The Dears
Date: July 14, 2005 Swear It To You After a relentless storm kept the headlining Bluesfest acts from performing the night before, the thunder was thankfully confined to the stage on Thursday. As usual, The Dears came through with an excellent set, including a taste of new material. With the opening acts also delivering solidly, it was a great day of music that helped make up for the previous evening. I arrived too late to see Lindsay Ferguson play but I did see the full set of fellow Zaphod's showcase winners . . . And the Poets Affirm. Although I had seen the Poets play three times in 2004, the last of those shows was nearly a full year ago, so I was interested in hearing the group's progress. Their added stage experience was evident in the smooth transitions and sharp pacing that kept their set of predominantly instrumental songs always on track. Considering the fact that set times had been compressed to fit an extra act onto the Black Sheep Stage, the band's tightness was a key factor in a very successful show. With the sound crew providing crisp acoustics and the band playing confidently, this was the best concert that I have seen from the Poets. In contrast to the seven-piece sonic density of the Poets, the next act on stage was Willy Porter, who offered a solo acoustic performance. Porter captivated with nimble playing and an obvious sense of showmanship, winning over more of the crowd as the night wore on. Porter made some use of looping but generally held court with few effects. One of the highlights of his time came when he encouraged the audience to call out topics, which he worked into an amusing freestyle song. Even his more straightforward numbers worked well, though, and his affable banter and song introductions kept the mood fun. By the time that his set wound down with a looping-based, half-spoken segment that let him step away from the mic to perform a goofy dance routine, Porter had definitely made his mark. I have seen The Dears in concert more than almost any other act but their set was still one of the most anticipated for me in a very impressive Bluesfest line-up. After so many experiences, I always know that each concert will offer something different. Sure enough, when the six-piece band did take the stage, they opened with the first new song of the night, "Gang of Losers." With its beautifully tender beginning shifting into a heavier finish, the song foreshadowed the range of the night, although the greatest intensity was certainly yet to come. The crisp sound was also extremely encouraging. In fact, the sonics proved to be excellent all night, allowing the tight band dynamics of "Lost in the Plot" and "Who Are You, Defenders of the Universe?" to reach their potential. A Dears show is an exercise in exceeding recorded output. At times, the kick is introduced by a band member inserting something extra, be it guitarist Patrick Krief laying down additional notes or George Donoso III providing extra bite through his drumming. The greatest facet of the band's live intensity, though, is their cohesion, which is why it was a treat that the sound allowed the fans to clearly hear, for example, Valerie Jodoin-Keaton's flute and Natalia Yanchak's backing vocals on "Never Destroy Us" or Martin Pelland's rumbling bass lines on "We Can Have It." Of course, while there is always too much of interest on stage to take in everything, it is frontman Murray Lightburn who commands attention. Able to transition from the full-on screaming that ends "Never Destroy Us" into the softness that initiates "We Can Have It," Murray was always in command of the Black Sheep Stage. As good as the opening was, I felt that The Dears truly hit their stride with the duet, "22: The Death of All Romance," which was the best rendition of that song that I have ever heard from them. From there, they strayed from No Cities Left, mixing old songs and new but maintaining an intensity that kept the crowd buzzing. After a new song, "Hate Then Love," revealed a full-on charge that surprised me before leading into a soaring chorus, the band unloaded a blistering take of "End of a Hollywood Bedtime Story." The raised vocals of, "If this is how our world must fall apart," get me every time; and I can't recall the song ever sounding better. Murray's vocals also led the way through "The Second Part," which transitioned to the night's moment of true cacophony, the feedback-drenched wall of sound that introduces "Pinned Together, Falling Apart." Few bands are as seamless at bridging the range exemplified in those two songs; and it is a testament to the tightness of the players that they thrive on such extremes. To mention only one highlight, Patrick's playing on "Pinned" was especially striking. After noting that the encore break would usually come now, Murray instead kept the band on stage, ending a fantastic night with another classic, "Heartless Romantic," which had the fans enthusiastically clapping along. My eighth Dears concert certainly ranks as one of the best. After an extended break, I was very eager to see the group again; and they did not disappoint. The Bluesfest crowd supplied an energy not always seen in the audience of past Ottawa visit by the band, the sound was excellent, and The Dears were as tight as ever. As an added bonus, several band members came out afterwards to meet fans and give autographs, so I ended up with a setlist signed by half of the band. George was particularly cool, even remembering me from past Ottawa concerts. Now I can only hope that the band enjoys their coming hiatus, does well with recording their next album, and ends up ready to take their touring machine back to work. I can't wait. George Donoso III and I after the show: 
The Dears setlist 
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