On Thursday night, crowds escaped the damp, rainy Ottawa streets and piled into a dimly lit Bronson Centre to witness an evening of ambient, atmospheric music. Headliner Timber Timbre visited Ottawa for the fourth time in 6 years along with support from Ottawa’s own Boyhood Scattered Clouds.
Scattered Clouds took to the stage first, rising out of an ascending red fog. Performing as a 2-piece band with Jamie Kronick on drums and Philippe Charbonneau on guitar, keyboard, and vocals, this band was the most surprising act of the night. In terms of style, Scattered Clouds describe themselves as “dark, experimental, and post apocalyptic.” These characteristics could not be more fitting. Beginning their set with a heavy presence of baritone guitar and an emphasis on drums driving the synths, the band achieved a sound that could easily be equated to a modern day embodiment of a Joy Division b-side album, with an “Ian Curtis- esque” vocal tone. The second half of the set however, transitioned into an emphasis on synth and a precision in instrumentation. Creating an atmospheric 80’s dance vibe, the band achieved a type of lo-kfi sound that left the audience in a state of euphoria. Waking from this set with the harsh Bronson Centre lighting was like waking out of a heavy, romantic dream.
When the lights dimmed again, our good pals Boyhood took to the stage. Clad in flared pants and turtlenecks, Boyhood did not fail to deliver their staple moody, noisy sound. As always Caylie Runciman delivered raw and airy vocals that harmonized beautifully with her band, and provided an emotional and unpolished set completed with songs that morphed and melted into one another. Giving us a taste of what is to be expected from the upcoming album Bad Mantras, which will be the bands first album since 2012, the set featured the bands catchy “Drivin’” and “He Don’t.” Beginning with keyboard, Caylie swapped over to guitar midway through the set where she went to town in an emotional and raw guitar solo. It’s easy to get lost in a Boyhood set, and this was no exception.
Last but not least, Timber Timbre finished the night in almost total darkness, with only subtle lighting sweeping the stage. A glass of liquor sat idled on an amp to the right, Taylor Kirk began playing what seemed like it would be the entirety of his most recent work, Sincerely Future Pollution. However four songs in, the set took a detour towards an intermingling of a huge sample of his work, ranging from his self titled back in 2009 to his most recent. Detouring the set with Hot Dreams, the band’s instrumentation, and deep, sultry vocals, the song was delivered with a raw, sensual and emotional demeanour.
This specific Timber Timbre performance was unlike many others. His previous shows in Ottawa, which included a performance in Ottawa’s first Baptist Church in 2011, a set at Folk Fest in 2012, where he performed alone with a kick drum, and even his set at Jazz Fest in 2015, stuck pretty tightly to the delivery of the songs on the album. However, this set tended to use the style in the albums as backdrops for experimentation and improvisation with melody and pace during the performance, providing unequivocal authenticity. Most notable in this performance was the “Curtains?!” jam session that lengthened the song by about two extra minutes with intense instrumentation. The night ended with a 3-part encore beginning with “Grand Canyon,” that delivered an expressive and theatrical but emotive and raw finale.
This show captured a unique energy that seems to have been strengthened by the uniqueness of all the bands but also the ways in which they played off of one another. They each brought an atmospheric sound and seamless instrumentation, as well as a hard punch in the heartstrings with their raw vocals, lyrical movements, and honest and authentic delivery. The perfect ambiance to fit the creepy environment that is the Bronson Centre on a rainy evening, this show was not one to miss.