REVIEW: Sonic Field Day winners and losers
The thing about attending a modern rock festival, as opposed to a classic rock one, is that you can be sure that most of the band members you see on stage are the original band members.
From the blatting boom of the Arkells to the incendiary political nu-metal of Grandson to the groovy electro-rock of Dear Rouge, these were some real young originators working hard at Field Day in grassy Victoria Park on Saturday. They’re on the hit parade now – but will they stand the test of time to become classics at the 2038 Edmonton Rockfest? Time will tell.
It was friendly, chatty crowd, about 10,000 strong, all ages, several cultures, mainly white, and mainly having a blast (and, sometimes, a nap). It’s a good sign when the people start singing along to the recorded music during the interminable changeovers. The only apparent advantage of the “VIP” area was that it was slightly less crowded, but few complaints were overheard. The people on both sides of the fence bonded through their shared love of their favourite modern rock bands – plus alcohol – that in this town you mainly hear on Sonic 102.9 FM. This is Sonic’s flagship festival, resurrected from the more ambitious Sonic Boom events of yore (mid 2010s), until the partner promoters pulled the plug. After a year off, this time it was just a one day event – packed with new rock ‘n’ roll talent at its finest and most dedicated.
Eight bands makes for a long day. Sanity was maintained by pretending it was a battle of the bands. So here are the prizes!
Best overall
Black Pistol Fire – From Texas, where they have guns, comes this ferocious drum ‘n’ guitar act (photo above) that sounds like the White Stripes crashed headlong into the Black Keys and created a superhuman radioactive power duo, lean ‘n’ mean and steeped in a deep, rich brew of high octane blues.
These guys expended enormous energy, and indulged themselves with lots of trippy jamming. Being a duo they can do almost anything they want. Hard to believe such a big sound was being made by just two guys. A crowd favourite.
A close second
Grandson – This guy is so angry at Trump that the speechifying started before he even started singing in the first song. He made his entrance in a grotesque Trump mask before addressing the crowd, issuing the proclamation, “The only way things are going to get better is if we all have the courage to get mad!”
And that he did – taking a significant swath of the crowd along for a joyous ride of rage. Grandson blasted into a set of angry political songs that sounded even more like Rage Against the Machine than he does on record. He slammed Big Pharma with a cold song called Overdose; and hit the crowd with Stick Up, where he flexed his rap-metal skills in a song about what people will do when backed into a corner. “Took away his benefits and left him with his weapon,” he barked. He told the crowd to literally “get down,” and amazingly they all did. Hundreds of people just sat down in the midst of the mayhem. These so-called “Grandkids” were with him all the way.
Grandest sound
The Arkells – A kickass horn section was the highlight in this Hamilton outfit that combines rock and gospel in a stirring sonic spectacle. Unlike many of the bands on this day, each of which has a chance of becoming a one-hit wonder of the future (better than a no-hit wonder), the Arkells dispensed with their “hit” early in the set: called Knocking at the Door. Great song with huge horns. You could feel the excitement. More would follow. Definitely the right choice to play last. Bonus points for the audience participation bit. Ryan was a ringer!
Most overrated
Jimmy Eat World – These guys sound like a slappy happy pop-punk band in which all the punk has been bled out – so it all ended up sounding like 99 Luftballons: Relentlessly fast songs with predictable melodies in major keys, perfect – too perfect – two-part harmonies, and unpleasant electronic junk on the lead vocals. This show was sadly lame given their popularity – “I grew up on Jimmy Eat World,” remarked one friendly fan – and quite ordinary for what was supposed to have been an “alternative” rock festival.
Good try
Cold War Kids – In another band that infuses gospel into their mod-rock sound, singer Nathan Willett is not quite good enough to get away with the things he was trying at Field Day – a cappella wailing and all that. Points for trying, and for their big hit 2015 hit First, a real crowd-pleaser.
Best pointman
Modern Space – It’s no enviable task to open a multi-band festival when most of the people are still coming in, getting hassled by security, stashing their contraband, filling up their sacks, and whatnot, but this Toronto band did an admirable job with a set of happy mod-rock filled with ooo’s and heys and yeah yeah yeahs, ending with their one big hit so far, Flip For It. Fun.
Best female vocalist
Dear Rouge – Er … they gassed gender categories at the awards shows, didn’t they? There was actually only one female vocalist at Field Day – Danielle McTaggart from Dear Rouge. Turns out she wasn’t the only woman on stage, sharing that honour with the Arkells’ baritone saxophone player. With Grandson and Black Pistol Fire having whet certain fans’ appetites for further heaviosity, Dear Rouge may have felt like a letdown, but this frontwoman’s exuberance, powerful voice, and a backing of righteous grooves from a good band made for an enthralling experience. Very polished. It felt a bit old after a few songs.
Most interesting frontperson
The Glorious Sons – This band from Kingston is fronted by a freaky long-haired bearded neo-hippie dude named Brett Emmons, who performed in bare feet – and who proved to be both a riveting presence and a remarkable singer. His passionate, growly voice echoed over the forested field. Especially going over was the band’s anthem Everything Is Alright – which, if it is destined for one hit wonderment, you could do worse. “Everything is all right,” Emmons sang, and so did the entire audience. “If only for the night.”
Perfect sentiment for Field Day.
