Last Thursday, Patrick Watson played the first of four sold-out shows in one week at Montreal’s MTelus.. I had never seen the artist in concert, and I was floored by his talent. He had his eyes closed most of the time as if overtaken by his music. I couldn’t help but absorb his never-ending passion for song.
Opening was surprise guest Lisa LeBlanc. Saying Watson had texted her last minute to invite her, she shared with us her disbelief. “I have been a huge fan since I was like seventeen,” she said. Her carrying voice and banjo warmed up the crowd beautifully. I felt the feet of the people in the pit stomping along to her serenades.
As she announced that she would be performing her last song, the headliner himself came onto the stage, signalling her to play two more.
The first piano chords of “Better in the Shade” were played as the band was still hidden behind black curtains. The soft voice of the singer reached us before the lights had completely dimmed. The stage was slowly revealed, and a transparent veil in the forefront had videos projected onto it. Interpreting “Dream for Dreaming,” he brought out his muppet from the music video. Pointing the little guy towards a live feed, we could see it singing to us.
All along, rays were projected in colour, confetti, and dance on the walls of the venue.
There was a collective cry when the singer-songwriter finally got up and asked us how we were doing. On the balcony, people had their arms reached up so that their applause could reach the stage.
The wave was accompanied by sounds of water crashing. The music throughout the night was echoes, emotion, screams, and beauty. Patrick Watson’s orchestral sound translated so well to the live music setup. Almost every song starts out with piano and ends with an apogee: the bass and the fired-up band.
In the crowd, I noticed people swaying and moving their heads. I saw some looking around, asking with bright eyes, “Are you feeling this too?” Two teenagers were dancing beside me until the end of the show.
Interpreting “Melody Noir,” they closed all the lights. Watson, La Force, and Mishka Stein sang huddled in front of a single microphone as if around a campfire.
I was charmed by his random cries of joy piercing through to us and the various anecdotes he shared. Another highlight was when he asked us to imitate the violins and bird sounds.
For the encore, he brought out Klô Pelgag. “What a great way to close the show,” I thought, but the musician had something else planned for us. He walked past me in the audience and put on a sort of backpack made of lamps. He sang us a last song as he walked through the people towards the exit.
Leaving the theatre, I heard someone saying they were happy to have seen some real art that night, and I couldn’t agree more.
Review – Delphine Precourt
Photos – Steve Gerrard
