On February 14th, Casa del Popolo hosted a large and enthusiastic crowd for the final night of the Taverne Tour, celebrating Valentine’s Day. The hall, packed to the rafters with a wonderful audience, retained the heat so effectively that the air conditioning struggled to keep up; between performances, the door was thrown wide open to let the temperature drop and allow everyone to catch their breath before the next burst of energy.
The evening kicked off with a joyful set from Pastel Blank, a Victoria-based band fronted by Angus Watt, blending a funk and neo-disco groove with the hallmarks of art rock. The first thing that catches the eye is the bassist and guitarist, both dressed in baggy sand-colored jackets reminiscent of 60s boy bands. These two big guys radiate infectious enthusiasm as they belt out backing vocals on the catchy tunes. The keyboardist evokes the flower power era with her baggy harem pants. Watt, on the other hand, brings to mind the 90s, with his sunglasses and tight T-shirt emblazoned with ‘Love always wins’.
The band’s sound evokes the Jackson Five, Talking Heads, and B-52s alike. Vocally, certain moments remind me of 1950s rock and roll with the use of the famous “hiccuping,” a vocal technique characteristic of the likes of Elvis and Gene Vincent. We’re treated to several decades distilled into a single project that forms a truly compelling whole. The band unleashes energetic grooves, somewhere between angular new wave and offbeat funk. The bass propels the music, the guitars intertwine with precision, and the highly synthetic keyboards punctuate everything. The solos are short but effective, delivering just the right amount of energy before a break that catches us off guard, much to our delight. The band seems to genuinely enjoy playing together, and that enjoyment is effortlessly contagious.
With Hélène Barbier, the tone becomes more relaxed, almost homespun. A laid-back stage presence, a casual look, a red bass, a flute, slightly off-kilter rhythms with hypnotic, jazzy accents. It’s dissonant in small touches, but sincere, with an engaging Americana feel. It was a pleasant, unpretentious moment.
Beneath the harmonious and incongruous sounds of N NAO, the venue transforms into a veritable dream theater. A significant effort in stage design is evident: additional spotlights, a smoke machine, a fan—all contributing to the most immersive experience possible. Harp, bells, melodica, electronic sounds, and vaporous lighting compose a magical universe where nature and the synthetic coexist in an organically chaotic harmony, an experience that is both disorienting and profoundly immersive. Between pastoral gentleness and sudden rhythmic bursts, the music acts like a spell. Moments of grace follow one another as Naomie bravely advances into the uniquely illuminated crowd. There is also a surprise when Helena Deland takes the stage to participate in an acoustic performance. N NAO’s intention is clear: to explore the diverse facets of this New Language (the title of their recent album) that is music. The finale, inspired by Hubert Aquin, brings everything back to a suspended delicacy.
An evening filled with human warmth and love; perfect for Valentine’s Day.
