Sunset Rubdown
Date: June 21, 2007 I Wish You the Best Young music promoter Calum Marsh has been making a notable impact on the Ottawa live music scene recently; and his eleven-day Capital Idea! Festival should put an exclamation mark on that impact (and not just the one in its title). My first look at the festival came on day two, which saw Sunset Rubdown headline at Babylon. Although I was much more familiar with the band than when I first saw them, a set concentrating on unrecorded material made for a night of surprises. As before, though, I was impressed with what I heard. Apart from the bands, this event was also notable for showcasing artist Jack Dylan. His work has been featured on the promotion for this festival, as well as other Ottawa and Montreal concerts in recent years, a few of which had definitely caught my eye before. He held court throughout the night, chatting with fans and selling posters; and he seemed like a genuinely nice guy when I spoke with him. Musically, the night started with Miracle Fortress. Main man Graham Van Pelt took the stage solo, singing and playing guitar over a recorded backing. By the end of the second song, though, he was joined by a backing band that expanded the sound with keyboards, drums, and a second guitar. Some instrument switching over the set would also allow for the inclusion of bass on a few songs. The sound was very dense throughout, with the band sacrificing some clarity for an overall wall of noise, particularly when both guitars were in effect. Miracle Fortress seemed to open up more as their time went on, making for a solid opening slot. After a very brief gap, the middle stanza of the night was given to Montag, an electronic-based solo artist from Montreal. Either I was in a more receptive mood than when I first saw him two years ago (quite possible) or he has improved his performance, as I found him more interesting on this night. He sang over recorded beats, augmenting his sound with an array of instruments, including a cymbal, chimes, violin, and something stylus-based. I'm still not convinced that I'd be a fan of his albums, stylistically; but his lively playing and likable stage presence made for an enjoyable set. The changeover to the main act was notably brisk, with Montag clearing out in a hurry and Sunset Rubdown buzzing about the stage. If not for an unreliable mini-lamp on Camilla Wynne Ingr's keyboards, I think that they would have been playing within fifteen minutes. The motivation for the urgency would become clear when the band mentioned on a couple of occasions that they were tight for time, ultimately trimming their intended set list. There was no cause for complaint, though, as Sunset Rubdown tore through a fantastic set that in no way felt lacking. With a new album scheduled for the fall, I can only assume that the portion of the concert that I didn't recognize was a prelude for that release. If so, I'm sure that it will be another strong album, as those new songs made a great impression. The band also kept the lively crowd engaged with recognizable tunes such as "Snakes Got a Leg" and "Stadiums and Shrines." Singer Spencer Krug is a focal point and there were certainly times when he took the spotlight, such as the start of "Us Ones in Between," with his distinctive voice supported only by his keyboard playing. Krug's playing style is also eye-catching for its aggressiveness; it took him little time to work up a sweat while threatening to dislodge the lamp from his instrument, although he only brought out his headband late in the night. In general, though, the entire band is a force, with Jordan Robson-Cramer's frantic drumming equaling Krug's fast hands. Robson-Cramer also switched roles with guitarist Michael Doerksen for a pair of songs towards the end of the night, demonstrating the versatility of each. Although Camilla Wynn Ingr was somewhat obscured behind her instruments from my angle, her contributions were definitely noted. Like Miracle Fortress, Sunset Rubdown often swelled to a tremendous barrage of instrumentation; but a very good sonic mix kept the players clear and distinct. Overall, it was a great concert from the band, which was in fine form from the opening song through the closing epic, "The Empty Threats of Little Lord." The first night that I caught of the Capital Idea! Festival was a complete success. If the rest of the festival lives up to this standard, Ottawa music fans should be thankful. <--Prev (The Evens) | Next (The Walkmen)-->Return to Concert ListReturn to Main Page |