He could have been a contender. As one of Canada’s greatest singers and songwriters, it remains a mystery why Sam Roberts remains wildly popular in this country and a virtual unknown everywhere else.
Last night, on the first of two sold out shows at Vancouver’s Commodore Ballroom, Roberts and his band demonstrated exactly how he’s become this musical equivalent of curling with a near two-hour set that delighted the faithful but failed to convert the non-believers.
In Pictures: Sam Roberts Band rocks rowdy Commodore
The 50-50 split between killer and filler began immediately, calypso-tinged opener “Shapeshifters” and funk-lite “The Last Crusade” matched around powerpop winners “Human Heart” and “Where Have All The Good People Gone?” The latter inspired the first mass sing along of the evening, Roberts imploring his well-lubricated crowd to “Sing it like you f***ing mean it!”
With the atmosphere suddenly electric, Roberts missed the opportunity to send the show into the stratosphere. Steadfastly alternating hits and misses; the dull “Golden Hour” was followed by the spritely “Fixed To Ruin”, while the forgettable “Let It In” was paired with the soulful “Detroit 67.”
Roberts eventually strung a string of crowd pleasers together in the form of “Kid Icarus,” “I Feel You,” the simple yet elegant “Hard Road” and the bouncy “Them Kids.” A friendly rather than a swaggering front man, Roberts asserted his distinctly Canadian character with charming asides about Vancouver’s unseasonably mild weather, “Start sharing the wealth,” and a stereotypically polite request to “put your hands together for the staff here at the Commodore.”
Even if Roberts has refined his stagecraft as a performer in his decade of Canadian stardom, it didn’t redeem his set list’s misalignment. This was highlighted in an encore which bounced along to “We’re All In This Together” and a rocking “Brother Down” before grinding to a halt during an extended rendition of “Mind Flood” that sent fans heading to the exit as it drifted into Pink Floyd space jam territory.
Has Roberts still not fully recognized his unique brilliance as a creative artist? How else to explain the absence of powerpop masterpieces like “The Gate” and “Don’t Walk Away Eileen?”
Perhaps it’s unfair to judge Roberts for his missteps. But as one of Canada’s most gifted songwriters he’s set a high standard for himself. And while this is an artist still exploring new musical directions there remains a frustration that comes with watching him refuse to embrace his strengths and share his greatness, both with Vancouver fans and to the world outside Canada.
The band still delivers a fine night’s entertainment, but throughout a set that swayed when it could have soared there was always a sense that they had more in their pockets. Redemption could be close at hand though. Vancouver and the Commodore get a second dose of Sam Roberts tonight.
