Portugal. The Man and La Luz take over History for a psychedelic fusion

Thursday night’s Portugal. The Man show, opened by West Coast band, La Luz, brought a delightful blend of electro-psych-meets-surf-rock sounds, with a touch of metal rolled in for good measure. Hosted in Toronto’s live music venue, History, a mid-sized space that has become a staple in the city’s east end, the show drew an almost-full house of multi-generational fans. 

Maybe it was the pre-holidays festive spirit, or perhaps the lingering post-COVID joy of unbridled access to live music, but upon first step inside the venue, there was something in the air, something palpably laid back, that set the tone for the evening. Smiles sprinkled throughout the crowd, clinking tin cans between comrades, and not a single person shoving through the crowd for as far as the eye could see.

The opening set from La Luz – a four-piece surf-rock group from California whose name translated from Spanish means “the light” – was a psychedelic fusion for both the eyes and ears. Visually, the band embraced a dreamy aesthetic with a gigantic, googly-eyed, and potentially papier-mâché sun, along with videos of tie-dyed patterns in pleasing pastel shades. The ambience was, simply put, psychedelic, baby. 

Sonically, La Luz offered a unique, echo-drenched, female-forward sound that was both beachy and haunting. The quartet’s tight harmonies were reminiscent of a ‘60s sound, while still maintaining a modern indie energy. Tracks like “Call Me in the Day,” “California Finally,” and the moodier, “Always in Love,” suggested themes of endless summer and unrequited love; dreamy and melancholic. Throughout their set, I couldn’t help but think how well these songs would suit a Sofia Coppola-inspired scene: sun-drenched, slightly ethereal, and oh-so atmospheric. 

After a speedy set change, headliners Portugal. The Man took to the stage, presenting what seemed to align with the night’s theme: a melting, atmospheric kaleidoscope of sounds and visuals. Dramatically opening with floor-to-ceiling screens, which played throughout their entire set, the band challenged us to dig a little deeper. This included consideration of the complex relationship between humans and nature through sweeping videos of the Alaskan landscape, along with provoking voiceovers and stills. To kick things off, the band chose a clip of a lone orca, swimming listlessly in a marine park, with a voiceover that asked us to question the meaning of life itself. This quickly transitioned into beautiful, sweeping shots of wild mountains and tundra. This was a clear nod to the mighty Denali, North America’s highest peak, which also happens to be the name of Portugal. The Man’s current tour, the new album’s first track, and located in their home state of Alaska. Perfect harmony.

Given that the band’s latest album, SHISH, released in early November, also references the 49th state, this visual presentation made perfect sense. It also made the experience feel fulsome, like something that went beyond sound and was meant to be consumed via multiple senses. Sonically, SHISH is a much different album from the band’s earlier music. It feels more rock-oriented and experimental, while still managing to deliver infectious pop hooks that the band has become known for producing. Regardless of genre, the crowd ate it up as Portugal. The Man alternated between full-throttle rock, flashes of metal, and infectious pop hooks. All while in matching track suits, I should add. 

Particular set highlights included their title track, “Denali,” a song that oscillates between electro-pop and heavy riffs, and the lighter, more melancholic “Tyonek” – a song with shades of their previous albums. This fluctuation was seamlessly navigated by all eight members, who appeared to simply be having the best time; moving, grooving, and hyping each other up. Concertgoers reciprocated the grooving towards the latter half of the set, which offered up crowd pleasers including “Feel It Still” and “Live in the Moment”.

It’s also fun to note that the performance offered multiple nods to Canadiana, featuring photos of Torontonians like John Candy, Eugene Levy, and Catherine O’Hara, along with a scene of Michael J. Fox in Back to the Future. 

All in all, both bands’ performances not only demonstrated their musical versatility but a commitment to the live music experience. It was an immersive, fun evening of camaraderie that felt both sonically and visually satisfying.