The video accompaniment shone in the late-going, “Jilly’s On Smack” supported by old home movies of a wholesome family Christmas, as Claypool donned a pig mask and played a bowed bass. Judging by the audible response, this was what the people came to see. The centerpiece of the show that followed was grand in title and delivery – “Southbound Pachyderm” patiently unfurling its psychedelic trunk to visions of elephants on trampolines and never-ending tunnels. “Eyes of the Squirrel” boasted a frantic section, reminiscent of Pink Floyd’s “On The Run,” with spiraling rainbows and tense imagery coming through a thousand sets of plastic glasses. The Eastern-tinged burn of “Over the Electric Grapevine” then wormed its way into a vicious groove, over which LaLaone screeched and contorted – leaving room for a tease of Rush’s “Passage To Bangkok,” just to hammer home the band’s awareness of their locale.įollowing a setbreak that featured a classic Popeye cartoon on the big screen (2D, unfortunately), the band returned with beefier material and improved visuals to boot. Nodding to another homegrown hero, Claypool sang a quick verse of Stompin’ Tom Connors’ “Bridge Came Tumbling Down,” as a prologue to the country-epic amble of “Lee Van Cleef”. Pleasing and even a bit reserved thus far, the 3D component took a turn for the cheesy during “Hats Off”, as a plethora of (you guessed it) hats danced around before bespectacled eyes. A schizoid LaLonde solo peaked amidst a double-time gallop, as an early highlight came and went. The imposing riff of “American Life” spurned a menacing build, anchored by Lane’s stuttering hi-hat and sporadic rolls. The influence of local rock gods Rush was not lost on Claypool, who quickly followed the intricate number with a shout-out to one of his most cherished (and admittedly imitated) bands. “Moron TV,” accompanied by vintage images of the “Thunderbirds” marionettes, made a lot of noise for a song played by just three people, while traversing its way through many sections and time signatures. The signature Primus sound took no time to envelop the cozy hall, Les Claypool’s dense slap-bass lines leading the way, with kinetic guitar hues courtesy of Larry LaLonde and metronomic precision from the thundering drums of Jay Lane. All the funk-metal-prog fury Canada could handle. The kicker? Dazzling 3D projections that would accompany the live music, with movie theater-style 3D glasses as the conduit, and two sets per night. Primus, one of the most beloved cult bands in the world, was about to unleash its concert experience on Toronto for consecutive nights. The circus-like intro music, and eerily-humanistic inflatable astronauts flanking the Danforth Music Hall stage, welcomed a packed house of eager fans to a surefire extravaganza.
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January 2023
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