I am always excited to discover new music and have made a conscious decision to explore new genres. I never wanted to be one of those people who got stuck in the past and only listened to oldies. So, the irony of discovering old-time roots/folk banjo music now from a young Montreal artist isn’t lost on me.
Kaïa Kater’s new album Strange Medicine has brought me on an unexpected journey that I didn’t know I needed. After interviewing her last month via Zoom, I felt a deep connection to her music and her words and looked forward to meeting her in person.
When I arrived at La Sotterenea I heard a sweetly familiar voice and popped into the restaurant where Kaïa was eating dinner. She immediately stood up and gave me a warm hug, like we were old friends.
I was then greeted by friendly faces from AIM who were hosting the event. (Arts in the Margins is a nonprofit organization dedicated to uplifting the community through the arts.) I had never been to this venue before, and although it was small and dark, the mood was light and welcoming. Finding a seat right up front, I adjusted my camera settings for a while until the opener began. It was pitch dark and there was no Wi-Fi connection in the small basement theatre.
Thanya Iyer appeared a little after 8:30 and warmly addressed the audience as though she knew each and everyone of us. I’m not familiar with her work and unsure how to describe her eclectic style. Accompanied by a guitarist and harpist, she alternated between keyboard and violin. Her vocals were ethereal and strong and her sound was soothing.
Finally, a little after 9:30, Kaïa casually appeared on the stage and began arranging her instruments and tuning her banjo. The crowd began to cheer, and I felt all the energy begin to shift. Plucking slow and steady on her banjo, her gentle voice carrying the weight of sombre lyrics, she opened with Nine Pin. It was as though a curtain had been lifted and a deep stillness filled the room as we all clung to each note. Without moving or raising her voice, Kaia delivered a sucker punch that left me a little disoriented. The last time I felt that trippy at a show was when I saw Dominique Fils-Aimée. (Iykyk)
Kaïa was Joined by Andrew Ryan on upright bass and Allison Burik on saxophone, who both played beautifully, bringing each song to life and adding their own unique sound. On that note, I need to talk about that lilac electric banjo who was making her “maiden voyage” on this tour. It was custom made by a Montreal company Daddy Mojo Instruments. I have never seen anything like it and its tone was unreal.
She then switched it up, treating us to a humorous backstory with the ease of a seasoned raconteur. Witty yet vulnerable, Kaïa described how, during the pandemic, she would do live stream performances for money. It helped ease her isolation and anxiety, and she really looked forward to them, yet one day, 4 minutes before going live, she knocked over a glass of water onto her laptop, and it fizzled and died. She then muttered “fucking internet” and sang one of my favourites, The Internet.
Unveiling another layer of her extraordinary storytelling skills, Kaïa performed the haunting Often As Autumn a capella. It was the only song where she didn’t play a guitar or banjo. I loved how she offered history lessons on old-timey songs like Little Pink or schooled us on Fédon’s rebellion against British rule in Grenada (1795-96)
Closing the show with In Montreal, Kaïa and her bandmates were beaming at each other and truly enjoying the moment, as was the crowd. It was a very different type of show that I’m used to. It was more than a musical performance. Kaïa shared stories that were personal and historical, preserving the magical tradition of folk music. I felt like a child sitting in my favourite class (English Lit.), experiencing a whole new world opening up. I left that dark basement venue full of hope and wonder, remembering my college years. So long ago… When I didn’t know that learning was limitless as long as I kept listening.
“there are years you’ll lose and find yourself in Montreal”
Setlist
- Nine Pin
- The Internet
- Maker Taker
- Often As Autumn
- Mechanics of the Mind
- Little Pink
- Undone in Sorrow
- History In Motion
- The Witch
- Fédon
- In Montreal
Review & photos – Annette Aghazarian
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