On a chilly December night in Montreal, fans of indie pop music were treated to an unforgettable experience at Le Studio TD. The evening’s lineup boasted two distinct acts: quinnie, the opening act with her distinct blend of youthful vibrancy, and The Japanese House, fronted by the enigmatic Amber Mary Bain, known for her ethereal soundscapes and poignant lyricism.
The evening kicked off with quinnie, a rising star in the indie music scene who we interviewed earlier this year. Despite her relatively new entry into the spotlight, she commanded the stage with a presence that was both delicate and powerful. Her performance was a study in contrasts; her youthful, high-pitched voice delivered lyrics that delved into mature themes with surprising depth.
Her setlist included tracks like “Itch” and “Touch Tank,” which showcased her ability to juxtapose sweet melodies with candid lyrics. Seated throughout her performance, quinnie created an intimate atmosphere reminiscent of a personal storytelling session. She engaged the audience with heartfelt dialogues and sharing anecdotes.
Following the warm intimacy of quinnie’s performance, the stage was set for The Japanese House. As Amber Bain took the stage, the shift in energy was immediate. Bain, with her distinctive style that blends dreamy, expansive tracks with deceptively simple lyrics, captivated the audience from the first note.
The setlist primarily featured songs from her 2023 album “In the End It Always Does,” taking the audience on a journey through a range of emotional beats. Her performance was less about direct interaction and more an immersive musical experience. Bain’s ability to convey deep emotion through her music was evident, as each song seemed to resonate with different segments of the audience.
Bain’s live renditions brought a new clarity and dimension to her recorded sound. The bass and saxophone, in particular, stood out, providing a rich underpinning to her contralto voice.
Highlights of the night included the audience’s enthusiastic singalong to “Boyhood” and the emotionally charged performance of “I Saw You In A Dream.” The latter, marking a significant shift in Bain’s musical journey, was delivered with a passion that echoed throughout the venue.
As the set neared its end, “Dionne” emerged as a melancholic yet powerful track, showcasing Bain’s ability to blend sorrow and strength in her music. The song, which she collaborated on with Justin Vernon of Bon Iver, was a perfect encapsulation of her artistic growth.
The evening concluded with an encore that included “One for Sorrow, Two For Joni Jones,” a tender ballad dedicated to her dachshund. This performance, stripped back to just keys, guitar, and sax, showcased Bain’s ability to create a deeply personal and emotional connection with her audience. The angelic light filtering through the smoke machines added a surreal quality to the performance.
The final track, “Sunshine Baby,” co-produced with Matt Healy of The 1975, lightened the mood. The audience sang along with gusto, their voices filling the venue with a sense of unity and celebration. Bain’s interaction with the crowd, throwing guitar picks and sharing playful moments with her bandmates added a personal touch to the performance.
This was a celebration of indie music at its finest. quinnie’s delicate yet powerful performance and The Japanese House’s dreamy tapestry of sound created an evening that resonated deeply with everyone present. It was a night of musical storytelling, where each note and lyric told a story, and each song was a chapter in a larger narrative of emotion and artistry. For those who experienced it, it was a concert that will linger in their memories.
Setlist
Sad to Breathe
Touching Yourself
Something Has to Change
Morning Pages
Follow My Girl
Saw You in a Dream
Boyhood
You Seemed So Happy
Baby goes again
Over There
Friends
Worms
Chewing Cotton Wool
Maybe You’re the Reason
Dionne
One for sorrow, two for Joni Jones
Sunshine Baby
Review & photos – Steve Gerrard
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