The Martlet

Chad Vangaalen walked on stage in a robe that looked like it came straight from a production of Jesus Christ Superstar. The Calgary musician played Sugar Nightclub on Oct. 14 .

Vangaalen’s show was originally scheduled for Alix Goolden Performance Hall. However, low ticket sales prompted a venue change. Unfortunately, whoever organized the show made the mistake of attempting to bring theatre-style seating into a nightclub. Having the entire dance floor filled with rows of seated guests instead of energetic, clapping, dancing folk gave the performance a vibe one step too mellow.

Of course, there are benefits to a quieter crowd. For one, you can hear really well — a major benefit when listening to Vangaalen’s impressive vocal range. With a relatively simple ensemble on stage joining him, it was easy to be drawn into Vangaalen’s singing as it warbled from the midrange talk-sing, prominent on songs like “Bones of Man,” to the powerful falsetto performances of songs like “Rabid Bits of Time.”

As a musician noted for his extensive use of instruments, some even of his own invention, it is hard to reproduce the kind of innovations found on his albums, especially in his most recent effort, the Polaris Music Prize short-listed Soft Airplane. However, the group on stage did manage to include some cool aspects.

For the first song, Vangaalen played an instrument that looked like a four-string ukulele/lute hybrid and on a couple other songs bass player Monty Monroe used a bow to play his electric bass, providing a deep, drawn out orchestral background.

Despite the lacklustre crowd, Vangaalen definitely kept things entertaining. Not only did he dress up in an ankle-length bright red robe, but also he completed the outfit with an Otto-style wig and backwards trucker hat (a la the Simpsons). Between songs he bantered with the crowd.

One such moment saw him admit that while the band was in Merritt taking advantage of an empty water park, he was extremely tempted to take a dump down one of the slides.

Vangaalen’s Victoria show kept up the tradition of purchasing a dreadlock for $50 from any fan willing to part with one. He can now proudly display $200-worth of natty Victorian grown dread hanging from the end of his guitar — one from each of his last four shows here.

Thankfully, the crowd livened up toward the end and Vangaalen returned to the stage for an encore. Vangaalen plucked through his folkie ode to Viking death rituals, “Willow Tree,” a subtly beautiful track in which Vangaalen’s high-pitched quaver is masterfully applied.

Vangaalen is one of Canada’s most creative artists. He is often swinging through Victoria — so if the opportunity arises, I highly recommend treating yourself to one of his performances.