Time was suspended Thursday at the Imperial. With rock vintage Sheepdogs, delivered with skill and precision, we were not in 2016, but rather somewhere in the 70s, to our delight.
The Canadian quintet fully assumes its retro dimension, ranging from his time at his clothing equipment, including of course in his compositions. No doubt that after a dozen years to shape this world, he has to wonder. But vintage packaging or not, the quality of a show based primarily on its structure and the quality of performance. The guys had nothing left to chance: they arrived with a show run in from the hip, where parts succeeded the most natural.
The troupe of Saskatchewan – care had been taken to put a flag in the province on the Hammond organ – opened gently with Where I Can Roam, before moving into second gear on I’m Gonna Be Myself who has everything triggered on the approval of the audience. We could now see how the machine is well oiled Sheepdogs: the musicians were in sync as possible and the singing of Ewan Currie invariably impeccable, supported by the choirs of his cronies.
That is always a sign of a healthy group when the latest album is publicly known and certainly the audience knew the key titles Future Nostalgia, which formed the backbone of the show. I must say they worked, for I Really Wanna Be Your Man simple Downtown. The group also delved into his past repertoire, including a muscular out The Way It Is, in addition to the Allman Brothers back in return.
And if they have generally concise compositions, the Sheepdogs does not shine less in the performance of their equipment. Marriage guitars Ewan Currie and Jimmy Bowskill, who also handled the pedal steel, resulting in good times, especially on Take a Trip, where the two men allowed themselves the “twin solos.” Currie Shamus to the organ and electric piano for his part shone when he took a paper clip to Help Us All exhilarating.
Also depends on what the 70s rock Sheepdogs, he perfectly fly in 2016.
First two parts
Acadian forming Hilaire The Hostess was responsible for opening the evening. The troupe has put forward its rock psychedelic contours on which the eccentric bearded Serge Brideau, duvets and wearing dress chanted his words lingering sometimes over-consumption, sometimes to the obsession of social networks. The troupe has gradually won the public with his equipment delivered with humor and aplomb.
Montrealers Beat Cops, who followed, were perhaps not as colorful, but was entitled to accomplished musicians. The band meets in fact the former Priestess Mikey Heppner (vocals, guitar), ex-Stills Tim Fletcher (bass, vocals), former Trigger Effect Patrick Bennett (guitar) and drummer Max Breastfeeders Hébert. Their group has gradually established its own universe and demonstrated the extent of his knowledge, with muscular segments, melodic instrumentals.