On Saturday, Sept. 16, Black Country, New Road donned their denim shorts, jackets, and shirts, and played their first ever Montreal show in full Canadian tuxedo. This set of North American shows is the first following the release of their latest record, Live at Bush Hall, which features songs written and sung by individual members of the band—a departure from their previous albums. Each stylistic contribution shines through in the diversity of their voices, challenging traditional ideas of what it means to be a musical outfit. The band has further proven themselves impressive musicians by building complementary soundscapes through atonal improvisations and avante-garde song structures.
The line to enter Le National wrapped around the venue’s side, anticipation adorning the formation. Once inside, the venue swelled with excitement as the opener, Daneshevskaya, took the stage. Previously the solo project of New York City-based musician Anna Beckerman, she played alongside six others—who toured with her in anticipation of a new album featuring some of their contributions, Long Is The Tunnel. Drummer Joey Mains stated to The Tribune after the show that they had only been playing together since July. Still, the chemistry of their playing was a testament to their skill as a band. The echoing vocal lines and harmonics of the piano and violin moulded perfectly to create an ethereal and multidimensional sound.
Loud cheers erupted through the venue as Black Country, New Road strutted on stage to Van Halen’s “Jump.” Anticipatory silence soon plagued the crowd, then glazed saxophone notes resonated in the air as Tyler Hyde entered, crooning, “Look at what we did together…” When the band’s piano, violin, drums, and guitar entered, energy aggressively dispersed and a chorus of joyful fans chanted their lyrics back at them. There was something unadulterated and about the band’s passion for their musical output that created a chamber of vitality and authenticity in the crowd.
The set’s most powerful moment occurred during the intimate track “Turbines/Pigs.” It began with pianist May Kershaw wistfully singing to the venue’s sky, feeling nothing but the music beneath her fingertips. The band sat in a circle on the opposite side of the stage, giving space to the sentiments of her musical story, only approaching their instruments as the song’s journey emerged into its climax. The juxtaposition of the performance’s slow, ballad-like commencement against the powerful entrance of building sound only reinforced the emotional repetition of Kershaw’s final lyrics, “Don’t waste your pearls on me, I’m only a pig.” The band highlighted each other’s skills through their playing: Every tonal choice they made uplifted the musical intentions of another. The lyrics’ sincerity and personality tore down any facade of an artistic spectacle.
“The performance felt very focused on their abilities and playing rather than focusing too much on showmanship. You get a real appreciation for the music and the musicians,” concertgoer Ethan Holm stated in an interview with The Tribune. “It was the same kind of vibe you get when you see a local show or a really small band. Even though this was a fairly popular band’s show, I felt very comfortable.”
With the concert swiftly finished at 22:30, my friend and I found ourselves sitting on the venue’s curb, watching the bands load up their vans and engaging in casual conversations with passersby. About an hour later, still unwilling to cope with the show’s end, we stumbled into a conversation with Black Country, New Road’s saxophonist, Lewis Evans. In our fragile emotional states, we asked the first question that came to mind: “What’s your favourite ice cream flavor?” Cautioning us with the risk of sounding pretentious, Evans answered “Pistachio”, later adding chocolate to his answer. As the last few members approached their van, we repeated our question from across the street. “Pistachio!” they both yelled. We responded, restating Evans’ similar answer from before, to which Hyde remarked back, “That’s not true, it’s chocolate.”
Black Country, New Road perfectly taps into the intimacy they have as friends to produce something so personal and authentic to their musical background. It’s incredibly special for a band, high on the pedestal of a stage, to perforate the emotional depths of the crowd below them.
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