Stage was cancelled due to COVID. Playing the final show of the of the Goddess/Godless Tour in Toronto, lead singer Lynn said it’s been too long since the band returned to Toronto but it always feels like a second home whenever they visit. Performing all the tracks from their newest album, Evergreen, the stage was dimly lit and included a lot of strobe lighting with would not be for those with light sensitivity issues. The stage included a bunch of bushes and fog around the instruments, and a variety of red and green lighting as well as some trippy visuals behind the band created a very nice and lively atmosphere. The crowd was jumping around and even a few decided to crowd surf during the bands older songs like “Fire,” “Smoke,” and “Dead Weight” and played a nice variety of songs along their discography. With very little phones found in the crowd during their performances, the hold that PVRIS has on Toronto is immensely prevalent and we will await their next visit. Poppy was up next to close off the night and felt very automated. Pre-planned visuals with audio queues for the fans to gather in for pictures felt scheduled, and even visuals behind the musicians felt like I was viewing a Windows Media Player Visualizer. Poppy let out some nice screams occasionally and the crowd was occasionally jumping around however as majority of the crowd dispersed after PVRIS, it felt like it was clear who the fan favourites were. See photos captured by Josiah Botting below: Setlist I DON’T WANNA DO THIS ANYMORE ANIMAL Dead Weight Fire HYPE ZOMBIES Smoke LOVE IS A… Use Me SENTI‐MENTAL Monster GOOD ENEMY ANYWHERE BUT HER Mirrors Hallucinations TAKE MY NIRVANA EVERGREEN HEADLIGHTS Death of Me My House GODDESS

JVKE played HISTORY on August 28th. See photos captured and edited by John Mendoza below: Setlist this is what falling in love feels like moon and back Dandelion this is what heartbreak feels like i’m not okay superstar demo infinity and beyond demo ghost town Lucid Dreams this is what sadness feels like catch me So Will I this is what falling out of love feels like This is what growing old feels like golden hour i can’t help it Upside Down Hariz Maisy Kay

On Monday evening, a sold out Roy Thomson Hall lit up with a mesmerizing performance as Sigur Rós, the legendary Icelandic post-rock pioneers, joined forces with the innovative Wordless Music Orchestra. The harmonious collaboration wove a captivating spell, leaving the audience entranced and deeply moved. For those new to the enchanting soundscapes of Sigur Rós and the genre-blending prowess of the Wordless Music Orchestra, the night was an unforgettable journey through a realm of emotions, unbound by language. Sigur Rós, celebrated for their ethereal compositions and Jónsi Birgisson’s haunting falsetto vocals, captivated the crowd with a unique linguistic blend. Singing in both Icelandic and their own invention, “Hopelandic,” the band invited listeners into a world where words fade away, and the raw power of emotion and evocative melodies takes center stage. Sharing the stage with Sigur Rós was the Wordless Music Orchestra, a boundary-pushing ensemble that effortlessly bridges the gap between classical and contemporary music. Their impressive string section and ability to craft performances that resonate with audiences of diverse musical tastes was beautifully showcased. The collaboration with Sigur Rós cast a spell of symphonic wonder, defying conventional labels. The concert hall itself underwent a magical transformation, as attendees were greeted by an enchanting stage setup. A constellation of 20-30 standing light bulbs illuminated the space when the lights went down, each choreographed to dance with the music, heightening the anticipation and adding a touch of visual splendor to the performance. From the very first notes, the audience was transported into a rich tapestry of sound, where each piece unfolded like a portal to a different world. Sigur Rós and the Wordless Music Orchestra wove intricate stories through their music, creating a wordless narrative that touched on themes of love, adventure, and introspection. The absence of lyrics was inconsequential; the music served as a universal language that evoked emotions, painted vivid images, and shared stories that resonated with everyone present. The concert’s allure extended beyond musical boundaries, inviting both seasoned enthusiasts of orchestral performances and newcomers alike. The melodies struck a deep chord, evoking a range of feelings and fostering a connection between the performers and the captivated audience. The second half of the performance was a revelation, surpassing the splendor of the first. As the intermission bell chimed, attendees returned to their seats, eagerly awaiting the unfolding of the musical crescendo. A particularly striking moment was a delicate acoustic guitar solo set just after the closing of sweeping strings. This thoughtful interplay showcased the meticulous craftsmanship that characterized each composition. Within the elegant halls of Roy Thomson Hall, Sigur Rós and the Wordless Music Orchestra spun tales through sound, forging a shared sentiment that resonated throughout the venue. The collaboration resulted in a symphony of emotions, leaving a lasting impression long after the final notes had faded away. At the heart of Toronto, Roy Thomson Hall became a gateway to a realm of sonic marvels. Sigur Rós and the Wordless Music Orchestra demonstrated the profound impact of music, transcending language to communicate the depths of human experience. This concert was a testament to the transformative power of sound—a harmonious journey that stirred the soul and ignited the imagination. A highly recommendable show certainly worth repeating if the opportunity presents itself in the future. Written by Tressa Mastroianni