It has been five years since Toronto-based indie rockers Alvvays released new music and visited Minneapolis, but the group’s return was anything but rusty. The sold-out, enveloping performance at First Avenue was well worth the wait.

The 75-minute set was divided evenly between their three studio albums, and never left room for a dull moment. Early on, guitarist and lead vocalist Molly Rankin said that she didn’t remember the last time the band played here. Offering a bit of optimism, she said, “We’re a little different now. The world’s changed, but we are doing great.”

Before Blue Rev, Alvvays gained a rep for their sweet style of dream pop. That description could be upgraded to a “lucid dream” now. The new songs capture the band that fans know and love, but First Avenue witnessed a shift from a daintier, more-playful jangle to a noisier aesthetic.

At times, the band gave space for lead guitarist Alec O’Hanley to produce clashing riffs. With a punk flair on the song “Pomeranian Spinster,” Rankin declared, “I don't wanna be nice / I don't want your advice” and “I'm going to get what I want / I don't care who it hurts.” These assertive elements, vocally and sonically, fit right in.

Perhaps not yet completely familiar with the new album, the audience gave their most-excited squeals during returns to moments from their back catalog. On “Archie, Marry Me,” the song with the loudest crowd sing-along, Rankin’s words sounded like wedding bells themselves. It was a brief return to 2014 when Alvvays was released, and it could’ve sparked memories of the sartorial twee trends of Peter Pan collars, Mary Jane shoes, florals, and mustache-themed jewelry.

More applause erupted when Rankin’s angelic voice floated through the room on the opening lines of tracks from their sophomore album, Antisocialites. Hands lifted in the air as she made proclamations of freedom. In “Not My Baby,” Rankin claimed, “'Cause I don't care / And it's true, I've been going out lately / And I go do whatever I want.” And a sense of closure passed in the shoegaze-y “In Undertow,” upon Rankin announcing, “There's no turning back after what's been said.”

For a cohesive set combining eight years of musical growth, Alvvays kept visceral synths central to the mix with Kerri MacLellan playing a bed of keyboards. To play “Very Online Guy,” Rankin crouched to the floor for the entire song, with the mic in one hand and the other controlling the dials on her pedal board. This awkward position was necessary for the singer to detail tongue-in-cheek digital addiction. “He's only one flicker away / He's only one photo, one filter away,” Rankin sang.

Alvvays’ captivating music needs no other sensory input to accompany it. A simple stage setup with minimal bodily movement from band members would have been enough, but the design went much further. Behind the musicians, a screen continuously flashed with shifting colors, patterns, and scenes. The most blissful visuals were projected during the new wavey “After the Earthquake” when scenes of trees and ocean flickered. The scenery included a perspective from a car driving through a forest. Imagery of shimmering foliage, abstract flowers, pastel clouds, fuzzy shapes, and black and white vintage film swirled the entire night.

The Alvvays catalog is loaded with consistently mesmerizing hooks, so there was almost never a moment when Rankin's words or Sheridan Riley’s drum beats didn't hit just right to create a cozy atmosphere. Even though the world has significantly changed since the last time they graced stages, the group delighted long-time listeners while testing out their new material. Fans with tickets in the rest of the U.S. should be excited for what’s to come. 

With a packed room before Slow Pulp took the stage, many clearly didn’t come only for Alvvays. The energy in each song gradually built until the Wisconsin four-piece pounded out the last notes, and enthusiastic applause followed. It was the kind of cheering and hooting generated by people who genuinely love the music, not just clapping out of habit to half-heartedly validate an artist. Songs like “Idaho” that sound softer when streamed digitally took on heavier rock vibrations live. At the end of the set, lead vocalist Emily Massey pulled out a harmonica to bid adieu. Like so many artists do, she shared that it was a dream to play at First Avenue.

Setlist

Pharmacist 

After The Earthquake

In Undertow

Many Mirrors

Very Online Guy

Adult Diversion 

Not My Baby

Hey

Tom Verlaine

Belinda Says

Echolalia

Archie, Marry Me

Pomeranian Spinster

Pressed

Dreams Tonite

Party Police

Easy On Your Own?

Saved By A Waif

Encore:

Next of Kin

Gallery

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