At the start of June, Arkells rolled through Montreal on a warm, fun-filled wave of good vibes and banging tunes. The Canadian alternative rock mainstays have been touring their new album Between Us across North America and landed at Theatre Beanfield for a night of rock, dance, and DJs.
Opening the night was Ernesto Barahona, a trombone player/DJ who uniquely mixes his beats over groovy basslines and Top 40 hits while also adding in a healthy dose of his own playing. Barahona has been a regular touring member of Arkells for the better part of a decade and was pulling double duty throughout the two performances. His choice of tracks proved effective at moving the crowd. Employing songs from Fleetwood Mac, The Killers, ABBA, and others, he got people bouncing and kept the energy high, using seamless transitions between tracks that gave the room a fun club night vibe. This was highlighted especially whenever he went for a trombone solo, which brought on roars from the receptive audience.
It was a bit of an odd pick to start the night, though. Arkells used to cut their teeth on punch-and-go, bluesy rock anthems, so there comes a certain feeling of disconnect from their roots when a club DJ opens by playing remixes of 40-year-old songs. Overall, it could have been nice to have a local act also on the bill to satisfy that rock itch. Although, to their credit, it seemed to work for the fans, as most of the dancefloor was alive and bopping to the familiar hits and feel-good spirit.
Anticipation was high when the members of Arkells took the stage. Like a freshly popped bottle of cold soda, the band exploded out to their stations and kicked off their setlist with Next Summer. The song serves as opener on Between Us and includes piano chords and chimes reminiscent of the great Bruce Springsteen, who they would later cover. The theatre was rocking and filled with smiles as frontman Max Kerman hopped the barricade to perform Ride from within the audience. There was a lot to enjoy early on: polished guitar solos, stellar piano work, and a crowd singing new tune Imagine Barcelona back to the band were among the first highlights.
After a handful of songs, Kerman took to the mic to explain the plan for the evening. First, they would play their new album in full, then after a brief break, they would come back out for a second set of hits. This choice inherently brings a host of pros and cons to it. For newtime listeners and longtime fans, it leaves you somewhat “out” of the show until the second act. Of course, what better way to listen to the new album than live? Besides, still getting to hear those classics later on satisfies the nostalgic highlights of their long career.
Kerman further explained that this choice was brought on because they’ve been fortunate enough as a band to be told certain songs or albums really defined, or even helped, people throughout their life. Often it’s not the usual hits either, but instead the deeper tracks where people find the most meaning. Resonating with that, they decided if they don’t play their new material live, or only a handful of the new songs, then people might not ever hear those deep tracks that could eventually mean something special to them.
And for Arkells, it’s been a long career filled with special moments. Sometimes it’s hard to remember that the band started way back in 2006. Between Us is their eighth studio album (not counting Campfire Chords and Disco Loadout Vol. 1), and it delivers on the promise of the usual Arkells goodness. But upon first listen, it doesn’t reach out and grab one’s attention like some of their previous efforts. There is a “sameness” to a lot of the tracks, and an overall tone that feels like too many influences are being thrown together at once.
There are plenty of bright spots that are reminiscent of the band’s early records, for instance, the gospel-like backing vocals on Universe Talking or the groovy horns found on tracks like What’s on Your Mind. The latter was notably accompanied by Barahona, who led a march through the crowd, trombone blowing skyward. And throughout the night, the audience properly responded to the energy the band was exuding. Often it seemed as though any part that could be sung along to was. There were big cheers as the first set came to a close, and a growing excitement for what was to come.
After a short break, the band was back to rocking and took no time busting out their hits. Knocking at the Door is the type of song that instantly reminds you why this band was everywhere a handful of years ago. Kerman remains the ever-energetic frontman. He dances with jazz in his step as his charisma carries him across the stage. He bounces off his tiptoes, sends himself and the mic stand teetering on an edge, just to rock back together each time.
Unfortunately, the strength of this song, the rapping drums, and bellowing horns that demand to be heard leave one the revelation that Between Us is sorely lacking a true anthem. Indeed, the first hour of the show somewhat paled when compared to the second, as fans frenzied over the longtime beloved tunes.
As the night went on, Kerman left the audience with one last message. It was one of gratitude and love. He spoke on the special nature of live performances, of community, and what it means to bring people together for a night of entertainment. The feeling was mutual, as the crowd let out big appreciative roars during the encore performances of Dancing in the Dark and finally On Paper. Leaving the venue, one could feel the happiness in the air. As couples of all ages, kids, and friends exited through the large double doors, it was evident that this band continues to mean something very special to a great number of their fans.
Review – Simon Wellwood
Photos – Ryan Rumpel & Simon Wellwood
