The crowd was out early, with lots of buzz. ‘68 drew a lot of attention for an opening act. With just vocals, guitar, and drums, ’68 creates a sound that feels massive, blending punk, blues, and garage rock into something gritty and powerful. It’s Iggy Pop meets Dead Kennedys energy, and everyone wanted to see how it translated live. Frontman Josh Scogin’s stage presence is captivating—swinging his guitar, climbing on amps, standing in front of his mic like he’s ready to attack. If you’re the type of person that finds beauty in chaos, this was for you. You’ve got to love it when the opener feels like they could’ve been given another 30 minutes and the crowd would’ve cheered.
But alas, we gathered here to celebrate ten years of Protest the Hero’s Volition. Technically, it’s eleven years old, but let’s not tell the marketing department that. The band hit the stage with their usual frenetic energy, banging out “Clarity” and “Drumhead Trial” right out of the gates. No waiting for the bangers on this night. It was going to be one of those shows where the album is played in its entirety, in track order.
Rody Walker is, without a doubt, the most fun frontman in metal. He can deliver a gut-wrenching scream with a mischievous grin on his face, and it’s mystifying. It’s a mix of fun and chaos that would make the Joker proud. He always endears himself to the crowd with childlike energy, except when he’s talking about his hometown Toronto Maple Leafs. But he’s got enough charisma that he gets away with it.
I’ve got to single out Matt Huber Kidby’s drumming, which was a force of nature in itself. His ability to navigate the intricate rhythms of Volition with speed, accuracy, and finesse was nothing short of awe-inspiring. This is the album that was recorded with Lamb of God drummer Chris Adler and is a challenge for any drummer, but he shined.
Volition isn’t the band’s most commercially successful album, but it is the one that is most appreciated by other musicians. It’s a technical tour de force that requires heavy chops and perhaps a degree in advanced mathematics. A feat to pull off live, especially with the rotating cast of musicians the band has seen in recent years. The band was tight, as if it was the same lineup that had been together for decades.
It was an appreciative crowd rather than your usual metal mosh. The material demanded attention to be properly appreciated. That is until we got to the encore, and the band reached into the way-back machine for “Sequoia Throne” and “Bloodmeat.” If those don’t get your head banging, you’d best check your pulse.
We were sent home with big smiles and a belly full of metal. We lived. We laughed. We screamed in unison. Prog metal was alive and well in Montreal on this night.
Review – Richard Brunette
Photos – Ryan Rumpel
