Photos by Sara Osmanovic
I managed to get to Ottawa Explosion earlier than expected and in time to hear the very last bit of Preemptive Eulogy. I was greeted very kindly by Sacha of Sally Ride and we stood together as the previous band finished.
While local band Sally Ride began to set up, photographer Ming Wu and I sang to “Don’t Stop Believing” and got into the great ‘which movie is better’ debate. There wasn’t a moment that afternoon where I wasn’t smiling and enjoying myself.
As soon as Sally Ride began, I jumped to action. They’re quite the “go with the flow indie band” that seemed to hold fragments of a bohemian soul within their sound. It’s the perfect sound for long summer road trips. In fact, it’s probably what you’d play while rolling down your car window and driving through a deserted valley area somewhere warm. This was their first show, and despite how nervous they were, they hid it well. The music was infectious and it became impossible not to dance or sway to the beat of the songs.
The vocals were smooth but not in a perfect and polished way, which added character to the performance. There was a keyboard being played for the first little bit but that dropped off and got switched out for another guitar. To really set the tone of their performance and give off a taste f their personality, they played the theme tune of Buffy The Vampire Slayer and someone picked up the task of bubble blowing for them during their light and airy performance.
After Sally Ride came the Empty Nesters, another local band. They didn’t particularly move around too much but their music made a mark. It’s the sound of gritty rock attic demos recorded on a cassette tape. With these guys, no two EP’S or albums sound the same. This time, they were loud, garage rock with soft voices that resonated across the courtyard and down the street. The band has songs that get softer and quieter, reduced to vocals, only to pick up with a loud booming sound and jump right back into a fully energized performance.
They’re full of distorted fuzz but in the most lively way, and they manage to keep the energy contained. It’s the music that you sway to and give no shits about the fact that you’re holding your beer and might spill it. They take you into their own world and away from the one you’re currently in. A sound with much reverb, a boisterous drum beat, and the perfect amount of discord thrown in, it offers a refreshing the garage rock scene.
It’s noise but it’s the noise you want to hear. The noise that will leave old folks waving their fists in the air and saying “those darn kids!” and leave you wanting to hear more of their hypnotic tunes.
A band from Calgary, AB, by the name of The Shiverettes played promptly after. They’re an angry feminist punk band that’s out seeking justice for the misogyny faced day to day. They’re a band that get you on your toes, and jumping around. Their songs expel immense amounts of energy and anger that the audience feels down to the core.
The band consisting of three females and a male drummer conveys the struggles women face in life such as the things asked when a women reports sexual assault, the catcalling that they have to endure on the streets, and fundamental rights being taken away or not taken seriously. The anger and frustration in the screams of the lead singer really convey the emotions that women hold rooted deeply and it projects onto the crowd so well that despite the catchy and punk power chords there’s an impact left on every member of the crowd. They scream in favour of those who don’t have a voice or can’t speak up about the pressing issues in society.
They’re aggressive, but not in your face. Their points come across effectively, and loudly. If you think women don’t have voices, think twice because this band will blow you out of the water with how powerful theirs is.
Toxic Thoughts is loud, angry, in your face, and aggressive all with good reason. They voice the volatile thoughts that we have about ourselves, though it’s more so on a personal level with them. They get the crowd roaring and throwing themselves into a mosh pit at an alarming rate. The drums are well played and clearly a good part of the backbone of the song structure. The guitar seems to follow the bass line and the way the mass of noise comes together to form something so beautiful yet so full of frustration leaves you in mystery of how much anyone had to go through to be able to produce what’s essentially pain packed into music. The band toys with controlled feedback and they have managed to tame that beast. Not only is it difficult to produce it unless you have the right equipment, but it’s also very possible for it to get out of control. Their song “The Void” really showcases this, making the controlled feedback the spotlight of the song along with the bass lines.
The amount of talent that extends to minorities in music and the many different genres the festival showcases, there is something for everybody to come see. No stone should be left unturned when it comes to this festival as there is something for everybody.