Best Thing I Ate: Too Good to Be Stew
Treat Your Feelings: We Have the Perfect Baked-Good Solution for Any Problem
Back to Hydra: Revisiting the Scene of One of Vanmag’s Most Controversial Reviews
Wine List: The Best Italian Wines to Try at Vancouver International Wine Fest
Find an Excuse to Celebrate, Because These Sparkling Wines Are the Best in the Fizz
Editors’ Picks: The Best Things We Drank in 2023
City Informer: Why Is a Hummingbird the Official City Bird of Vancouver?
5 Things to Do in Vancouver This Week (February 26- March 3)
Your forever home. Your forever fund.
Escape to Osoyoos: Your Winter Wonderland Awaits
Your 2023/2024 Ultimate Local Winter Getaway Guide
Kamloops Unscripted: The Most Intriguing Fall Destination of 2023
Protected: Experience Kitchen Brilliance: Unveiling the Ultimate Culinary Workstation
Vancouver-Based Fashion Brand Ization Studio Brings the Fun
7 Stylish, Statement-Making Jackets for Spring
Whatever Colin Meloy thought he was doing when he formed the Decemberists at the beginning of the decade, the singer-songwriter-guitarist never envisioned a contract with the Beatles’ record label and a sellout show at the Hollywood Bowl. Yet his Portland-based quintet won both, joining forces with Capitol Records in 2006 and performing at the historic venue (accompanied by the Los Angeles Philharmonic, no less) the following year—seemingly without a shred of compromise. More than any “underground” group since Radiohead, success found them. Which isn’t to say that Meloy—a rotund, bespectacled creative-writing major—lacks ambition; indeed, the ambitious scope of his songs is what made mass acceptance seem unlikely. True to his education, Meloy produces complex, often meandering songs that are as likely to be influenced by classical literature and romantic poetry as by cult pop artists Morrissey and Robyn Hitchcock. And as the Decemberists’ audience has grown, so too has Meloy’s desire to test fans. The Hazards of Love, the band’s fifth album, is its most audacious: an hour-long, 17-track narrative inspired by folksongs and fairy tales that he recently admitted was “initially conceived as a musical.” Peppered with shocking sonic detours (from a shredding guitar solo to earnest harpsichord poking), it may transport you back to the golden age of 1970s progressive rock (think Jethro Tull or Peter Gabriel-era Genesis). Which explains why you’ll see a few greybeards among the auburn hipsters at the Vogue.
At the Vogue Theatre. July 21 and 22. Tickets: 604-280-4444 or Ticketmaster.ca