Date of show: February 14, 2013
Written by: Chiara DiAngelo
The sold-out Air Canada Centre (ACC) were on their feet as Canadian icons The Tragically Hip took the stage for this, the last date of their tour. It was obvious something special was in store from the moment their 2-hour set began. Beginning with “At Transformation” from most recent record Now For Plan A, the curtains behind them fell to reveal a backdrop of glittery panels and a light show commenced.
If you’ve seen the Hip live before, you already know the theatrical performance they each are. Donning a top hat, vest, and tie, frontman Gord Downie (vocals, guitar) was dressed up for the occasion, and each song was a scene in his choreographed play, which included interpretative dance and a handkerchief as a recurring prop. He seemed to shine most when just singing rather than when tied down by the guitar. Bating the crowd, “Don’t react Toronto, don’t react,” there was actually less crowd participation than expected throughout the first part of their set. Introducing some newer songs that weren’t as conducive to singing along, the collective performance element was diminished.
Soon however, Downie asked if there were any lovers in the house, and there was an eruption of cheers as the first chords to “Ahead By a Century” commenced. The biggest reaction received to this point, the band seemed to switch gears into their more radio/casual fan-friendly material at this point, including “Poets” and “In View.” The supreme highlight of the set was likely “Courage (For Hugh McLennan).” Synced lights flashed and the word “Courage” was written in lights across the backdrop. Downie’s face appeared to light up as the crowd got right into it, singing along. They immediately quieted things down with “Long Time Running.” Lighters were lit and phones brought out, dotting the arena with what looked like beautiful swaying candlelight. Nearing the end of their set, Downie told the much-anticipated story of the city cop who falls in love with a country girl, and his hour forty-five commute to introduce “Bobcaygeon.” At the mention of Toronto, the lights came up and the crowd once again went wild. They closed with “Blow at High Dough” – but not before Downie thanked the crowd, and music lovers multiple times, wishing everyone a “Happy Valentine’s Day.” They revelled in the applause for a few moments before taking their bows and making their exit.
The band returned for a five-song encore, pushing the limit to exactly the 11PM curfew. Focusing mostly on older hits like “At the Hundredth Meridian” and “Music at Work,” they threw in a surprise guest appearance by Sarah Harmer on “Now For Plan A,” title track of their latest record. Ending with “Little Bones,” Downie thanked the crowd again before saying goodnight one final time. Whether you were there with a date, a group of friends, your parents, or even flying solo, there wasn’t a better – or more Canadian – way to spend Valentine’s Day in Toronto.
Hamilton’s Arkells got the show off to a dizzying start that felt all too short. From Tim Oxford’s powerful drums on set opener “Deadlines” to the pop-happy “Michigan Left,” it took me two songs to realize how strange it felt to be sitting during an Arkells set. While many on the floor were on their feet, those in the stands remained seated as the venue continued to fill in.
Having gotten a taste of the ACC opening for Them Crooked Vultures in 2010, the band gained further large-scale experience on this Hip tour as well as with Billy Talent in Europe last summer. With this under their belt, frontman Max Kerman (vocals, guitar) and company were right at home on the arena-sized stage and their massive sound travelled to the far reaches of the highest rafters. Commenting that “there’s nothing more romantic than picking up your partner, going downtown and putting on your dancing shoes,” they pulled out “Pullin’ Punches.” From the amiable banter to the flurry of keys from Anthony Carone, and the coordinated dance movements of Kerman, Mike DeAngelis (guitar) and Nick Dika (bass), they somehow made the ACC feel like just another small club show.
Kerman then sent out “Kiss Cam” to all the lovers in the cheap seats, and the Hip reference in the first few lines definitely won them the approval of the growing crowd. Taking advantage of the resources at hand, a fiery light show alternating with flashing strobes took “Oh The Boss is Coming” to the next level. Kerman even managed to get nearly everyone in attendance to not only clap along, but take part in a call and answer on “punching in – punching out.” Impressive? Noting that the band got together based on a shared love of Canadian music, being on tour with the Hip was a dream come true for them. Adding further to the Canadiana feel to the night, the band intro’ed set closer “Whistleblower” with a snippet of Neil Young’s “Ohio” before saying goodnight.
It’s now become a normality to hear an Arkells song played at most sporting events in the city, so it felt pretty natural to get to see them at the ACC. And with this performance, the Hamilton band proved they deserved to be there and can hold their own in the big leagues. As part of the next generation of great Canadian music, the still-young band has staying power and they definitely have the potential to be headlining stadiums in the future.
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