Three songs into U.S. Girls' Saturday night set at Drake Underground, Meg Remy shot keyboard player Georgie Gordon a look, one that suggested the singer and mastermind behind the Toronto band wasn't quite sure if she would make it through the performance. Recognizing the only way forward is through, Remy paused, took a deep breath and started "Bless this Mess," whose mantra-like chorus reminds everyone — Remy included — "you're doing your best."
Yet, save for a few similar looks and some visible nervousness in her movements, few would have guessed that this was Remy's first time on stage in over three years, a fact she revealed at set's end. "A lot has changed, and nothing's changed," she said, mentioning neither the pandemic nor the demands of motherhood that derailed plans to support 2020's Heavy Light.
Performing for a relatively small invite-only gathering of friends and industry folks, this semi-secret night was also the debut of a new, economical five-piece version of U.S. Girls, who's local shows often challenged the size of the stage on which they were performing.
A heavy curtain opened to reveal the group, with Remy sitting and staring intently into the crowd. She rose to sing "Only Daedelus" from this year's Bless this Mess, songs from which unsurprisingly comprised most of the set. Album highlights "Futures Bet" and " So Typically Now" came early, with the group relying on triggered samples and digital drums to help recreate the album's updated '70s R&B groove.
Remy seemed to settle in a bit more as the band engaged with their back catalogue, playing around with the arrangements to suit the newly configured band — Gordon, Remy's partner Max Turnbull on Guitar, Ed Squires on percussion and pianist Edwin de Goeij— stripping down songs like "Woodstock '99" and duetting with Gordon on "Poem." Rather than taking away from their intricate studio versions, the changes showcased just how malleable Remy's songs are.
The show ended with Remy closing the curtains on the band as Turnbull's guitar wailed. Just before performing the final number, Remy, perhaps finally feeling more like herself on stage, reflected on life's fragility; "This could be the last show you ever see," she deadpanned to nervous chuckles which quickly turned to roars of laughter. "Lucky you, what a good one it was"
Yet, save for a few similar looks and some visible nervousness in her movements, few would have guessed that this was Remy's first time on stage in over three years, a fact she revealed at set's end. "A lot has changed, and nothing's changed," she said, mentioning neither the pandemic nor the demands of motherhood that derailed plans to support 2020's Heavy Light.
Performing for a relatively small invite-only gathering of friends and industry folks, this semi-secret night was also the debut of a new, economical five-piece version of U.S. Girls, who's local shows often challenged the size of the stage on which they were performing.
A heavy curtain opened to reveal the group, with Remy sitting and staring intently into the crowd. She rose to sing "Only Daedelus" from this year's Bless this Mess, songs from which unsurprisingly comprised most of the set. Album highlights "Futures Bet" and " So Typically Now" came early, with the group relying on triggered samples and digital drums to help recreate the album's updated '70s R&B groove.
Remy seemed to settle in a bit more as the band engaged with their back catalogue, playing around with the arrangements to suit the newly configured band — Gordon, Remy's partner Max Turnbull on Guitar, Ed Squires on percussion and pianist Edwin de Goeij— stripping down songs like "Woodstock '99" and duetting with Gordon on "Poem." Rather than taking away from their intricate studio versions, the changes showcased just how malleable Remy's songs are.
The show ended with Remy closing the curtains on the band as Turnbull's guitar wailed. Just before performing the final number, Remy, perhaps finally feeling more like herself on stage, reflected on life's fragility; "This could be the last show you ever see," she deadpanned to nervous chuckles which quickly turned to roars of laughter. "Lucky you, what a good one it was"
