• SHARE

Broken Social Scene: The diverse, melting-pot origins of this dozen-strong rock troupe make it the most cerebral band on the ticket, but no less catchy. Horns, strings, electronica and ringing washes of feedback from a three-guitar assault work together with a rotating lineup of vocalists and it all shimmers with intensity.

Stars: Don’t confuse this six-piece’s lovesick pop as bubblegum. It’s more like espresso loaded with enough sugar to make bitterness more palatable. Subdued brass and jangly guitar decorate a latticework of percussion — both live and programmed — with clever lyrics on the complications of love.

Metric: Frontwoman Emily Haines contributed one of the most surreal and delicate vocals to BSS’s last album (“Ballad of a Seventeen-Year-Old Girl”), but her new-wave-informed band is anything but. Wiry synth lines snake around clipped guitar hooks and a rhythm section that snaps taut at a moment’s notice.

Death From Above 1979: Ear-splitting blues-punk you can dance to. If Stars’ sweetness gives you a cavity, this garage-metal duo will be happy to drill it out. On record, drummer/vocalist Sebastien Graingier’s voice is a buzz saw, but when they performed here in February, he barely cut through the din. The mosh pit didn’t seem to notice.

The Dears: Comparisons to The Smiths, and their sad-sack legacy abound, but Murray Lightburn’s orchestral compositions move beyond heartbreak and alienation into tragedy of near-operatic proportions. He isn’t afraid to lose his cool for dramatic effect, either, and he has the pipes to back it up. (J.J.)

In line with COVID-19 guidelines, the government is strongly requesting that residents and visitors exercise caution if they choose to visit bars, restaurants, music venues and other public spaces.

In a time of both misinformation and too much information, quality journalism is more crucial than ever.
By subscribing, you can help us get the story right.

SUBSCRIBE NOW