Photos by Sofia Cardenas
Hailed among some of the most influential indie artists of the 2000s, of Montreal’s twee renditions of rock and pop continue to be celebrated by new audiences today since frontman Kevin Barnes began the group nearly three decades ago. Originating from Athens, Georgia, of Montreal’s 1997 debut Cherry Peel made its mark, displaying Barnes’ ability to blend folk and pop with melancholic lyricism. Recording an album nearly every year since, of Montreal has released aethermead this past June, the 27th addition to their equal parts unorthodox and distinct catalogue. This summer, Barnes and his touring band embarked on a North American tour for the album, making a stop at LA’s Regent Theatre for a night of what can truly only be described as pure joy and whimsy.
Having already seen of Montreal at the Regent in 2024, I was looking forward to seeing what the band had in store for this performance. Since the band’s inception, Barnes has not been afraid of maximalist stage production — be it through physical appearance, visuals, or stage design. Following a hauntingly animated set from opener Sloppy Jane, a large cutout of a character from the aethermead album cover was placed on center stage. As the band set up their instruments behind it, the set began with “I’d Endanger,” a track from 2008’s Skeletal Lamping. Kevin Barnes skipped onto the stage, dancing behind a screen illuminated by brightly colored floating patterns, flashing neon polka dots, and later joined by three backup dancers in grey body suits — all who would make regular appearances for the remainder of the show.
The upbeat indie pop song transitioned into the punchy drums and aggressive guitar tones of “When,” the leading single off their new album. Prior to aethermead, the usual recording process for Barnes had mostly been a solo endeavor, only having a live band play alongside them on tour. In a feature by the Charleston City Paper, Barnes describes aethermead as a collaborative process between their touring band members and fellow musicians: “It’s the first of Montreal album in a decade to have multiple other musicians on it, and the result is a 13-song collection that brims with different sounds and ideas.” Here, “When” takes the narrative lyrics seen throughout of Montreal’s previous projects and joins it with fresh dance-punk instrumentals. The song was truly meant to be played live. From my balcony view, the fast-paced chorus had the entire floor bopping up and down in sync — the energy further heightened on the stage’s screen by flashing animated collages of disfigured mannequins and mandrill faces.
Later in the show, the introduction to “Sleeping in the Beetle Bug” hit the venue speakers. A wave of screams erupted from both the crowd and myself, as of Montreal had not performed many songs off Cherry Peel in a long time, considering their extensive discography. The cheerful energy of Barnes and the crowd made this my personal highlight of the night, with Cherry Peel being a nostalgic album from my underclassman years. Being of Montreal’s debut release, the folk-pop blend still holds up in modern indie discussion as it’s consumed by younger audiences, making it a perfect live experience. The track was followed by a cover of Pee Wee King’s “Tennessee Waltz.” Being a woeful pause from the rest of the songs on Montreal’s setlist for the night, they still managed to give the country ballad their own quirky spin by having backup dancers waltz among each other and the band members. It also happened to be one of Barnes’ best vocal performances of the night, belting the closing lyrics;
“Yes, I lost my little darlin’ the night they were playing / The beautiful “Tennessee Waltz”
Coming out of the song’s somber tone, the crowd’s vigor was reignited with the beginning bassline to “Bunny Ain’t No Kind of Rider,” a song off their most popular album, Hissing Fauna, Are You the Destroyer? from 2008. The song was followed with “Paranoiac Intervals/Body Dysmorphia,” with the dancers making their return with an onstage outfit change midway through, swapping neon circle-printed bodysuits for brightly-colored leggings and vests.
After the encore, the three dancers came out in American flag body suits, with one on the back of the other simulating driving a motorcycle. The third dancer played a policeman pulling over the other two, engaging the audience to boo in favor of the driver. As the crowd’s noise died down, the policeman held up a sign saying “ABOLISH ICE.” This message hits the crowd even harder tonight considering the prevalence of immigrant communities in the history, culture, and society of both Los Angeles and California as a whole. Of Montreal continued the rest of the show with “For our Elegant Caste” off of Skeletal Lamping, and “She’s a Rejector,” off Hissing Fauna, Are You the Destroyer? before continuing their tradition of ending the show with “The Past Is A Grotesque Animal,” a twelve minute epic powered by pounding drums and echoing bassline.
Leaving the venue, I was reminded of why I’ve come to be so fascinated with Kevin Barnes’ artistry, both musically and visually. In their live shows, of Montreal temporarily transports you into a sonic kaleidoscope of kitschy storytelling and performance. After hearing the musical evolution aethermead has been, I’m all the more enthusiastic about what new music of Montreal has up their rainbow-colored sleeves in the next year.
Check out of Montreal’s newest album, aethermead here!
