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Yeah Yeah Yeahs Burned Brilliant as Ever in Toronto Historical past, November 11 Specific Instances

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As initially revealed by Kaelen Bell on Exclaim!

“This music is about being sexually possessed,” Sasami informed the group at Historical past. “I dedicate it to Karen O.” 

The music in query was a beginner, as have been all of the songs that Sasami (solo, accompanied solely by a laptop computer filled with backing tracks and a scarcely-used guitar) carried out on Saturday night time. Anybody hoping for a style of Squeeze‘s metallic monstrosities was left wanting, as Sasami took the chance to preview her “Britney Spears period.” 

“Will we like Britney Spears?” she requested the group at one level. “That is like when a Korean lady tries that.” The brand new songs have been monumental and punchy, folding the metal-leaning riffage of Sasami’s final file with MUNA-sized pop choruses and broad, emotional lyricism. 

Sasami’s stage presence was wily and energetic, her lengthy wavy hair flying behind her as she twirled and sprinted the stage’s size many times. Nonetheless, it felt like an odd introduction to anybody within the crowd not acquainted with her previous work — a scrappy, DIY efficiency from an artist able to a ferocious full-band depth. 

The vaguely inelegant presentation made a type of sense; the night time felt like a glimpse of the Sasami to return, a still-in-process rebirth that features some requisite rising pains. That she managed to tug it off in any respect is a testomony to her boundless charisma and readability of imaginative and prescient. 

And talking of boundless charisma, right here got here Karen O. After an prolonged interval of arrange that included multi-instrumentalist Imaad Wasif patiently saging your entire stage, the Yeah Yeah Yeahs got here out and compressed their opener’s nervy, free-flying power into an ideal diamond of road-tested star energy. 

yeah yeah yeahs history mcgill
Kicking issues off with a lush, bone-quaking rendition of Cool It Off opener “Spitting Off the Fringe of the World,” O, Brian Chase and Nick Zinner sprinted via their catalogue with a real pleasure that belied the band’s typically bumpy 20 years collectively and the inevitable exhaustion of closing out an almost two-year world tour. O hiccuped with laughter all through the set, beaming with satisfaction and playfulness as she spewed mists of water and careened throughout the stage in her fringed Christian Pleasure bodysuit. It is onerous to overstate how singular O’s stage presence actually is; that after greater than 20 years of reveals and crowds and arrange and take down, she appears able to giving each strand of DNA she has to every neon-lit millisecond. “I am actually feeling it now,” she exclaimed after tearing via “Wealthy.” “I used to be born feeling it!”

“This music is actually particular to the Yeah Yeah Yeahs,” O informed the group earlier than settling into the majesty of “Comfortable Shock,” which is, for my cash, the band’s best music — argue along with your mom. “We recorded it at Sonic Ranch, beneath the massive bowl of Texas sky.” From there, they rolled via songs like “Sacrilege,” “Gold Lion” and, clearly, “Maps,” earlier than closing on “Heads Will Roll,” blasting confetti into the group. 

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In fact, the top isn’t actually the top, and the band returned to the stage as a three-piece for an encore that celebrated the 20-year anniversary of Fever to Inform. “Poor Music,” “Y Management” and “Date with the Evening” all obtained their second within the solar, carried out with the identical ferocity that birthed all of them these years in the past. 

“My favorite band in the entire extensive world is true right here on stage with me,” O stated at one level after introducing her compatriots to the viewers. Watching these three former art-punk freaks bash out their 20-year historical past, smiling extensive and swinging limbs, you believed her. 


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