On a humid and muggy day like this one, arriving early to a show at Black Squirrel Books and Espresso Bar in the heart of Old Ottawa South was nothing short of a blessing to me. Two reassuring words: air conditioning.
The venue was filled with an overwhelming sense of warmth and togetherness—welcoming faces, friendly reunions and collective enthusiasm for the closely approaching show. Three terrific bands, all of them seemingly close friends of one another, about to rock the fuck out of this cozy cafe.
Nashville, Tennessee’s Sad Baxter blasted out their first number under the dim lighting of Edison bulbs. Nirvana was the first thought that popped into my head—the 90’s grunge influence was clear as day. Their light-hearted banter contrasted with the gritty and sludgy tone of their music. The guitar was distorted and heavy, the bass controlling, and the drums (played by Alex Mojaverian) calculated and simultaneously chaotic. Deezy Violet’s vocals meshed with the instrumentals, her voice raspy and filled with longing and understanding. Her goosebump-inducing growls through “Sick-Outt” carried so much sincerity, and during “Baby” were supported by harmonizing from the bassist. Sad Baxter kicked off the show strong and confident, and were a good start to a night of great music and genial people.
It was hard for me to not smile like an complete and utter idiot when Montreal’s BBQT got onto the floor for their set. The power pop posse, ecstatic to be playing back in Ottawa since performing at Ottawa Explosion Weekend (R.I.P.) back in June, also came on with smiles on their faces. BBQT’s charismatic personality seems to possess the power to lift your mood no matter what and make any group of people feel like a family.
The band started off with “PEPSI”, a short n’ sweet upbeat song like many of their tracks. The sound from bassist Mikey Melikey was a thunderous quake that acted as a foundation for the fun, tweety instrumentals accompanying it. It blanketed the strong, catchy melodies and riffs. The sweet twangy-ness and slightly distorted guitar surfed around the bass, baiting it back and forth and up and down.
Bopping to the beat and sporting a string of fairy lights around her guitar was Amery Sandford, who absolutely killed the solos habitually played by guitarist Jack Bielli. Sandford giggled off the occasional slip-ups (which somehow added to their style) and jammed on. Solos mimicked her honest and carefree vocals, which she performed with the occasional wink to friends and family in the audience. Allison Graves passionately drummed a delicate surf beat as the whole venue belted out the lyrics to “HIGH WASTED”. Fun and punky and almost “post-ironic”, BBQT’s vibe made me forget just how damn quickly summer was coming to an end.
Last but undisputedly not least was Lonely Parade, who tonight celebrated the release of their newest LP “The Pits” with Buzz Records. Also based in Montreal, Quebec, Lonely Parade is a post-punk trio composed of long-time friends Augusta Veno, Charlotte Dempsey and Anwyn Climenhage. Going into this set, I wasn’t sure what to expect. To say the least, I was blown away. Their sound was weighty and almost unsettling, but in the best way imaginable. Droning, layered vocals gave me hints of That Dog—though tame, one could catch undertones of angst, determination and yearning. They begged to not be underestimated. Lyrics touched on the struggles and thrills of everyday life, and invoked a strange feeling of nostalgia.
Occasionally we’d get a fun sort of prologue to a song, a story or
experience that inspired the music. For example, “I’m So Tired” was introduced with an anecdote about falling asleep in the car. You could envision yourself there: the stern and fluid bass steering you down a dark road, the guitar intertwining itself with it, often drifting away but always in sight. The guitar riffs kept you on edge, abruptly turning corners but always ending up back where they started. Moods would change as well as tone.
They’d go from a sort of calculated math rock to utter noise and spacey hysteria resonating Pavement instrumentals. It was fucking hypnotic. The drums kept everything moving. They were crisp and frigid and intimidating, sending shocks of icy blue through your veins. The temper the
band created was so intriguing that the crowd refused to let go of it. After some eager persuasion to perform an encore, Lonely Parade closed effectively with “Grilled Cheese”, and it was time to return to the oh-so-fun humidity of the outdoors.
A truly stellar night it was. I urge you to catch at least one of these bands live when they return to Ottawa. Each band, though showcasing different styles, tied together seamlessly and turned the night into a fluent story. Each band was a new chapter and resonated a different mood, but all with the same underlying likeness. An experience like this is totally worth subjecting yourself to the ringing in your ears you’ll hear the next morning. No doubt.