By: Mehek Seyid (@whatthemehek) –
Shad. (Photo: Lauren Garbutt/Aesthetic Magazine Toronto)
Many are content that quality, relatable, and positive hip-hop exists in a market saturated with oversized egos andtwerking, but nothing makes you feel more privileged of that fact than when you actually get to experience it live. Attendees of Shad’s show at The Opera House in Toronto last night can attest to this idea, as the London, ON-native facilitated a night of good vibes and great tunes, while also breaking a lot of sweat (literally).
That is not a bad thing. Shad was just as excited to be back on stage as his audience was, so much so that he made a just over hour-long set feel endless by packing it to the brim, barely pausing for breaks between renditions of new favourites and throwbacks to the classics that his DJ and guitarist supported. From the moment he ran out on stage toperform “Intro: Lost”, where his first line is “Warmest wishes to those who chose to visit the show”, he embraced the night in a welcoming and humble manner. However, as his fans, a mixed audience of all ages, pushed closer and reached further to capture some of this spirit, Shad’s fire grew past the point of containment as he jumped into the lead single from his just-released album, Flying Colours, ‘Stylin’’ and TSOL’s “Yaa I Get It”, as he moved between their quick-speed rhythms so precisely and on point.
Accuracy has always been Shad’s strength. Whether it is his flow, relevant commentary, or ability to mesh hip-hop with indie rock, he has maintained a level of consistency in his creative outputs that allow him to continue to satisfy his original fan base without impacting his ability to expand it further. This was particularly evident when the fans that bounced to and matched his rhymes during performances of “Rock To It” and “I Get Down”, tracks from his 2005 debut,When This Is Over, were just as enthusiastic during an acapella performance of “Progress”, a genre-crossing track that samples Don McLean’s “American Pie” and the self-confrontational “Remember to Remember”, both of which are the bigger experimental moments on Flying Colours.
This is one of the many reasons why attending a Shad show is different from other hip-hop shows. Through his content and his varying production, he creates a sense of inclusiveness that is often lacking elsewhere. This is an idea that he speaks about extensively in his music, such as in “Fe Sum Immigrins”, which found him hopping from one end of the stage to the other so he could groove with those who attended his sold-out show. It was also fun to see him showcase his own appreciation for music, such as when he rapped a few lines from Drake’s “Started From the Bottom” as a lead-in to “The Old Prince Still Lives At Home”, when he commented, “People think I have a fetish for ‘90s hip-hop…but I have a ‘90s fetish for everything!”, and mouthing the words of “Rose Garden’s” chorus with his eyes closed, smile wide on his face, making the night’s participants feel like Shad is just like the rest of us.
Perhaps his decision to have not one, but two encores, was an even stronger indication of this idea, as he too was enjoying the non-stop energy and love that the Toronto audience exuded. His closing set featured performances of “A Good Name” and “Epilogue: Long Jawn”, highlights from the Juno-winning TSOL and Flying Colours, which were well-received but not quite satisfying enough. Although, when Shad returned to perform “Thank You” and share a few high fives with his fans, ending the night as modestly as he began it, it was apparent that no one was ready to let go of Shad. With this kind of repertoire, hopefully we will still have him in the business for years to come.
Opening act, We Are The City drove for four days from British Columbia to appear at The Opera House to open for Shad. Their performance of “Baptism”, from their sophomore album, Violent, garnered the biggest reaction, but they presented many other interesting moments over the course of their half an hour set which featured their brand of mellow, progressive rock. A highlight, “King David”, which featured drummer Andy Huculiak tapping on his cymbal with his own head, provoked a lot of appreciative cheers from the audience as keyboardist Cayne McKenzie sang “If you’re thinking of yourself/You should think of me instead”. This Kelowna-based threesome brought an appropriately chilled out energy to its Toronto audience, the perfect dosage before Shad’s hard-hitting set later that evening
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Shad
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We Are The City
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