In a double bill of international indies, The Orpheum on 6/6 played host to power pop KEXP darlings, The Stills and Rogue Wave.  The two acts boast a return to lush 70’s progressive rock that within itself can be considered art.  And the two wasted no time treating the Bay area to a glimpse of what is next in pop music.  Opening promptly at 8:30, Rogue Wave, the Oakland, CA quartet—originally supposed to be lead singer’s Zach Rogue’s solo project—brought excellent acoustics to match their lyrical prowess.  This was evident in their bizzarro Phantom Planet version of the ode to La-La land, “California”.  In it, Zach plays with his own ambivalence to his home state, “from a false family, she could light you up/like a holiday tree in the summer/so lead us there.” 

The carnival sway of “Bird on a Wire” and quarter beat speed of “10:1”, book ended Rogue Wave’s genre twisting performance.  While balancing their repertoire between ballads and electro-funk, their performance falls snugly between Death Cab for Cutie and Radiohead.  (Where Zach’s falsetto would match perfectly with Thom Yorke’s and Ben Gibbard’s.)  But, it was the childlike new single, “Eyes” where Rogue Wave surpasses the metaphorical sentimentality of their successful predecessors. 

Much like Rogue Wave, The Stills made their way to the spotlight and wasted no time.  The Montreal group galloped into “In the Beginning” off their new album Without Feathers.  It burned a trail for the rest of the set, picking up drums, bass and organ along the way.  Constructing this wall of sound was new drummer Julien Blais. Dave Hamelin, former drummer turned vocalist, looked confident in his revamped role whilst donning a straw fedora.


With a cordial “How you feeling Tampa?” it was Tim Fletcher’s turn to take the mic, starting into “Lola, Stars and Stripes”.  Fletcher has a reputation for being able to replicating live the same performance found on The Stills’ albums, but within the Orpheum’s brick façade he sang the chorus to “Lola” as though each person in the audience were named Lola, desperately seeking an answer that only he could provide.

A piano hammered out major chords, and suddenly the audience was climbing “The Mountain.”  Guitars pounding out elongated melodies, with the organ breaching the peaks.  Every gap in the Orpheum filled with the massive swells of music, nary a corner anywhere escaping the spacious sound.  It would have been impossible for Hamelin to hold out the song “Wait” any longer as they crashed into the song’s quiet piano-led denouement. 

“Oh Shoplifter” arrived with its raucous cowbell (with audience cries of “More cowbell!).   This offered a perfect lead into “It Takes Time”, a Motown homage traced with synthesized horns.

The only misstep for The Stills was their encore performance of “Retour A Vega,” from the Wicker Park soundtrack and sung in French.  It proved difficult for the audience to embrace this fairly unknown—and seemingly foreign—track.  But it was the following tune, “Killer Bees,” led by Fletcher’s screaming guitar, where the audience returned to the fold.

While joining the summer festival circuits, Rogue Wave and The Stills are breaking from their regional nests and showcasing a talent in small venues, showcasing a sonic snapshot into what is soon to be labeled as neo-prog rock.  This next generation of bands, looking to embrace the virtuosity of pop music, offer the audience their version of the genre with the pride and intellect of contemporary art students.  And, with venues like The Orpheum, Tampa is fortunate to play the role of gallery owner to their works. 



Interview with Dave Hamelin of The Stills

REAX:  So, how do you think the show went tonight?

DH:  Uh, I thought it went good.  It’s really hot.  I thought it was a good show, I had a good time.

REAX:  Coming off the success of such a great album like “Logic,” how do you decide to go from indie/disco/dark rock to the more gritty rock sound with the new album?

DH:  I have no idea, it just kind of happened.  We had been evolving the whole time we were touring.  It might be difficult for people to make the adjustment in their mind, but I mean, it’s been three years between records.

REAX:  It really seems like when you guys are on stage together, you (Hamelin and Tim Fletcher) really feed off each other, and pull it together pretty strong.

DH:  Yeah, it’s pretty amazing.  I mean, its great to have two people up there, we really have each other’s backs.

REAX:  You guys seem so comfortable bringing in the new drummer.

DH:  Dude, our drummer is amazing! 

REAX:  He’s pretty great.

DH:  He’s way better than I am.  Way, way awesome.  I literally cannot play the songs off the new record.  There’s so many I can’t play.  Like I can’t play “She’s Walking Out on Me.”  Not a chance.

REAX:  It’s great having you up front now, it definitely adds another vocal dynamic.  When did you guys officially become “The Stills?”

DH:  2002.

REAX:  What’s your favorite band you’ve played with?

DH:  Broken Social Scene.

REAX:  Are you guys going to do anything with them soon?

DH:  Maybe.  You never know.

REAX:  Last question: what’s your favorite song off the new album?

DH:  “The House We Live In.”

REAX:  Why?

DH:  It’s extremely personal, and, I don’t know, I just think it has a lot of soul on that song.

REAX:  All right.  I really appreciate you talking to Reax.  It was a great show, and have a good night.

DH:  Thank you.