The Dandy Warhols Go The Distance at Le Studio TD

The Dandy Warhols’ setup at Le Studio TD

2024 marks 30 years of The Dandy Warhols. The Portland psych-rock group have achieved a truly remarkable feat, with 11 studio albums and two compilations thrown into the mix. But with such a legacy comes the responsibility to uphold it, which poses its own challenges; many musicians hide behind the enduring glow of their greatest hits, while others grasp so tightly onto the notion of reinvention that it slips through their fingers. Where do the Dandy Warhols go from here? 

Last night at Le Studio TD, they attempted to chart this very course. Montreal marked the halfway point of The Dandy Warhols’ Spring 2024 tour, with this stop falling just days before the release of their twelfth record ROCKMAKER. An occasion full of promise for the Dandys and their devotees – and one that fortunately (mainly) delivered.

The Dandy Warhols capitalized on a roaring welcome by settling nicely into “Ride,” dousing the audience with a sea of shoegaze. Keyboardist/percussionist Zia McCabe commanded the stage all night, handling multiple instruments with ease as her auburn hair billowed in the air. Moving through the ROCKMAKER single “I’d Like To Help You With Your Problem” and synth-disco smasher “We Used To Be Friends” felt similarly organic.

Zia McCabe of The Dandy Warhols

Zia McCabe of The Dandy Warhols

Despite the heavy fluorescent haze, the middle of the set is where things hit a slump. For something that boasts such a distinctive distortion, new tune “Danzig with Myself” (a Frank Black collab) felt lost in the shuffle. A string of Dandy classics seemed to melt into each other, though fans who prefer the band at their breeziest may not have minded. I was grateful for the jolt of B-52’s-esque “The Summer of Hate” and the clarity of “The Last High” to lift the spell. At least Courtney Taylor-Taylor’s obligatory French quips proved charming to the crowd, with the lead vocalist joking that he was working his way up to “chewing out a waiter.” Priorities!

Judging by the resounding reaction, it was the seething bite of “Godless” that brought the Dandy Warhols back to where they needed to be. Just in time, too, for the sticky-sweet “Bohemian Like You” deserved such respect. (I am a Gen-Z music writer – I would be remiss if I did not attach great significance to the soundtracks of DreamWorks Animation films.)

Brent DeBoer and Courtney Taylor-Taylor of The Dandy Warhols

17 songs later, many fans would have been content to keep going, but McCabe drew the night to a close on her MS-20. “Let’s not wait so long,” urged McCabe, offering “je t’aime” before she departed the stage. While several people scattered around to try and find Taylor-Taylor’s guitar pick, other groups could be heard eagerly speculating on ROCKMAKER’s sound. 30 years have come and gone, but the Dandy Warhols continue to juggle an illustrious catalogue with that trademark satirical spark.

---

The Dandy Warhols

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

---

Related Articles

Pony Girl Cements Their Legacy at Club SAW

Pascal Huot of Pony Girl performing at Club SAW

The Ottawa music community holds its own close, so it should come as no surprise that Pony Girl’s album release party at Club SAW was a dazzling affair. Marking ten years since their debut record, Pony Girl has stepped into a complex new chapter with their latest album Laff It Off.

The night began with a charming set from Luella, the musical project of Kingston’s Liv Whitfield. Although her debut album Luna was released just one year ago, Whitfield carried a seasoned air of confidence throughout her performance. Whether she was behind the keys or crooning into a telephone, her dreamy indie-pop melodies wafted through the air, matched with playful lyrics on love (or a lack thereof). 

Leading up to Pony Girl’s set, attendees shuffled in the glow of a custom Laff It Off neon sign, feet surrounded by smiley-face balloons – an inviting scene, complementary to the album’s disposition. The room began to swell with anticipation.

Laff It Off sign for Pony Girl’s album release tour

Pony Girl emerged on-stage to a sea of applause, with band member Yolande Laroche sporting a Luna T-shirt. Within minutes, the audience was swept up in Laff It Off’s lucid narrative, swaying and screaming the words we all know to be true: “I don’t want to be working every day, I don’t want to be working every day.”

The art-pop group has garnered acclaim for their layered approach to experimentation, and even further acclaim for the way that translates so harmoniously into their live performances. The arresting vocoder yelps of Laroche and bandmate Pascal Huot, the mesmerizing proficiency of Mili Hong on the drums – it’s a thrilling experience to watch all the pieces of their puzzle fall into place.

But for a band that has seen so much recent success, including a record-high of five nominations at last year’s Capital Music Awards, Pony Girl has not compromised what it means to be vulnerable. Huot meandered through the crowd during “Wannabe,” illuminating his visage while mutedly pondering his—and our—roles as entertainment. “Age of Anxious,” the standout track from Pony Girl’s previous release Enny One Wil Love You, reverberated with conviction as its distressed musings on the grip of technology rang true.

As Pony Girl continues to find their place in these convoluted times, one thing is certain: Ottawa will be listening.

---

Pony Girl

Instagram | Bandcamp | Spotify

Rebecca Judd is the features editor of Also Cool Mag.

---

Related Articles

Ten Seasons of Pique – Ottawa's Finest Multidisciplinary Festival (Debaser)

Pique at Arts Court in downtown Ottawa

Last Saturday night, Pique returned to Ottawa’s Arts Court for a triumphant fall edition.

Produced by the renowned arts organization Debaser, Pique has built something of a cult following across the National Capital Region. Each chapter of the underground music and arts festival has seemingly hypnotized audiences, showcasing dynamic rosters of programming across seven stages while maintaining a humble, community-oriented atmosphere. With this most recent iteration of Pique, which marked its milestone tenth edition, this appears to have still rung true.

Dorothea Paas performing on the Terrace stage

The first standout set of the evening was Dorothea Paas, who performed an intimate outdoor set on the Terrace stage. Her chilling vocals and ruminative lyrics, reminiscent of artists like Weyes Blood and Phil Elverum, brought the crowd to a standstill. It was a pleasure to see her return to the Terrace as part of the Marker Starling ensemble, fronted by acclaimed musician Chris A. Cummings. Known for his signature funk and ample Wurlitzer backings, Cummings delivered a soft rock summer sendoff to a delighted audience.

Syana performing in the Alma Duncan Salon

The Alma Duncan Salon hosted luscious techno treats, emerging as the other top stage of the evening. DJ Don’t Trust Ryan drew in an incredible crowd with his magnetic blends of Y2K pop and frenzied electronica. Multidisciplinary artist Syana kept up the momentum, commanding the room with tracks from her album 19 Years of Rage alongside surprise guest Mossy Mugler. Illuminated by Dayglo patterns of all shapes and sizes, the dance floor remained packed with festival-goers for most of the night.

The Ottawa arts scene—the Canadian arts scene!—awaits this festival with bated breath, and for good reason. As Pique continues to outdo its promising reputation, it is difficult not to dream of the next one before fully savouring the last. Its inclusive atmosphere and curatorial boundlessness will be beloved for seasons to come.

Pique event poster by Ajeeb Sir

---

Pique

Website

Debaser

Website | Instagram | Facebook | Twitter

---

Related Articles

FME Take 3: The Also Cools' Return to Rouyn-Noranda

The Festival de musique émergente celebrated its 21st birthday this past weekend, returning to the northern city of Rouyn-Noranda. Surrounded by lush greenery and vibrant murals, the Also Cools unpacked our suitcases and jumped straight into four outstanding days of live performance.

Featuring over 350 artists from across Quebec and beyond, FME sprawled across every sidewalk, and we are pleased to report that it shone as bright as the end-of-summer sun. As we bounced between venues, chilled Sapporos in hand, it became progressively more obvious that identifying our favourites would be no small feat – that every memory of this edition deserved to live forever. 

Our adventures included secret shows with sunset backdrops, car parking lots, chalk drawing late into the night, the Bonsound pool-side BBQ, making toast out of a Darth Vader toaster with Truckviolence, and enjoying some of the best music that the indie scene has to offer. Here are just some of the sets that made the séjour a success.

La Sécurité

Although La Sécurité marked our seventh show of the day on Friday, the art-punk quintet packed a rejuvenating punch. Rocking a pair of gas station visor shades, band member Éliane Viens-Synnott exuded carefree cool from the moment she took the stage. Her eccentric delivery and free-flowing choreography commanded the Diable Rond – as did bandmate and drummer Kenny Smith, whose technical precision was impossible to ignore.

Les Louanges

Emotive yet unserious, mellow and multidimensional – Les Louanges held Rouyn-Noranda in the palm of his hand. The Lévis native has garnered praise at lightning speed for his soulful stylings, and his appearance on the main stage certainly justified the hype. Backed by groovy basslines, howling flutes, and a slew of rapturous Queb teens, the artist floated to and fro with a captivating sense of swagger. Catching Les Louanges at this dynamic moment in his career was nothing short of a privilege.

TUKAN

Without question, TUKAN is the name on every festival-goer’s lips. The Belgian group delivered three palpitating performances over the course of the weekend, taking FME by storm with vivid post-rock arrangements. While their jam-packed set at Le Petit Theatre was a strobey-sweet affair, the magic of TUKAN’s final show will be something to remember. Lining 7ème rue with an air of bittersweet anticipation, a sea of glistening bodies gathered to transcend one last time, folding into each rhythm with the desire to make it last forever. And TUKAN? They did too.

AMMAR 808

We met AMMAR 808 on one of the many volunteer-run shuttles we took from our hotel to the main festival grounds. He told us about his long journey from Amsterdam, and mentioned he would be playing a set “somewhere, sometime soon”. Little did we know, our humble new friend is the acclaimed Tunisian producer Sofyann Ben Youssef. We caught his show at the electronic night at Le Petit Theatre, and were absolutely blown away by his masterful blend of traditional African beats and hardcore techno.

Milk TV 

Another post-punk favourite of the festival was Milk TV, a trio hailing from Brussels. Initially not knowing where they were from, we thought they must have emerged from either the Canadian West Coast post-punk scene (think NOV3L, Pottery, and Crack Cloud), or somewhere from the world of Omni, Deeper, or Parquet Courts. Their no-wave energy was electrifying and had the whole crowd moshing by the end of the set.

Myst Milano

Absolutely slayful, and a new discovery for Also Cool, is Myst Milano. The DJ and multi-instrumentalist captivated their audience with their 90s-inspired beats and hard-hitting lyrics, not to mention killer dance moves. Their album Shapeshyfter, which made the Polaris Prize longlist in 2022, now has a permanent spot on the Also Cool daily Spotify rotation.

We once again had a beautiful time in Rouyn-Noranda, surrounded by good music, new friends, and the most incredible end-of-summer vibes we could ask for.

---

FME
Website | Instagram | Facebook | TikTok

---

Related Articles

Le Tigre & cumgirl8 Captivate Montreal With Feminist Punk Power

cumgirl8 by Malaika Astorga

The collective Also Cool teenage dream was fulfilled last week at Le Tigre and cumgirl8's show at Olympia in Montreal. We've been longtime fans of Kathleen Hanna's projects and couldn't wait to see cumgirl8 live after including them in a recent Playlist Refresh.

The line to get into the show represented every aspect of Montreal's feminist punk community, ranging from cool-looking parents and their children wearing Bikini Kill shirts to excited 19-year-olds sporting local bands' merch. Across the board, everyone shared a collective glow, looking forward finally to seeing the legendary trio onstage.

The merch was also in line with the feminist spirit of the show. A printed sign reminded attendees that "the best way to support your favourite artist is to buy merch at their show - get off the Internet." We at Also Cool agree - the best way to support artists is to show up for your local scene IRL and support your friends' creative projects. 

For those new to the world of cumgirl8, the NYC-based group met in a sex chat 8000 years ago in another metaverse. Made up of Lida Fox (bass), Veronika Vilim (guitar), Chase Lombardo (drums), and Avishag Rodrigues (guitar), the band started as an art collective in 2019. As reflected in their name, cumgirl8's work pushes against the status quo by satirizing themes in popular culture surrounding femme objectification, social media sensationalism, and capitalism. 

Onstage, cumgirl8 embodied the coolest punk girl energy, with all the members decked out in incredible outfits featuring mesh, corsets, glitter and ripped tights. Chase (the drummer) also seemed to play the entire set in heels, which is incredibly admirable. Their sound was hot and heavy, exuding it-girl confidence. 

Le Tigre was up next with incredible visuals and included lyrics for all their songs at the top of the screen, a sweet touch that made the show-going experience more accessible for everyone. They opened with "The the Empty" and followed with tracks spanning their entire discography. 

Their performance also highlighted intersectional feminist discourse, sharing the backstories of many tracks and starting meaningful conversations around topics like reproductive rights, trans politics, PTSD recovery, and more. The show concluded with playful choreography that ramped up into "Deceptacon," which was received by a joyful and cheering crowd. 

Keep an eye out for cumgirl8's upcoming EP phantasea pharm, which is set to be released on August 18th via 4AD. 

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles

100 gecs and Machine Girl Summon All the Wizards in Montreal to MTELUS (Show Review)

Show poster provided via press agent

Last night, 100 gecs and Machine Girl joined forces at MTELUS to summon all of the wizards in Montreal for an unforgettable, high-energy show.

100 gecs recently released their long-awaited second album, 10,000 gecs, via Dog Show Records / Atlantic Records. Standout tracks like "Dumbest Girl Alive," "757," and "Hollywood Baby" quickly seeped into the freakiest parts of the Internet, continuing to elevate the band's cult following.

Walking up to the venue, it was immediately apparent that the show would be special. Multiple groups of wizards with colour-coordinated cloaks and hats filed inside the venue, followed by others wearing elaborate horns, star-shaped headgear, gyaru girlies, and fans wearing juggalo and metal-inspired makeup that could easily land them in any of The Garden's music videos. It was giving "we just left the Dungeons & Dragons gathering to come to the show" in the best way possible.

Showgoers ranged in age from what appeared to be a toddler on a teddy-bear-themed leash with circular glow sticks in their hair, to an overwhelming amount of Gen Zs dressed as every -core that exists on TikTok, to parent-age folks who all seemed a little wary but happy. I also met a friend's mom for the first time who seemed very happy to be there (shout out to Annie's mom).

Machine Girl opened the show with an explosive set, climbing all over the venue and setting the magic for the night. Vocalist Matt Stephenson weaved his way through the crowd, eventually ending up on a balcony looking over the pit, screaming in the loving void of Montreal. The duo left the room feeling electric, with showgoers ready to tear apart the pit.

Photos courtesy of Malaika Astorga

100 gecs entered the stage dressed as starry warlocks, opening with some of their newer tracks and a healthy balance of fan favourites, including "money machine," "stupid horse," and "ringtone." About halfway through the set, Laura announced that Dylan felt like doing 'his trick,' which meant balancing a guitar on his chin. This was received warmly by the crowd. Dylan also took a bite of an onion that materialized onstage before closing out the show with a few encore songs after fans literally barked for them.

Overall, the show was a beautiful congregation of Montreal's freakiest music-enjoyers, all of whom left sweaty and smiling, unable to believe the warlock pop collective experience that had just occurred.

100 gecs continue their tour with Machine Girl into May. You can get tickets here, and check out their Boiler Room set below.

---

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles

Homework, Cats, and Rock'n'Roll: An Unforgettable Evening with the Linda Lindas (POP Montreal)

The Linda Lindas by Zac Farro

Festival season in the city carries a potent charm, as it dusts its magic over sticky bar floors and croaking choruses. The venue-hopping antics of last weekend’s POP Montreal returned with a particular fervour, highlighting a stellar showcase of industry fixations both emerging and established. Among these acts were the Linda Lindas – the LA teen punks whose rise to the top has warmed hearts around the world.

As I stomped into Theatre Rialto for their headlining show, my first realization was the number of kids anxiously awaiting the group. This was not a surprise, necessarily, but more of an endearing reassurance; an element that would reinforce itself throughout the show was the Linda Lindas’ earnest awareness of their fanbase’s vast demographics. The show felt like a safe space for fans of all stripes – a place to indulge one’s wildest musical fantasies and learn what’s possible in the world of rock.

From that first note of “Linda Linda,” the band emanated rays of remarkably-infectious confidence. “I want you all to scream as loud as you can,” commanded guitarist-vocalist Bela Salazar, moments before vibrantly flailing during a strobey instrumental break. “I want us to get kicked out of the frickin’ venue.” The friendship between the four teens was palpable, and their appreciation for punk rock and its motifs of eccentricity lit the stage the whole night. Between coordinated sways and jittering struts, the group carried themselves with coolness that felt easy to absorb.

Eloise Wong, Bela Salazar, and Mila de la Garza of the Linda Lindas

Mila de la Garza and Bela Salazar of the Linda Lindas

What arguably felt coolest of all, however, was the Linda Lindas’ youthful sincerity. Guitarist-vocalist Lucia de la Garza rambled about homework with a shyness that felt all too familiar, and Salazar shared two goofy bangers about her beloved cats Nino and Monica. The Linda Lindas are nobody but themselves—Riot Grrrl apostles waiting on high school diplomas—and their authenticity made even the small talk about Montreal’s chilly weather feel charming.

The show came to a close with two numbers that shook the walls. “Racist, Sexist Boy” has garnered pandemic infamy with its rendition at the LA Public Library, but its disparaging grit hit Rialto with an authoritative new sheen. The audience kicked and screamed with bassist-vocalist Eloise Wong and drummer-vocalist Mila de la Garza as everyone slayed their own visions of racist, sexist boys. Closing out the show was a cover of Bikini Kill’s “Rebel Girl”, a mainstay of their shows that made it all the way to Amy Poehler’s film MOXIE!. Wong’s sheer joy in relaying the lyrics hit every heart in the venue. I found myself humming the song and reliving my own memories—juvenile cruises in my high school car, which I named after Kathleen Hanna—the whole way to the Diving Bell.

When the show wrapped, myself and many others lingered to reckon with the force of what we just heard. Gathered at the stage’s edge were many of those same kids, hoping for one last memory of their heroes before they jetted back Stateside. I smiled at one girl’s “Vive les Linda Lindas” sign, which made it onto the stage (with the band’s genuine appreciation) sometime in the evening. Another beret-capped girl was still glowing, swarmed by her friends to touch the guitar pick that Salazar handed her near the end of the night. As the four musicians waved their final goodbyes, Mila de la Garza asked Salazar which child made the “Vive les Linda Lindas” sign. Salazar pointed, and the duo smiled and waved. The pure hope and the punk rock fire in that preteen fan’s soul—two sensations that the Linda Lindas have proven can be compatible—surely never glowed quite as bright.

---

The Linda Lindas

Website | Instagram | YouTube

Facebook | Spotify | Apple Music

Rebecca Judd is the features editor of Also Cool Mag.

---

Related Articles

NO WAVES Revive Garage Rock at Bar L'Escogriffe (Jess X, Piss for Pumpkin, TVOD - Blue Skies Turn Black)

As we thaw out from our wintery pandemic slump, we're trying to remember how to have social lives while also asking ourselves, "Who the hell are all these people at the show who I've never seen before??" 

Pre-pandemic, it was easy to find "the scene" if you tried hard enough (and went to events consistently). But that natural flow of new faces was completely interrupted, and now many are left wondering where the scene is, and how to get invited. 

My FYP on Tiktok often features 19-year-olds asking how to get invited to Montreal's underground raves and DIY rock shows, and last summer NO WAVES answered that call. They threw a wildly successful outdoor show, which was heavily documented and shared all over social media. After that show, I heard from a younger neighbourhood friend that they would be the next cool band in town. Promoters supported the claim that they brought a crazy energetic crowd, so I knew I had to see them the next time they played.

NO WAVES played at Bar L'Escogriffe on Thursday, April 14th with Blue Skies Turn Black, and the lineup could easily have fit into any 2015 surfer punk garage rock-inspired playlist. Jess X embodies a punk Cherry Glazerr energy (the Haxel Princess era specifically), while Piss for Pumpkin was described to me as 'Bikini Kill but more metal.'

TVOD (Television Overdose) brought a pure punk energy, hanging from the ceiling, spraying water all over the crowd, and getting them hyped for the headliners. Everyone at the show (who looked like they had just stepped out of my queer alt TikTok algorithm) loved it, encouraging each other to mosh, eagerly looking around for their friends to join them in the pit.

NO WAVES DIY show last summer - via their Facebook page by CB43MEDIA

I was pleasantly surprised that NO WAVES began their set with a zero-tolerance for harassment speech, telling creeps to gtfo and anyone who felt unsafe to tell the band or someone nearby what was happening so that they could help. Their sound is easily comparable to Surf Curse's "Buds," Vundabar's "Gawk" era, The Garden's "The Life and Times of a Paperclip," and of course (perhaps the band's namesake) FIDLAR's "No Waves." It felt like the 2015 Burger Records universe of music that I grew up with but without the reputation of SA and harassment that the label and their artists attained. 

NO WAVES had charming stage banter, introducing one song as "a real song that we wrote when we were 15," another as "a song I always say I won't show my friends and then I do," and their cover of Surf Curse's "Freaks" as "that song you've probably heard on TikTok," which made me feel old but also warmed my heart.

After the show, the drummer Sam shared with me that he was so happy that people were having a great time and emphasized that it's essential for the bands on stage to make sure their audience is as safe as possible. 

I also caught a sweet moment of a girl interviewing one of the band member's dads about the show and other attendees. She said she was making a documentary about the band, even though they didn't know how she was yet.

Uma, a long-time friend of the band and local Montrealer, had this to say about the night, "I feel like I've grown up with NO WAVES, so watching them go from playing in their parent's basements to a show like this is wild. They get better and better each time. Being able to grow up with access to this scene is life-changing. It's really beautiful out here, the crowd, the people, the music, all of it."

If anything, the show gave me hope for the up-and-coming Montreal DIY scene. It's inspiring to see people excited to be at a show, especially in what seems to be a more accepting and safe environment. 

You can catch NO WAVES' tour kick-off at Turbo Haüs in Montreal with Bummer Camp and Last Waltzon on April 22nd.

NO WAVES DIY show last summer - via their Facebook page by CB43MEDIA

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles

Yves Tumor Embodies Rock and Roll Energy at Club Soda

I knew that the Yves Tumor show at Club Soda would be a good one based on the conversations I heard while standing in line waiting to get in.

People were overjoyed to be running into each other for the first time in three years, and everyone was dressed in a way that made me feel like I was in the right place. Most notably, two friends were showing each other their bags of crystals, excitedly explaining each one in relation to the other person's astrological sign.

Yves Tumor by Jordan Hemingway

The show was one of Yves’ 47 international tour dates for 2022, and certainly did not disappoint. From the lighting to the generous amount of smoke from the fog machine and even the immaculate styling, Yves Tumor and his band embodied a classic rock and roll energy. There was crowd surfing, fans trying to rip the bass away from the band, and lyrics being screamed back for nearly every song.

You can catch Yves Tumor on tour by checking out tickets here and watch the 90s MTV-inspired promotional video below. Special thanks to Carter from Biz 3 for the press pass.

Malaika Astorga is the Co-Founder & Creative Director of Also Cool. She is a Mexican-Canadian visual artist, writer, and social media strategist currently based in Montreal.

---

Related Articles