The Raveonettes / Gliss

Despite the wide geographical distance separating bands from Copenhagen and California, Gliss and the Raveonettes proved a well-made musical match. L.A.’s Gliss started off the night with layered pop songs that spotlighted strong girl/boy vocal harmonies, suggesting a more muscular Dandy Warhols. Despite all three band members pausing frequently to switch instruments, the group delivered a quick-paced show that drew a ragtag crowd of indie kids and dreadlocked hippies to dance near the stage. The Raveonettes followed and performed a captivating set that had band members and the audience smiling throughout much of the evening. Overtop of waves of feedback, Sune Rose Wagner and Sharin Foo’s tuneful vocals provided a warm and rich contrast. Pre-recorded bass tracks supported their guitar playing, but the group still managed to incorporate some spontaneity. Foo earned local cred by pausing between songs to comment on her fondness for artists from Winnipeg’s Royal Art Lodge. A touring drummer added additional stage presence to the group as well, pounding her sparse snare drum and floor tom with the force of an angry Mo Tucker. From the barbiturate-laced ballads on Pretty in Black to the feedback-drenched blasts on Whip it On, the group covered a solid range of their catalogue for their first ever Winnipeg performance. On tunes such as "Attack of the Ghost Riders” and "Love in a Trashcan” the crowd danced eagerly along. The group also unveiled newer songs from the forthcoming Lust Lust Lust disc. The new tunes featured slow, mesmerising tones that nodded towards the likes of both New Order and Suicide. The Raveonettes also unleashed an excellent, floor-shaking version of Stereolab’s "French Disko,” showing a knack for pulling off unexpected covers. With their keen ability to merge sharp edges with silky melodies, the Raveonettes gave an engaging show.