At night one of Big Thief’s two-night Somersault Slide tour stop in Montreal, the room skewed millennial, although I spotted two indie sleaze kids huddled outside with their wrists pressed together hoping to transfer a stamp. I get it. Tickets started at $60. In return, show-goers were treated to a two-hour set.
Big Thief opened with “Spud Infinity,” sped up to a tongue-twisting rhythm. Lead singer Adrianne Lenker sang it twice, first stepping away from the mic for an almost inaudible practice run-through. The band was relaxed and connected by this loose feeling that lay somewhere between a set list and a jam session, allowing for a glimpse into their chemistry and process.
Folk indie heavyweights Big Thief have walked the tightrope between commercial success and cult status for over a decade. Of course, they don’t care about all that. Their latest album “Double Infinity” is a warm, introspective record. Departing from the unconventional chord structures and twisted vocal delivery they are known for, this record’s relaxed musicality is elevated by complex lyricism.
Lenker as usual stood on vocals and guitar alongside guitarist Buck Meek and James Krivchenia on drums. Multi-instrumentalist and tour opener Ben Lamar Gay on string bass filled the gap left by bass player Max Olearchik, who exited the band in 2024 after nine years together. His deft musicality and improvisational skills were a great addition, although at times Lamar Gay was nearly drowned out by the guitars.
A few years back a friend had bemoaned her Big Thief experience in London. “They only played their new stuff.” Not only that, they flat out refused to play “Paul,” or whatever fan favourite the crowd asked for. Those days are gone. The band cycled through tracks reaching as far back as 2016’s Masterpiece. It was heaven for the long-time fan, and for the most part, the crowd knew the words. They danced to “Vampire Empire” and “Shark Smile” alike.
Lenker even surprised with a performance of “zombie girl” off her solo project songs, and “Real House” off of Bright Future. She forgot the lyrics to the former mid-verse but the crowd helped her pick them back up.
I must admit I was coming down with tonsillitis and not in the mood to stand for two hours, but discomfort aside I couldn’t shake the feeling that something felt flat – the chicken was free-range, but unseasoned. “Real Love” didn’t hit as hard as the studio version as Lenker delivered a more cautious vocal performance. A shushing war started during “Real House,” which is a shame because the lyrics often make people cry – “I wanted so much for magic to be real.” I had the feeling I was watching a two-hour jam session held together by friendship and the audience’s closeted nostalgia for the stomp clap decade. Which isn’t a bad thing, it’s just not mine.
There were still moments of primal release, like some delicious shoegaze crashouts during “Shoulders” and the end of “Dragon New Warm Mountain.” Lenker delivered some truly nasty guitar solos. And the crowd was the fifth performer, filling in the generous space created by the band’s trust in the audience. That trust was well-placed. Montreal has real love for Big Thief.
Review – Irene Wang
Photos – Steve Gerrard
