If there are 2 albums that define Canadian hard rock in the aughts, it’s Alexisonfire‘s Crisis and Billy Talent‘s II. If you told me we were here to celebrate the 20th anniversary of these 2 behemoths, I’d call you a liar, cause if they’re 20, that means I’m old. Actually, checking my sciatica, maybe that’s right.
Before we got to the nostalgia though, Montreal’s own FAZE took the stage. They were a fun opener, some groovy metal that the kids could dance to. The already packed house showed them lots of love.
There are some songs that are just made to kick off a set. Songs that take proceedings from 0 to warp speed in a split second. Drunks, Lovers, Sinners and Saints is an injection of adrenaline straight to the heart. It’s the musical equivalent of Team Canada punching both Tkachuk brothers in the face on the opening faceoff.
If you know the album, you knew the next song was the ubiquitous This Could Be Anywhere But Here, which had the crowd jumping from the opening beat and singing to the chorus like they were haunted by musical ghosts.
I thought back to when I first heard these songs live, 20 years ago at the then-Metropolis, with Every Time I Die and Cancer Bats; this band has come a long way. Their live sound has grown without sacrificing the sheer chaotic energy they bring to the stage, which is probably why they’re playing the Bell Centre 20 years later. While things change, I’m happy to see that George Pettit still screams like an angry goose (Canadian, of course) in a black polo, in case something semi-formal breaks out, always prepared. There’s something charming about it.
We Are the Sound features one of the best singalong parts in metal. Every time we sing our black little hearts out and George tells us it’s dogshit and makes us do it again. I’m beginning to think the system is rigged, cause we nailed it the first time. No one complained about doing it again though, so fair on him I guess.
You Burn First was a rare slower moment, where the mood slowed down and the pit got to simmer at a 6. That was short-lived, as we were on high adrenaline for the next few.
Dallas Green started To a Friend with a haunting a cappella of the pre-chorus, reminding us he’s the angel to George’s demon. While a full moon donned the big screen, he howled like a wolf to Rough Hands, the world’s most violent live ballad.
With that, Crisis was averted… I mean over. The band went home… nah… there was a lot of other good shit that was on other albums we needed to rock out to, but Wade MacNeil came out with a bold statement. He said he’s been living in our fair city for 2 years now and that the Orange Julep has the best poutine in the city. He got booed, as he should, and we respectfully waited till his set was over before we called the authorities to have him committed.
We actually forgot his blasphemy cause we all got to chant the “wo-oh-ohs” from Accidents and we were happy again. He also told us a new album was done and would be released before the end of the year. Fine, you’re forgiven, but my offer to bring you on a poutine tour of the best poutine in the city stands.
The set closed out with Sweet Dreams of Otherness and Young Cardinals. I’d say it was a pretty good night but we had another Canadian icon to go.
Billy Talent comes out with the energy of that kid in the bus who just can’t sit still. Devil In a Midnight Mass is another absolute banger to kick off the set with. On top of its frenetic opening riff, we all get to yell “whisper, whisper, don’t make a sound.”
There was a time when I think a significant portion of Canada’s youth would’ve voted to change our national anthem to Red Flag. Listening to the crowd, they still might, as tax-paying adults. Might even hit harder.
Father Time may be undefeated, but Billy Talent is putting up a hell of a fight. They still look like they did 20 years ago and haven’t lost a step. Ian D’Sa’s pompadour had not moved an inch in 20 years.
As This Suffering started, it was apparent that the crowd was going to sing every word of every song.
Ben Kowalewicz took a moment to gather a cheap pop by reminding the crowd that although the band formed in Toronto, Montreal is forever his home town.
Pins & Needles had some extra nostalgia as the screen played footage of the band 20 years ago, playing the song with the exact same poses, a time-travelling odyssey. This song brought back feelings for anyone who had a breakup in ’06-’07. Shout out to all those exes.
Very fitting that in the Bell Centre we get the anthem of Canada in spring, Fallen Leaves, I never understood why they spell it leaves though….
Covered in Cowardice made a bold statement that the song is just as relevant today as it was then. The screen flashed unflattering images of the MAGA orange and his secretary of war crimes, as well as some local shame for our very own Pierre Poilievre.
Okay, I know I’m repeating myself here, cause I said the crowd and everything, but they were particularly loud for Surrender. I think the girl in front of me was having an out-of-body experience.
The scene became engulfed in fire for Burn the Evidence. It was a fitting send-off to the album.
The nostalgia wasn’t over though. Rusted from the Rain got those member berries hard. It’s on K-Tel’s singalong classics for angsty Canadian teens.
Just in case you had vocal cords left, they threw in Devil On My Shoulder. While the bassline rolled, Kowalewicz felt the need to mention he’s a Leafs fan, which after the boos, sent the crowd into the most disjointed Ole chant Montreal ever did produce. Look, we’d been screaming for 3 hours, give us a break.
Start with a banger, go out with a banger, my grandma used to say. She would’ve approved of going out with Viking Death March, and so did the crowd.
I’m a big fan of the “we’re going to play our album front to back” format. There’s a familiarity to it. It’s the ebbs and flows you’re familiar with. One song ends and you’ve already got the next opening riff in your head. It’s combining familiarity and nostalgia, two of the strongest triggers to the pleasure centres of our semi-evolved monkey brains.
The trick to doing it though is that you have to have a banger album with no filler or skips that ages like a fine wine. Not many bands have that. To get 2 homegrown bands coming together to do it, on the very same day Protest the Hero dropped a metal album of the year contender? Oh! Canada!
Review – Richard Brunette
Photos – Andres Amaya
