Marika Hackman’s set at Bar Le Ritz wasn’t what anyone expected, but that’s what made it unforgettable. Billed as a full-band show, visa delays left Hackman without most of her usual ensemble. Yet, instead of leaning into disappointment, Hackman and her remaining crew—a minimal but effective combination of her partner, Art School Girlfriend’s Polly Mackay on keyboards and guitarist Charlie Andrew —turned what could have been a logistical nightmare into a night of striking intimacy and improvisation.
Art School Girlfriend kicked off proceedings with a diverse blend of genres, ranging from electronic and rock to pop and even shoegaze. The setlist includes tracks from her latest album, which feature faster tempos and heavier instrumentation. These intense songs are juxtaposed with some of her older, more mellow tracks, creating a balanced and captivating performance that is both warm and cold.
Hackman opened the night with “Big Sigh,” a track that, true to its title, feels like an exhale after holding your breath for too long. But this sigh wasn’t of resignation—it was more like Hackman’s way of telling the audience, “Yes, this might not be the show we all envisioned, but we’re still going to make it special.” And make it special she did.
“Wanderlust” followed, its haunting melody perfect for a venue as cozy as Bar Le Ritz. It felt as though Hackman was crafting her own kind of sonic cocoon, one that shielded us from the chaos of the outside world. Her vocals, often described as ethereal, felt a little more grounded here. There was a rawness, a vulnerability, that made each song feel personal. “Claude’s Girl” hit that bittersweet note that Hackman nails so effortlessly, leaving the audience swaying along.
When she performed “Cigarette,” the sparsity of the arrangement highlighted just how well Hackman can hold a crowd with nothing but her voice and her guitar. There’s a richness to her tone that makes you forget that the rest of the band isn’t there—her voice fills all the empty spaces.
The set took on a new energy when Polly from Art School Girlfriend joined on keyboards and bass, along with Hackman’s guitarist, Charlie Andrew, for a handful of songs. Suddenly, Hackman’s sound had a new dimension, a layering that was absent earlier in the set. “Gina’s World” came alive with Polly’s atmospheric touches, while “Ophelia” swelled with a subdued but powerful intensity. Polly’s contributions weren’t flashy, but they were just what the set needed to feel fuller without overwhelming Hackman’s natural chemistry with the audience.
Hackman’s signature track, “My Lover Cindy,” hit all the right notes. It was the kind of performance that teetered between playful and melancholic, much like the song itself. You could feel the tension in the room; Hackman has this way of drawing out emotions without ever letting them get too heavy-handed. And while “No Caffeine” could easily be overlooked in a setlist full of bigger names, the live version felt more urgent, its simple refrain taking on new meaning in the context of the night’s minimalism.
Hackman returned to the stage solo for “Before I Sleep,” “Let Me In,” and “Skin,” turning the venue into a confessional booth.
And then came the night’s curveball: a cover of Elliott Smith’s “Between the Bars.” Now, covering Smith is a bold move—his songs are sacred territory for many indie music fans, but Hackman didn’t just do it justice, she made it her own. Her rendition wasn’t as whispered or fragile as Smith’s original; instead, Hackman leaned into her own strengths, adding a subtle darkness to the song that complemented her style without overshadowing its delicate heart.
“The Yellow Mile” felt like a fitting finale, with Hackman’s lyrics weaving through the intimate space like threads pulling the night’s narrative together. By this point, it was clear that Hackman thrives in these stripped-back moments. While some artists need the crutch of a full band to bring their music to life, Hackman seems to come alive when she’s the most exposed.
It wasn’t a flashy finale, but it wasn’t supposed to be. Instead, it was the kind of closer that left the room hushed, the audience processing everything they had just witnessed.
Now, if I had to nitpick—and let’s be real, it wouldn’t be a proper review without some light grumbling—I’d say there were a few moments where the lack of a full band was noticeable. Tracks like “Blood” and “Slime,” which thrive on their more expansive sound, felt a little less punchy. Totally beyond Hackman’s control, of course, so hopefully, we will witness the full band when she next visits Montreal.
That said, these minor dips never overshadowed the night’s overall brilliance. If anything, they added to the charm. Hackman is an artist who knows how to work with what she has, and in this case, that included making the best out of a situation that could have gone south very quickly.
The night felt more like an invitation into Hackman’s world than a traditional concert. And really, isn’t that why we go to live shows in the first place?
Review & photos – Steve Gerrard
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