Some musicians are better listened to on albums. That makes sense, as some are more comfortable in the studio. Others, however, are better on stage. It is on stage that we discover them at their best. Fat Dog falls into the latter category.
A recently formed London-based band (formed during COVID, in fact), Fat Dog has clearly impressed everyone who has seen them live since the release of their debut album, WOOF., last year.
Comments found under this video by Anthony Fantano discussing the album (and giving it a 7/10 rating) confirmed the trend, as did the overall word of mouth on the Internet.
It’s intriguing, we must admit.
The English band took to the stage around 10:40 p.m., after two opening acts, even though the show was advertised as starting at 8 p.m. on the POP Montréal website. Sorry to sound like Patrick Lagacé, but when the wife is waiting patiently at home and the Canadiens game is over, it’s annoying to waste precious time on a Saturday night. Anyway. Fat Dog, now a six-piece, takes the stage at Toscadura, with the band’s keyboardist proudly displaying a large Canadian flag, which he will wave repeatedly towards the end of the show. Well, we would certainly have preferred a Quebec flag, as white goes much better with blue than red, but it’s not bad, and we applaud the effort.
Fat Dog plays a post-punk style that is much more focused on energy than anything else (à la Viagra Boys), with a certain amount of technical skill on the part of the instrumentalists and, surprisingly, occasional Middle Eastern influences that enrich music that is not necessarily the most eclectic.
Because let’s face it, Fat Dog isn’t exactly highbrow music. It doesn’t reinvent the wheel in any way, nor does it claim to be revolutionary. But my God, on the other hand, it’s devilishly enjoyable.
If you’re at the back of the room, you’ll find yourself constantly nodding your head, and if you’re at the front, you’ll be caught up in a never-ending mosh pit.
Fat Dog’s singer, Joe Love, looks like he’s completely wasted on every substance in the world at once. But even intoxicated and utterly nonchalant, he manages to get the crowd going. La Toscadura seems so rudimentary as a venue that you get the impression the floor is going to collapse under the enthusiasm of the audience. To be seen (again) when they next come to Montreal. Woof!
Montreal’s Fresh Wax kicked off the evening at around 8:30 p.m. The duo (a bassist and a drummer) handle the rhythmic, melodic and bass parts of their music, much like Royal Blood. Their songs, however, are heavier and more mathematical, reminiscent of the sounds of early 90s post-rock bands, sprinkled with a distant Robert Smith-style microphone mix.
It’s a decent start to the evening, but nothing more; the music is too disjointed to be truly enjoyable.
Next up, Godly the Ruler, a non-binary American musician, delivered an energetic set, but failed to create the same crazy atmosphere seen during Fat Dog’s performance.
The artist also bases almost their entire universe on energy, swearing by ‘blood, sweat and tears’, in their own words. But therein lies the risk: without a clear and enthusiastic response from the audience, Godly the Ruler’s performance is immediately tainted and fails to have the desired effect.
And yet, the music isn’t bad. Godwill Oke, his real name, reminded me of the fiery Tyler, the Creator at the beginning of his career, drawing on the most aggressive aspects of Goblin and the loudest aspects of Cherry Bomb.
Crédits photo de Fat Dog et Godly the Ruler : Pierre Langlois
