Kicking off this energetic night was Washington, DC-based Teen Mortgage. I found it pretty amusing that Death From Above chose a clone of themselves to open the show; another guitar/drummer duo with a similar gritty sound. They were the doom-metal-meets-garage-punk equivalent of DFA1979. This band filled the room with raw, energetic vocals, fuzzed-out guitar riffs, and relentless drumming. Despite being a two-piece, Teen Mortgage packed a serious punch and charged up the audience for what was to follow. Although by the end of their set, I did begin to grow a bit tired of their sound, I still believe they were a perfect choice as an opener!
It’s not often you get to witness a band play the entirety of their debut album, especially one as iconic as You’re a Woman, I’m a Machine. When an opportunity to see these songs live presents itself, you take advantage—it’s hard to know if it’ll ever happen again. This evening, part of the anniversary tour for their debut album, was special for the band and the fans alike. Vocalist/drummer Sebastien Grainger let the audience know several times about the important ties their debut album has to Montreal. The fact that the duo recorded all the vocals for the album in our city and lived here throughout the years made it obvious that Montreal holds a special place in their heart. They consequently gave this performance their 110%.
The air was thick with anticipation as the lights dimmed, and the opening throb of “Turn It Out” shook the walls, setting the stage for what was to come. The audience was immediately electrified; it took no time for the pits to form. From the first bass riff to the final drum smash, the chemistry between Jesse Keeler and Sebastien Grainger was palpable. Despite the stripped-back, raw nature of their sound, they played with the precision of a machine (pun intended), not missing a beat while leaving plenty of room for mayhem.
“Romantic Rights” was an early highlight, sending the crowd into a frenzy with its thundering grooves and Grainger’s unhinged vocals. You could feel the tension building in the room as the audience chanted along, completely immersed in the moment. Tracks like “Black History Month” offered some relative peace amidst the chaos, bringing out the more melodic side of the band’s catalogue. Keeler’s basslines pulsated hypnotically, while Grainger’s drumming was relentless yet calculated. It was a reminder that beneath all the noise, DFA 1979 knows how to craft songs with real emotional weight.
“Pull Out” was a show-stopper. The energy of the show peaked as this song’s ferocity blended with the audience’s adrenaline. It served well as the penultimate track of the album before bringing us back to earth with the more nuanced “Sexy Results.” This song wrapped up the album portion of the show with a nice bow, while simultaneously giving the audience a breather before resuming the energy.
The band had another nine songs up their sleeve past this point, selected from across their career. “Freeze Me” has always been a personal favourite of mine, and being able to share my love for that track with other enthusiastic fans was a moment I’ll never forget.
By the time the final notes of the encore rang out, everyone knew they’d witnessed something special. More than a nostalgia trip, this was a reminder of why DFA 1979’s debut still resonates today. Their music may be loud, but it’s never just noise. The passion is clear, and it’s felt by the audience.
Setlist
- Turn It Out
- Romantic Rights
- Going Steady
- Go Home, Get Down
- Blood on Our Hands
- Black History Month
- Little Girl
- Cold War
- You’re a Woman, I’m a Machine
- Pull Out
- Sexy Results
- Nomad
- One + One
- Virgins
- Modern Guy
- White Is Red
- Freeze Me
- Trainwreck 1979
Encore
- Crystal Ball
- Dead Womb
Review – Michael Anestopoulos
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