It was a cool welcome for the cult-followed rock band Broken Social Scene at Ottawa’s Jazz Festival, as the blistering heat wave that plagued the nation’s capital finally relented.
Festivalgoers packed Confederation Park, donning long-sleeve shirts and spring jackets to watch the ever-explosive and dynamic group as they opened Jazzfest’s seventh night with their heavy “KC Accidental.”
“Is it jazzy?” said frontman Kevin Drew after playing a few songs. “I’ve been making a lot of mistakes up here,” poking fun at the band’s alternative rock roots to laughs from the diverse crowd.
The band’s origin as a revolving door lineup of like-minded musicians was at the forefront of their performance from the get-go. Their stage presence felt more like a group of friends jamming in a garage than playing to a sold-out audience.
Lead vocalist Drew floated across the stage in a black snapback hat with a pink Gord Downie embroidered patch. He engaged with guitarists Charles Spearin and Andrew Whiteman, bassist Brendan Canning and the brass section that occasionally hopped on stage.
Amid the band’s organized chaos, founding member Spearin often swapped out his guitar to pick up the trumpet or bass in an enthralling display of multi-instrumental prowess.
Drew also tended to this pattern, walking to the back of the stage to hop on the electric keyboard, letting Montreal-based singer Ariel Engle from La Force and frequent guest vocalist, Hannah Georgas, own centre stage.
As the sun set over the city, the band broke out into “Stars and Suns,” a tune with a punchy drum beat that got the crowd off their feet and bopping their heads.
What followed was a journey of viscous grooves, tight playing and, at times, jazz-like improvisation with noise between all members of the collective.
From twangy licks by Whiteman on guitar to a trudging but fresh bass line by Canning, Broken Social Scene were always creating something for Ottawans to get behind.
Clasping cans of beer and loved ones hand-in-hand, festivalgoers were ripe with anticipation and energy as the band slowly transitioned into the relaxed fan favourite, “Sweetest Kill.”
Drew, Engle and Georgas often sung together, transforming the park into an otherworldly musicscape with a mix of raspy lead vocals and ethereal backing harmonies.
The group, despite having a monolithic lineup of oncoming and outgoing members, no doubt showed up to Ottawa’s Jazz Festival as a well-oiled machine — each member collaborating in disorderly synchronicity to sumptuous applause.
A standout part of the night was the way their drummer, Justin Peroff, effortlessly held sturdy for the more than hour and a half set. From driving experimental rock phrases which laid heavily on the steady pulses of the bass drum to the more light and nuanced rhythms of snare rimshots, Peroff was the rock that tethered everyone in place.
Like in Whiteman’s “Looks Just Like The Sun,” Peroff complemented the somber and loose tune with a tempered groove that elevated Whiteman’s visceral vocal performance.
At times, however, Whiteman could be just as electric, dancing around the stage with his 30- year-old ruby red Gibson guitar and a green keffiyeh.
The band slowly faded out their set with their hit song “Anthems For A Seventeen Year-Old Girl.”
Engle and Georgas turned face to face to share the spotlight, trading lines and harmonies that had the crowd swaying in unison.
“We are in trouble,” said Drew, wrapping up the end of the band’s set at the festival. “So on the count of three, scream to release it as much as you can.”
To a roar of screams and applause, Broken Social Scene rounded out their encore song “Ibi Dreams of Pavement (A Better Day)” before waving farewell and slipping off stage and into the night.
Featured image by Simon McKeown/the Charlatan
