Have you ever discovered a band that feels like a warm hug from a distant friend that you may or may not have actually met? That’s Nap Eyes from Halifax. From the moment this four-piece—actually five for this show featuring the one and only Yves Jarvis on guitar and synths—took the stage, the artsy-drab basement of La Sotterenea felt a bit brighter. Nap Eyes at its best is backed by soft, yet full acoustic guitar, a steady bass and drum section, pristine, halcyon lead guitar licks, and lyrics that feel a bit Rolling Thunder Revue-era (think “Isis”) Bob Dylan. For years, I’ve been told in strange music media hype circles to check out this band live, and now I know why.
These musical tales, led by vocalist/guitarist, Nigel Chapman, are deeply descriptive, but vague, kind of like a piece of magical realism. Just check out “Passageway,” the single for Nap Eyes’ upcoming album, The Neon Gate. For most bands, the instrumentation leads the lyrics, but with Nap Eyes, it’s the reverse. I found myself floating, drifting in and out of the basement and into the Nap Eyes fantastical narrative, and then I was pulled back by the lead guitar, sometimes harmonized by Jarvis, who was just too cool on stage. I also loved how Chapman would just smile and “This is nice,” into the microphone and crack a smile like a kid who just discovered ice cream. You could tell that he, and the band, were really cherishing the moment.
The Nap Eyes show sort of felt like listening to an old Yo La Tengo record or reading Hermann Hesse; the songs are long, but rightfully so, like a story told by someone who has had a bit too much wine at a party. But because of that imagery and delirium, we all stay for the denouement. That might sound a bit too pretentious, but it’s the truth. Yes, Nap Eyes might have been one of the most authentic performances I’ve seen in some time.
