A BIG NIGHT FOR CELTIC ROCK, FOLK, AND PUNK FANS
CityFolk day four held a lot of promise, with sets from Dropkick Murphys and The Pogues, immersing the crowd with Celtic rock, folk, and punk goodness – with a sprinkle of pop rock on top.
Becks
Photo: Sifa Tisambi/Fulcrum
Outside the venue’s entrance, at TD Plaza, the evening started with a cozy, folk-pop performance by Becks. The recent Ottawa resident serenaded the ears of her small, but attentive audience, composed of proud family and friends, eager CityFolk attendees, and interested strangers passing by. Tracks like “Friendly Ghost”, and “Homesick” were performed alongside anecdotal stories of her day-to-day in the healthcare industry and her friendly neighbours enjoying her singing radiating from her home. Her vulnerability shone through her lyrics and her set, which made her set an amazing entrée for the night.
Loveit
Photo: Sifa Tisambi/Fulcrum
As I arrived at the Fasken stage for the first time tonight, Loviet, graced the stage with a spirit that I can only compare to Avril Lavigne if she were born in the early 2000s. The Toronto-based artist gave a great performance with a red electric guitar in hand, singing her most popular hits like “Broken Lips” and “What I Wouldn’t Give.”
With this performance being the first from her North American tour, Americans and Canadians should be more than excited to see her in their local venues.
Catbite
Photo: Sifa Tisambi/Fulcrum
Directing our attention to the TD stage, a loyal gathering waited patiently for the arrival of the Philadelphia-based band, Catbite. With this being their first performance in Canada, they were tasked with nailing their first impressions. And wow, they sure did. Opening their set with their song, “Die in Denver,” each member of the band came in sprinting, as if they had potential energy stored in their bodies, ready to be unleashed onto the crowd. And the crowd, including myself, did catch that energy bug.
Catbite’s stage presence was incredible, with all members of the band dancing their hearts out, attracting a bigger audience after each song. Their set was also riddled with interactive dances during songs like “Scratch Me Up,” where the lead vocalist instructed the audience to put one hand up and mimic a cat every time they sang, “Scratch, scratch, scratch, scratch, scratch, scratch, scratch me up.”
The band’s spirit on stage reflected their name perfectly: with the sweetness of a cat and the adrenaline of its bite.
Ceileigh Cardinal
Photo: Sifa Tisambi/Fulcrum
Back over to the Fasken stage, the crowd’s attention was taken by the musical talent of JUNO award-winning artist, Ceileigh Cardinal. Her vulnerability found in her lyrics took the audience on a journey filled with her experience as a ghostwriter, her time during the 2020 COVID pandemic and her collaboration with The Tragically Hip.
The crowd celebrated her wins between songs, laughed with her during anecdotal stories, and admired her vocals during songs like “Don’t Waste Your Love On Me.” Her set, although different compared to the other performances that night, was a wonderful experience for those who attended it.
Dropkick Murphys
Photo: Sifa Tisambi/Fulcrum
Returning to the TD stage, a sea of fans gathered towards the stage like packed sardines, waiting patiently for the anticipated performance of Dropkick Murphys. One of their supporters, Marshall Trumble, accompanied by his family members, expressed his excitement for the set, citing his father as the one who “introduced [him to the band] when [he] was young, […].” As someone who isn’t familiar with Dropkick Murphys’ music, witnessing the generational impact they have created between grandparents, parents, and children intrigued and excited me.
Not long after, the band entered the stage with an explosive performance of “The Boys Are Back,” expressing not only their eagerness to perform, but their excitement of being back at CityFolk, after nearly a decade. Calling Dropkick Murphys set interactive would be an understatement, with Ken Casey, the lead vocalist, getting as close to the audience as the stage permits. And when he decided that wasn’t close enough, he threw his microphone to a young fan, who proceeded to sing as loud as he could, to the disapproval of the security.
From encouraging the audience to crowd-surf to inviting people on with them, Dropkick Murphys’ set was a masterclass in stage presence and performance engagement. And to wrap up an already incredible act, Casey takes the time to affirm their solidarity with workers’ rights and the people of Palestine.
Hurry For The Riff Raff
For audience members looking for an alternative to Celtic rock, the Fasken stage hosted one of CityFolk’s final performances of the night. With golden light illuminating the artist, Hurry For The Riff Raff provided a change of pace through the genre of alternative country and folk tunes. People swaying side-to-side to the soothing chorus of “Buffalo” and head bobbing to the more upbeat “RHODODENDRON,” this set replenished the crowd’s energy for CityFolk’s last show for day four.
The Pogues
Now, you’ll have to excuse my lack of knowledge as Celtic-punk has never crossed my musical radar, let alone The Pogues. However, as I returned to the TD stage and noticed an eager crowd and a backdrop displaying a ballinger in a glass bottle surrounded by a blood-red background, my interest piqued.
The Pogues’ current band members entered the stage, accompanied by a personal orchestra, delivering a booming rendition of “The Sick Bed of Cuchulainn.” Their set was unique, with a couple of members dancing as they played their respective instruments and Spider Stacy, the lead vocalist, bursting into a tin whistle solo. I don’t think I’ve ever experienced a concert quite like this one.
The audience travelled with the band through their 4-decade-long legacy, playing hits primarily from their album “Rum Sodomy & the Lash,” with Lisa O’Niel singing for “Dirty Old Town” and “A Rainy Night In Soho.” Similarly to the cover of “Rum Sodomy & the Lash,” I felt like I was transported at sea, sailing across the North Atlantic Ocean. And much like the people on the cover, I was trying to hold on to the structure of the performance.
Although the set introduced me to some goodies I will be adding to my playlist, the disorganization and miscommunication found between songs on stage resulted in a clunky performance, in my opinion. Not to mention an ill-intended tribute to the late Shane MacGowan, with Stacy saying, “[The Pogues] work better without him.”
Despite my feelings for the last performance of the night, CityFolk day four was a success.
