Tag Archives: Guerilla Poubelle

Pouzza Fest 9, Montreal, Q.C., 5/17/19-5/19/19 By Will Malkus

Pouzza9_StrungOut_title_shot_LorienLamarr

I’ve often heard Montreal’s Pouzza Fest referred to as “Fest spring training,” but now in its ninth year of operation it’s pretty clear to see that Pouzza Fest is in the process of developing its own identity, out from under the shadow of its larger and older fellow. It’s no secret that Pouzza Fest was heavily inspired by The Fest in Gainesville, Fla., but like so many of us did when we first discovered punk music, the smaller festival is now starting to see which parts of its identity it wants to keep and which parts it wants to change. This year especially the changes were readily on display, not just in the presentation but also in the lineup the organizers chose to book and the other wholly unique activities and events that are part of the Pouzza experience. I look forward to seeing Pouzza Fest continue to grow and mature but this year had its own highlights, which I had the opportunity to write about.

All the best parts of Pouzza Fest are still there of course; the fact that all of the shows at the main stage beer garden are free and open to the public, for example, or the presence of the food that the festival is named after (pizza with poutine as a topping), but the most valuable part of Pouzza Fest by far is the ongoing dialog about diversity in music and working hard as a community to make sure everyone at the festival is safe that the organizers encourage to not only take place, but evolve and expand throughout the weekend. Over the course of the three-day festival Lorien Lamarr and I covered twenty-seven bands, two panels, and one baseball tournament. I saw old friends, made some new ones, and explored parts of Montreal I’ve never gotten to see before. Obviously that makes for a lot of content, so I’ll try to keep this brief. Hopefully the following reviews will introduce you to a new band or musician, or help start a conversation about safety and representation, but please also feel free to check out the full lineup at their website. Amusez-vous bien!

POUZZA FEST DAY ONE, 5/17/19

Pouzza9_WomenInPunkPanel_LorienLamarr
Women in the Scene Panel: at The Beer Garden, Pouzza Fest, 5/17/19
It’s telling that Pouzza Fest decided to hold a Q&A panel focusing on women in punk, and even more telling that it was the very first event on the entire festival schedule. The panel, which featured a combination of musicians (Anlin Fan, Jenni Cotterill, Jordan Joyes, Valerie Knox), bookers (Nancy Ross), journalists (Liz Imperiale), and PR agents (Melanie Kaye), was moderated by Turbo Haüs co-owner and music industry veteran Michelle Ayoub. The topics covered ranged broadly, as the issues and experiences of being a woman in punk are no more universal and interchangeable than those of any human being, but of course there were some common threads. A lot of time was given to addressing and debunking the prevailing myth that “female-fronted” constitutes its own genre, and also to discussing strategies and tips for achieving success in whatever niche aspect of punk the hypothetical audience chooses to focus on. I would love to see more of these panels happen not only at Pouzza but also at other festivals in the future, because as the panel members pointed out, this was not only about addressing the struggles of being a woman in the scene but also presenting a valuable educational resource for people of any identity to benefit from.

Pouzza9_HarassmentPanel_ShawnaPotter_LorienLamarr
Anti-Harassment Seminar and Q&A with Shawna from War On Women: at The Beer Garden, Pouzza Fest, 5/17/19
I won’t spend too much time focusing on Shawna Potter’s brief introduction to anti-harassment because it’s all covered (and in much more depth than I could ever get into with just this brief paragraph) in her new book Making Spaces Safer: A Guide to Giving Harassment the Boot Wherever You Work, Play, and Gather, recently published by AK Press. It’s a great read and if you haven’t had the chance yet I highly suggest checking it out, but the main focus of her seminar was the Five D’s of Bystander Intervention, the five steps to be taken in the event that someone is being harassed in front of you: Direct, Distract, Delegate, Delay, and Document (the last one to be used as a last resort if one or more of the others have failed). Being from Baltimore I’ve had the opportunity to hear Shawna speak on this topic several times, but I can’t stress enough how worthwhile these strategies and techniques are. Big ups to Pouzza Fest for kicking off their festival by giving attendees tools to use throughout the weekend to help keep each other safe.

Pouzza9_ColdWrecks_LorienLamarr
Cold Wrecks: at Foufs Garage, Pouzza Fest, 5/17/19
Pouzza veterans Cold Wrecks played the first set of the fest, but even if they hadn’t, I still would have gone out of my way to catch them. The four-piece band released their second LP This Could Be Okay just a few months ago and you could feel the hype in a packed Foufs Garage. Even with a fill-in lead guitarist and the fate of their beloved van (RIP Van Michael Vancent) uncertain and weighing on their minds, Cold Wrecks was able to bring the pop punk energy which set the pace for the rest of the weekend. Very few bands do jump-worthy, high-energy songs about the anxieties and frustrations of life in the 2010s as well as these four. They rounded out their set by playing ”Montreal,” furthering their successful efforts to make themselves mainstays of all the best festivals by writing songs about their host cities.

Pouzza9_Sarchasm_LorienLamarr
Sarchasm: at Foufs Garage, Pouzza Fest, 5/17/19
Hot on the heels of Cold Wrecks was the East Bay’s Sarchasm serving up their specific brand of “intersectional bummer punk pop.” True to form, their most recent album on Asian Man Records was called Beach Blanket Bummer Pop, and in all honesty I struggle to find a better description for their sound. These are upbeat summer jams about dark topics, like being scared for your life at a protest or contemplating suicide, a musical dichotomy that I might have been skeptical about prior to hearing them absolutely nail it. Sarchasm seems to feel their music in every fiber of their being; stumbling, jumping, and writhing around every inch of the tiny Foufs Garage stage with reckless abandon whether they’re belting out their own powerful lyrics or absolutely slaying a cover of Talking Heads’ “Psycho Killer.”

Pouzza9_ChokedUp_LorienLamarr
Choked Up: at Foufounes Électriques, Pouzza Fest, 5/17/19
Brooklyn-based four-piece Choked Up was in the middle of their sound check when we got to the main stage at Foufs, but it was hard to tell because the band was so in synch they were playing what sounded like full songs already. As a warm-up it was impressive, but not nearly as impressive as their full set. There are clearly miles and miles of meaning behind Choked Up’s songs, which shouldn’t come as a surprise since they’re fronted by the prolific graphic novelist and illustrator Cristy Road. There’s a cohesion to Choked Up that’s hard to find in bands that have been around three times as long and the crowd was very clearly there for the understated shredding, the gritty edge of Road’s vocals, and the lyrical content that backs up Choked Up’s mission statement of, “Queer POC to the front! It’s okay if you feel awkward. If you got into punk rock and you don’t feel awkward, maybe rethink your choices!”

Pouzza9_BadCopBadCop_LorienLamarr
Bad Cop/Bad Cop: at The Beer Garden, Pouzza Fest, 5/17/19
For the first of many times over the course of Pouzza Fest weekend, the main stage in downtown Montreal came alive for the powerful trademark harmonies of Bad Cop/Bad Cop. These West Coast punks have been on the rise for the last few years and it’s easy to see why. Between the aforementioned harmonies, the syncopated no-frills guitar, and a message that has never been more prescient, Bad Cop/Bad Cop playing “Womanarchist” was easily one of the stand-out performances of the entire festival. And speaking of “Womanarchist,” their flagship song felt especially relevant in the wake of the Alabama abortion ban passed just days before Pouzza Fest, and as they launched into it the field in front of the stage became only a mass of bodies jumping and beer cups raised high as the words “it’s my right to choose!” echoed across the entire city of Montreal.

Pouzza9_EarlyRiser_LorienLamarr
Early Riser: at Foufounes Électriques, Pouzza Fest, 5/17/19
Between Brooklyn mainstays Heidi Vanderlee and Kiri Oliver’s dual vocals and cello/guitar respectively, Mikey Erg of every band ever on drums, and proper.’s Natasha Johnson filling in on bass, I think it’s safe to say that Early Riser has officially achieved NYC supergroup status with their Pouzza 9 set. I most often hear Early Riser categorized as a folk punk band, but I don’t think that moniker really does justice to their legitimately beautiful songs. In a scene filled with people screaming into microphones and pounding on their instruments, it’s so nice to occasionally just sit back and hear some happy songs accompanied by warm cello music and soft harmonies. It was the only time all weekend I got to see how the acoustics in Foufs did with anything other than punk vocals and they did not disappoint.

Pouzza9_SaveEnds_LorienLamarr
Save Ends: at Foufs Garage, Pouzza Fest, 5/17/19
We were a little late getting into Save Ends’ set in the smaller half of Foufs, but that didn’t diminish my excitement at the opportunity to see them again. Day one of Pouzza was proving to be full of atypical punk acts and Save Ends was no exception. On top of guitar riffs and baselines that range from pop punk to emo to truly heavy, the real power behind the Boston five-piece is the interplay of vocal accompaniment between their co-vocalists: guitarist Christina Atturio and keyboardist Brendan Cahill. Both have wholly unique voices in the world of punk, and together they elevate Save Ends into a whole different weight class. This was the first set of the weekend where I saw people singing all the words to the songs back at the band, and judging from expressions, I saw I’m sure more people will be joining in the next time Save Ends plays Pouzza Fest.

Pouzza9_AbertoothLincoln_LorienLamarr
Abertooth Lincoln: at Turbo Haüs, Pouzza Fest, 5/17/19
Stepping into Turbo Haüs is kind of like stepping into another world. After passing through an entirely nondescript and unsuspecting bar, I entered through a door into a room completely bathed in red light and full of drunken punks all speaking rapid-fire French, where a band that looked like the crew of a cruise ship was tuning up on stage. From the side of the stage entered a person wearing a wetsuit, and they took a microphone in hand as the rest of the band launched into some of the hardest metalcore I’ve ever heard, complimented by 8-bit interstitials from a lone keyboard player. The band in question was Abertooth Lincoln from Dayton, Ohio, though during this particular set they identified themselves as Space Force, after the eponymous anti-nationalism single they released just a few months ago (and also a flash game of the same name they made to go along with it). Words cannot do it justice but safe to say everyone in attendance was entirely floored by the sheer energy and powerful voice of frontperson Ashley Pooler and the brutality of the rest of the band, myself not the least among them.

Pouzza9_Dead_Bars_LorienLamarr
Dead Bars: at Katacombes, Pouzza Fest, 5/17/19
If a group of your thirty-something friends listened to an Iron Chic record and decided to start a band with a vocalist doing his best Lawrence Arms impression, then invited you over for a band practice where they were absolutely hammered, you’d have a pretty good sense of what seeing Dead Bars live is like. They are a no-holds-barred, true-to-form pop punk band out here singing love songs about sharing earplugs and I could not have enjoyed their set more if I tried. From the balcony of Katacombes I had a front row seat to watching the front rows rip themselves into a frenzy over a repeated chorus of la-la-las and the stumbling antics of vocalist John Maiello that threatened to consume the whole crowd. It was already 11:00 PM by the time they went on but no one was holding anything back on night one, least of all Dead Bars.

Pouzza9_ArmsAloft_LorienLamarr
Arms Aloft: at Katacombes, Pouzza Fest, 5/17/19
Where to begin with Arms Aloft? I could write about them for pages, so it’s hard to try to isolate this down to just the bare minimum. I’d be hard pressed to try to think of a band that inspires me more with the things they say, not just through their music but through their staunch anti-capitalism, anti-fascism, anti-shitty-people platform as well. Sonically, Arms Aloft is Midwestern punk at its best: raw, fast, and honest, completely lacking any guile whatsoever. Seth Giles’ gruff voice was in rare form on night one, especially while crooning the title track and my personal favorite from their last album What a Time to Be Barely Alive. Arms Aloft ended their set with an impressive display of Midwestern manners; lots of compliments and gratitude for Pouzza Fest itself. Just because you’re punk doesn’t mean you have to be an asshole, and no band exemplifies that ideal better than Arms Aloft.

Pouzza9_SpanishLoveSongs_LorienLamarr
Spanish Love Songs: at Katacombes, Pouzza Fest, 5/17/19
This wasn’t my first Pouzza Fest so I knew to pack extra clothes because there is one universal truth to surviving in Montreal venues: no matter what the temperature is outside the inside will be very, very warm. Couple that with the fact that we were closing out the night with the undisputed champions of heartfelt party jams Spanish Love Songs and I knew not a single one of us would be making it out of Katacombes with our clothes dry. Spanish Love Songs absolutely destroyed the crowd in the best possible way and I can only imagine what we must have looked like from their perspective: a constantly shifting sea of sweaty faces screaming their songs, fists raised high into the air, with people practically hanging off the balcony to point their fingers back at them. Their mid-set rendition of new single “Losers” was a Pouzza Fest highlight for me and a perfect end to the night.

POUZZA FEST DAY TWO, 5/18/19

Pouzza9_Baseball_LorienLamarr
Grand Slam 4 Baseball Tournament: at Lafontaine Park, Pouzza Fest, 5/18/19
Day two of Pouzza Fest started with a long search for what might be the most unique aspect of the whole festival: the Saturday morning baseball tournament. Punk and baseball have a long history of intersection but Pouzza Fest takes the relationship a step further and lets bands, sponsors, and partners form teams to compete against one another in a bracketed tournament, complete with hot dogs and beer for sale, a live announcer, and (naturally) loud punk music blasted from giant speakers just to complete the authenticity of the experience. I got the impression that this is one of the better kept secrets of Pouzza Fest but I genuinely hope to see it grow in the future as it was a very relaxing way to pass a sunny morning in Montreal before the music started.

Pouzza9_AntiQueens_LorienLamarr
The Anti-Queens: at The Beer Garden, Pouzza Fest, 5/18/19
The Anti-Queens used to bill themselves as “four tits and a dick” but these days they’ve swapped the dick out to realize their final form: “eight tits and some instruments.” I caught The Anti-Queens last year at Pouzza Fest but this year they took the main stage by storm first thing on day two, immediately winning over the audience by dedicating a song to “anyone here who’s on their period right now!” Even though it was obvious that a lot of the crowd were battling hangovers and just starting their days, the Toronto band still brought the energy and rallied the assemblage with thirty minutes of blistering garage punk fit for any early ’90s college basement show. The open-air venue allowed the three-part harmonies of the band to really shine where last year they were a bit overshadowed by a smaller space, which is way more of a testament to how hard they wail on their instruments then it is a criticism of their voices or the acoustics at other Pouzza venues. With this fest under their belts The Anti-Queens may have fully graduated to headliner status, and I hope to see their name at the top of more lineup announcements soon.

Pouzza9_AlexBrownHepcats_LorienLamarr
Alex Brown And The Hepcats: at The Beer Garden, Pouzza Fest, 5/18/19
I’m a big fan of diversity in my lineups so I was happy to see that Pouzza Fest continues to go out of their way to book acts that I would probably never seek out on my own. While rockabilly certainly isn’t for everyone (I can’t say I’m the biggest fan myself), Alex Brown And The Hepcats were a welcome surprise before a full day of running from punk show to punk show. It takes a lot of charisma to pull off the rockabilly aesthetic in 2019 but charisma is something that Alex Brown has in spades, blending a little punk energy into the genre of a different rebellious age while still twisting, shouting, and shaking like Elvis Presley himself. Once you hear him you might not be surprised to learn that he was a quarter-finalist on the Canadian version of The Voice, and that vocal prowess coupled with some excellent twangy guitar and good old-fashioned charm had people legitimately swing dancing by the second or third song of the set.

Pouzza9_WaltHamburger_LorienLamarr
Walt Hamburger: at Théâtre Sainte-Catherine, Pouzza Fest, 5/18/19
Walt Hamburger was probably my favorite surprise discovery out of all of Pouzza Fest. Lorien Lamarr (Aretesophist Photography) asked that we cover him, and when I remarked that I had no idea what he sounded like, she replied simply “good.” Dashing over from the Beer Garden to the tiniest Pouzza venue Théâtre Sainte-Catherine meant that his set had already started, but walking into that crowded room mid-song was probably the best introduction I could have gotten. Soulful ballads with heart-wrenching lyrics weren’t really what I expected to hear from a guy called Walt Hamburger, but it’s always nice to be surprised in the oft-predictable punk world. Walt plays some of the best acoustipunk I’ve heard in a very long time and has almost two decades of experience as a musician under his belt, but nothing could have prepared me for the whistling. This may seem like a strange statement, but the man can whistle like nobody’s business and it adds a whimsical counterpoint to what are some of my new favorite “rainy day” songs.

Pouzza9_DirectHit_LorienLamarr
Direct Hit!: at The Beer Garden, Pouzza Fest, 5/18/19
Direct Hit! writes pop punk concept albums about the nuclear apocalypse and experimental drug use à la Hunter S. Thompson, and even though the thoughtful approach to minimalist storytelling through well-crafted lyrics seems at odds with their “get drunk and party” punk rock approach to music, it has cemented their status as one of the greatest contemporary pop punk bands. I always seem to catch them headlining festivals these days, which isn’t a bad thing by any means, but it does mean that some of the party atmosphere they bring to the table is lost in translation. At the risk of sounding anti-success, I have to say that I vastly prefer the Direct Hit! shows I’ve seen in packed venues, where there’s no barrier and you’re constantly at risk of a stagediver landing on top of you. I don’t even like stagedivers but some bands just call for it in order to get the full experience and Direct Hit! is absolutely one of those bands. That’s not to say they didn’t deliver a quality performance full of energy across an eclectic, discography-spanning setlist (because that would be a lie) but punks have a tendency to get greedy about their favorite bands from time to time and I’m afraid I’m no exception.

Pouzza9_Invaluable_LorienLamarr
Invaluable: at Katacombes, Pouzza Fest, 5/18/19
Taking a break from the plentiful pop punk of the weekend to catch the much heavier Invaluable from Virginia Beach turned out to be a great decision. As much as I’d been enjoying all of the other bands we’d seen, there was something missing that I found in Invaluable’s shred-heavy, slightly sludge-y melodic punk sound. Once again Pouzza had me covered in terms of variety, and the three-man band’s killer gang vocals complemented their stylized thrashing perfectly and left me feeling satisfied on the metalcore front… for at least a little while.

Pouzza9_BigDKidsTable_LorienLamarr
Big D And The Kids Table: at The Beer Garden, Pouzza Fest, 5/18/19
As a lifelong ska fan, I have to admit that I was unapologetically excited to see Big D And The Kids Table open up the pit just as it started to get dark in Montreal. 2007’s Strictly Rude was actually one of the first albums I bought with my own money after discovering them on the Asian Man Records’ Ska Is Dead comp, so getting to throw down and skank to “Noise Complaint” along with such a huge crowd took me on a nostalgia trip right back to high school (in the best way, if there is such a thing). Pouzza Fest has always been kind to ska when setting their lineup and this year was no exception. Of course Canadian punk has a long, proud ska history itself and I have to admit that I am consistently impressed at just how diehard their diehard fans are. In terms of performance, Big D And The Kids Table have been at this for so long they’re total professionals these days, and I don’t know if they could put on a bad show if they tried.

Pouzza9_BikeTuff_LorienLamarr
Bike Tuff: at Katacombes, Pouzza Fest, 5/18/19 (by Lorien Lamarr)
Will caught whatever stomach bug was going around and had to skip a set, so I’m filling in. Kamea was one of my favorite records of 2016, but even if you’ve never heard a single Bike Tuff song, you’d feel like an old friend returning home at any Bike Tuff set. I haven’t been to the Midwest since I was fifteen, but I feel like an honorary member of the Midwest scene at a Bike Tuff show. The crowd is the enthusiastic fifth member of the band. When you have a hundred voices screaming “Did you forget about me?”—that really takes gang vocals to a new level. I think it’s the hopeful mood of the surface-level bitter-sad songs that keeps everyone coming back. If that desire to retain your grip on hope feels familiar, you belong at a Bike Tuff set, but honestly, if you show up you belong and that’s goddamn beautiful.

Pouzza9_SincereEngineer_LorienLamarr
Sincere Engineer: at Foufounes Électriques, Pouzza Fest, 5/18/19
Let me preface this by saying that I have never, ever seen a crowd go as hard for Sincere Engineer as the packed room in front of the Foufs main stage did at Pouzza Fest 9. Last year frontwoman Deanna Belos played by herself, but it would seem the days of Sincere Engineer solo sets are gone as the four-piece have the Rhombithian setlist pretty much down to a science now. Having been on the Sincere Engineer hype train from pretty early on it’s impressive how much their fanbase has grown in just a few short years. They have always defied easy classification into any of the major punk genres but it’s been incredible watching Belos develop as both a performer and a lyricist/vocalist/guitarist. The band even premiered a brand new track at the end of the set, clearly Alkaline Trio-inspired and full of trademark Red Scare gruffness but still wholly unique. If the rest of the album sounds that good, we all need to start preparing now.

Pouzza9_BongMountain_LorienLamarr-1
Bong
Mountain: at Katacombes, Pouzza Fest, 5/18/19
If I’d gone into their set blind I never would’ve suspected Bong Mountain hailed from the frozen land of Grand Rapids, Mich. and not somewhere warm and sunny. I can easily imagine listening to their debut album on repeat during a weekend beach trip, but they exist just slightly outside the pop punk spectrum with guitars just a little too noodley and their song structures just a little too varied to be nearly pigeonholed into that box. Still, the crowd at Katacombes had clearly come specifically to see Bong Mountain, as people were doing backflips (sometimes successfully, sometimes not) off of the stage and into the crowd almost immediately. The area right in front of the stage resembled nothing so much as an impromptu human pyramid as waves and waves of punks leaped and clambered over each other in an effort to sing right into the faces of the band members themselves. We’d all been playing it cool and conserving energy in preparation for our evening’s must-sees, and almost universally it seemed we all decided that now was the time to let it all out for Bong Mountain.

Pouzza9_Ramoms_LorienLamarr
Ramoms: at Café Cléopâtre, Pouzza Fest, 5/18/19
Are the Ramoms a gimmick band? Yes, of course they are, but that doesn’t mean they don’t have all the stage presence and musical ability of the band they’re named after and then some. Let’s face it, The Ramones were never considered one of the greatest punk bands of all time because of how well they could sing or play their instruments, and in this category at least, The Ramoms have them beaten in my opinion. Still, they say imitation is the highest form of flattery, so adaptation must be up there as well. The Ramoms were the last stop of my night, and as far as closers are concerned it would be hard to top hearing some of the songs that first got me into punk but with fresh twists on them; for example how the four moms transformed the Ramones classic “Judi Is a Punk” into “Gritty Is a Punk,” a love song to the giant orange nonbinary icon, avowed antifa member, and current Philadelphia Flyers’ mascot Gritty.

Pouzza9_Dopamines_LorienLamarr
The Dopamines: at Katacombes, Pouzza Fest, 5/18/19 (by Lorien Lamarr)
Will was once again down with the sickness, but luckily for me, with the exception of gluten, I have an iron stomach impervious to any illness. I say “luckily,” but I suppose that’s a matter of perspective. I love The Dopamines, but a Dopamines show is uncannily like giving your fun uncle who gets mean when he’s drunk a microphone… except there’s four of him. It’s like being consensually verbally abused in a quid pro quo exchange for earwormy punk. For an added twist, although their lyrics are often still angry, they are also introspective and honest, which always makes me wonder, “How much of this stage behavior is bravado or do they really live that stark of a dichotomy everyday?” True to form, The Dopamines brought three beers a piece on stage with them and greeted the audience with, “Why aren’t you all at Iron Reagan, you posers. We’re The Dopamines from Ohio. Fuck you,” and launched into a set heavy in tracks from Tales of Interest. The audience, myself included, cheered. Two songs in, when we were still there, one of those beers was spat directly at us, almost like a dare to stay. Not only did we stay, that was when the pit opened up. Punk don’t back down from a dare.

POUZZA FEST DAY THREE, 5/19/19


Rayner: at Foufs Garage, Pouzza Fest, 5/19/19

Rayner from Las Vegas has been on the periphery of my awareness for awhile now, but Pouzza Fest was the first opportunity I got to see them play live and I’ll be honest: over the course of a twenty-ish minute set I completely fell in love. Their specific brand of pop punk isn’t the frenetic high-energy speedway that’s come to be defined by the genre, instead their songs invite the listener to slow down and consider the world around them. This is particularly true of my favorite track off of their 2017 release Disasters, the cleverly named “Blurred Limes” which challenges our modern day notion of success and offers an alternative: “live your life like it’s one big show.” Unendingly humble and grateful to Pouzza Fest for having them all the way out from Las Vegas, Rayner closed their set with a hilarious tongue-in-cheek cover of Jimmy Buffett’s “Margaritaville” that was still an absolute bop and caught the crowd up with its infectious energy.

Pouzza9_GuerrillaPoubelle_LorienLamarr

Guerilla Poubelle: at The Beer Garden, Pouzza Fest, 5/19/19
It’s never easy to write about a band that sings in a language you don’t speak, but French anarcho punks Guerilla Poubelle have crafted such a clear thesis statement between their music and message that even a casual listener can grasp the gist of what they’re trying to say: namely to wake up, see the world around you, and acknowledge the way it and the people who live in it are being treated by those in power. It was a message that Pouzza Festers were more than willing to listen to, as hundreds gathered in the pouring rain to bask in the group’s gravel-mouthed vocals and driving guitars. It was the first time in my life I’ve ever seen a mosh pit full of umbrellas, which struck me as very fitting for a band that deals in existential philosophy as much as Guerilla Poubelle does.

Pouzza9_AndrewWK_LorienLamarr
Andrew W.K.: The Beer Garden, Pouzza Fest, 5/19/19
When I saw the full lineup announcement for Pouzza Fest I was excited for a lot of reasons, but I was only surprised for one: Andrew W.K.’s name at the top of the headliner list. Pouzza has always managed to grab one or two headliners that completely defy expectations, but seeing Andrew W.K. play an outdoor beer garden in the middle of downtown Montreal was an experience I knew I wanted to be a part of. Looking back on it now, I’m happy to report that it did not disappoint in the slightest. With a thunderous sound setup, a professionally-designed and coordinated light show, and no less than four guitarists all shredding at one time, what other set could compare to the sheer party energy that Andrew W.K. brings everywhere he goes? When we talk about punk, I think it’s important to remember that sometimes we have to throw our heads back and scream, and there’s no one Pouzza Fest could have gotten to better remind us of that than Andrew W.K.

Pouzza9_PenskeFile_LorienLamarr
The Penske File: at Foufounes Électriques, Pouzza Fest, 5/19/19
Just hours before their Pouzza Fest set, The Penske File discovered that their van (along with all of their gear and personal belongings) had been stolen from where they were parked behind Foufs. The call went out, with images of the missing van and all of their gear quickly spreading all over social media in the hopes that anything would turn up. Despite these tremendous setbacks, The Penske File would not be deterred. They borrowed gear from other bands, took the stage as expected, and delivered one of the most incredible sets of pure, undiluted pop punk I have ever seen. Seemingly channeling all of their frustrations and anxieties inwards, all three members, jumped, lunged, and roared with a passion that I’ve never seen from them before. I have said before that The Penske File is the only presently touring punk band that is entirely made up of frontmen, and nowhere was that more on display than on Foufs’ main stage on the third night of Pouzza Fest.

Pouzza9_KillLincoln_LorienLamarr
Kill Lincoln: at Café Cléopâtre, Pouzza Fest, 5/19/19
Any time hometown ska heroes Kill Lincoln from Washington, D.C. play I do my damndest to be there front and center, and I wasn’t about to let Pouzza Fest be the exception to that rule. Even with some of their regular lineup missing in action, Kill Lincoln still treated the late-night Café Cléopâtre to a full set of good old-fashioned East Coast ska punk. If you’ve ever wondered what Less Than Jake would sound like if they’d had a hardcore phase, you should absolutely check out Kill Lincoln. They are one of the most innovative and hard-working ska punk bands out there now, and in a world where ska is mostly treated as a punch line, they’re worth defending. Ska MVP award for Pouzza Fest goes to trombone player Yasutaka Umemoto, who dominated the stage with some of the most impressive vertical jumps I’ve ever seen.

Pouzza9_MakeWar_LorienLamarr
MakeWar: at Katacombes, Pouzza Fest, 5/19/19
And finally, after three days of an absolutely unreal Pouzza Fest experience, I was fully ready to close out the weekend with some MakeWar singalongs. The NYC three-piece was more than ready to acquiesce, launching into their set with little preamble (“We decided not to get drunk before our set and I think we did a pretty good job. We didn’t succeed, but we did a pretty good job.”) but plenty of energy. It seemed like they’d been storing it all up over the course of the fest, and now it was ready to be unleashed upon the Katacombes crowd in one furious assault of fast guitar, heavy bass, and pounding drums all almost drowned out by the strength of Jose and Edwin’s dual vocal prowess. For the last time of the weekend I watched the crowd go wild for an absolutely incredible band, and the longer the set went on the more we all collectively fought against its inevitable conclusion, perfectly willing to live in this moment as long as we could.

///

Will Malkus is a writer, librarian, and concert photographer based out of Baltimore, Md. You can check out his photography and writing portfolios at charmcorephoto.com/.

//

BAND REVIEW SUMMARY

FRIDAY, MAY 17
Women in the Scene Panel @ The Beer Garden
Anti-Harassment Seminar and Q&A with Shawna from War On Women @ The Beer Garden
Cold Wrecks @ Foufs Garage
Sarchasm @ Foufs Garage
Choked Up @ Foufounes Électriques
Bad Cop/Bad Cop @ The Beer Garden
Early Riser @ Foufounes Électriques
Save Ends @ Foufs Garage
Abertooth Lincoln @ Turbo Haüs
Dead Bars @ Katacombes
Arms Aloft @ Katacombes
Spanish Love Songs @ Katacombes

SATURDAY, MAY 18
Grand Slam 4 Baseball Tournament @ Lafontaine Park
The Anti-Queens @ The Beer Garden
Alex Brown and the Hepcats @ The Beer Garden
Walt Hamburger @ Théâtre Sainte-Catherine
Direct Hit! @ The Beer Garden
Invaluable @ Katacombes
Big D and the Kids Table @ The Beer Garden
Bike Tuff @ Katacombes (by Lorien Lamarr)
Sincere Engineer @ Foufounes Électriques
Bong Mountain @ Katacombes
Ramoms @ Café Cléopâtre
The Dopamines @ Katacombes (by Lorien Lamarr)

SUNDAY, MAY 19
Rayner @ Foufs Garage
Guerilla Poubelle @ The Beer Garden
Andrew W.K. @ The Beer Garden
The Penske File @ Foufounes Électriques
Kill Lincoln @ Café Cléopâtre
MakeWar @ Katacombes