I said that my trip to Toronto was on a whim. And although it was a last-minute decision, it wasn't without thought. Descartes a Kant was an art-pop band (devo meets nine-inch-nails meets kate bush) from Mexico. I saw a few videos online over the last year and liked their sound and aesthetic. Around since 2001 with a debut album in 2007, they've never visited Canada. Lately I've been to a some great concerts from Youtube finds: Penelope Scott, The Marías, The Regrettes, and Ginger Root. So with the likelihood that they may never play here again, I booked a quick stay in The Big Smoke.
Friday night, the 501 streetcar took me across town. Queen St. East (Leslieville) was fairly lively since gentrification but Queen St. West was absolutely packed. Nobody was lining up 20-deep for gelato (Mizzica Gelaterie) or filling up the shops and restos in the East End. They tore down The Horseshoe Tavern's next-door neighbour to make way for the new Queen/Spadina subway station (and additional commercial properties). Despite its heritage status, only the front façade was kept (a practice I despise).
Inside the Shoe, it was a small crowd for opener Beach Fox. Their music was a little of everything but mostly driven by a fast "double-time" tempo: hint of surf rock, pop-punk, and some noise. Their final song, a cheeky teenage dirtbag anthem about "I like cheap beer so eff you", was a bit out of left-field.
It wasn't a full house but still good-sized group that awaited Descartes. The nice thing about Toronto was no matter where the artist comes from, they will find their countrymen in the audience and locals who knew their music. So tonight's contingent included folks from Mexico and Torontonians (oddly a few well into their retirement years) who cheered every number.
The conceit of the new album was our feelings about a digitally-mediated life. So onstage along with the band was a cyberpunk computer that bleeped and blooped. With a flat electronic voice and 80s graphics, DAK promised to turn our pain into art, find our ideal partner (sex releases dopamine!), offer fixes for depression (cocaine, alcohol, but ice cream is best), and recommend ways to live our best lives (why not dance?). Meanwhile Descartes, dressed in futuristic orange nylon jumpsuits, on songs like Graceless and Woman Sobbing played music filled with changing time signatures, staccato riffs, furious drumming, and driving bass. By the time things wrapped up with the dance-friendly After Destruction, my faith in live music was restored. The show ended with the members donning lighted fishbowl helmets while DAK led everyone through some feel-good affirmations and meditative mantras.
With the thematic portion over, Descartes a Kant played an extended encore with several songs from their back catalogue. Early on, band founder Sandrusca Petrova told the crowd that she had a feeling that DAK's first show in Canada would be special. Each member professed their Canadaphilia: Ryan Gosling (a song was inspired by him circa his Drive era), Avril Lavigne, Norm MacDonald. When Sandrusca and guitarist Ana played the penultimate Buy All My Dreams while moshing in the crowd, everyone returned their love. But why did they finally make this first appearance? It turned out that their former synth player Ano Muños left during Covid to live in the Great White North. Maybe he reached to them for a show before they depart on a European tour. In any case, Muños joined Descartes for an emotional final number.
The band was diligent with manning the merch table themselves from the start of the evening. There was a steady stream of buyers early on. I bought 2 t-shirts myself ($30/each) since the ticket was a mere $20. I would have taken the vinyl as well (despite the $60 tag) but my last such purchase suffered some damage in transit back to Ottawa. I didn't stay after the show, but after such a performance, Descartes deserved a long line of purchasers. Even DAK, as a good corporate digital avatar, recommended consumerism as one form of therapy.