Concert Review: Gowan- Up North and On the Rocks

How can I get enough?

Yes, I have once again traversed up to the great white north for a double close encounter of the Gowan kind. When the Strange Animal comes around, I’ve got to follow! To say these shows were “unexpected” would only be scratching the surface of how surprised I was to hear that this king of the airwaves intended to come back to Ottawa after only 9 months of absence. Gowan (along with myself and several of my friends) recently spent a few warm January nights in Las Vegas with Styx as part of a very successful annual residency. Only a few days after this, though, it was time to don multiple pairs of pants at the same time and head to the sub-zero temperatures that could only mean one thing to a damn yankee like me: solo Gowan. With persistent snow and temperatures reaching -12°F (-24°C), it’s safe to say these concerts were served over ice, but piping hot.

Two and a half years ago, I was turned on to the music of Canadian rock and roll icon Lawrence Gowan. Of course, it began with experiencing his piano work in the current lineup of Styx, but it led to much more than I could’ve envisioned. Right from the first solo Gowan song that I heard, "All the Lovers In the World", something in my interest inexplicably clicked. It was as if I had been waiting all my life to hear music of this distinct nature without even knowing it. It was badass-ery in its purest form. His prominence on the keys, his passion, his mullet— it all bewitched me from the start. Faster than I cared to realize, a deeply resonating connection formed; one that I still struggle to put into words today. However, falling head-over-heels for this goldmine of melodies was a slippery slope that made me crash into realization: outside of Styx, Gowan does not tour in the U.S. at all.

Well, at least a passport is an easy solution for that.

I'm far from the only American who seeks out a Gowan fix from afar. I know a few people who have gladly trekked upwards for the same reason (sometimes alongside myself). This time, my good friend and Queen of the Airwaves musician Hailey Ezzell decided to brave the extreme cold with me, as she had never been to a full Gowan show— let alone Canada— before. She had been extremely fortunate enough this past fall to be in attendance for Gowan's first solo performance in the States since the 1980s, but being able to see a full-length Gowan concert in his homeland is an invaluable experience that I so badly wanted her to partake in. She’s just as crazy as I am, so it didn’t take much convincing on my part.

Reminder yet again: this is a review of two shows, so my words (unless specified) will be about the first night, and all my photos were taken on the second night.

The only "stomping grounds" of any kind that I may have in Canada is the Bronson Centre Music Theatre in the nation’s capital of Ottawa, Ontario. I don't know if it's cultural differences or what, but the locals aren't nearly as serious as I or my friends are when it comes to queueing up early for an event. Since this venue is exclusively general admission only, Hailey and I arrived about 5 hours before doors opened to ensure we were front and center. It's safe to say we secured these seats both nights, as we sat alone for hours before another living soul turned up. At least we got to befriend some staff, and to hear the extended soundcheck two nights in a row, which felt like hearing the whole show from behind closed doors twice!

Before Gowan took control of the Bronson Centre stage Friday night, half of the Ottawa-based “roots-rock” band Main Street Revival gave us a healthy taste of what they’re all about. Though normally a group of six, three of the members were all it took to hook the audience from the start. They were mellow, but they had a bite. They were classic, but they were fresh. Their short guitars + keyboard set was reminiscent of familiar acts such as The Guess Who, Stampeders, and The Band (the latter of whom they paid tribute to with a heartfelt cover of “Get up, Jake”). Opening acts with palpable passion are the best kind out there, and MSR was flowing with it. They’re unafraid to shout their craft from the hilltops, which matched the energy of the Gowan crowd quite well.

But of course, Gowan knows how to amp up the energy of his crowd before he even sets foot onstage. The pre-opening song he’s been using over the speakers for some time now, “Relax” by Frankie Goes to Hollywood, starts an 80s dance party before the main event even fully begins.

When the spotlights finally came up, and Gowan was poised atop his keyboard once more, the opening number was revealed to be the mighty and punchy "Awake the Giant". With that fact alone, I had a bit of a feel for what we were in for as far as the setlist went. Safe to say, I couldn’t wait to see if my suspicions were correct. Fans of Gowan’s music are eagerly awaiting the 40th anniversary of the Great Dirty World album next year, and the hopeful implication is that some deeper cuts may be played live to commemorate this milestone. Until the certainty of 2027, though, we stick with the individual icons of audio from that record which are commonly used to open his shows: “Awake the Giant” and “One Brief Shining Moment”.

Though wearing three pairs of pants (snow boots included) is not the most ideal outfit for crouching or maneuvering while shooting, it does tend to help that Gowan is the supreme champion of never standing still. It was as if he was constantly bouncing around so I didn’t have to (photographers everywhere thank you and curse you, Larry). If you’ve ever experienced Lawrence Gowan, either solo or with Styx, you know very well what I mean. His energy and joy are flat-out contagious, yet you can never take your eyes off him when he causes you to inevitably dance your ass off. He’s got a way of prancing that displays himself as the center of everything, all while somehow leaving the spotlight to his bandmates. This was the first thing about him that caught my attention long before I even knew his name. With the clear, genuine amount of fun he’s always having onstage, it’s hard to imagine that he wasn’t born for this specific task.

To say I’m a fan of Gowan’s guitar work is an understatement. Sure, he claims to be limited on guitar at times, but skill level shouldn’t matter, as long as the resulting piece is beautiful. When it comes to “Dancing On My Own Ground”, his musicianship transcends and obliterates this nonexistent piano barrier. The opening chords he plays on his 12-string, hand-painted “moonchild” guitar sends chills to my heart every single time. Living up to its namesake, this tune is extremely dance-worthy, and Gowan always encourages everyone to jive their hearts out to it.

Once this anthem of glee was concluded, bassist Terry Gowan and guitarist Derek Sharp joined Gowan at the center of the stage for a harmonious, a cappella intro for “When There’s Time (For Love)”, another acoustic cornerstone of Gowan’s catalogue. Of course, this feature of his creativity on the strings wouldn’t be complete without my personal favorite song of his (and anyone’s): the wistfully dramatic “All the Lovers In the World” from my most beloved Gowan record, 1990’s Lost Brotherhood. When Gowan steps away from the piano for these “looove songs” (his exact words) and lets keyboardist Ryan Bovaird completely take over for a few minutes, the versatility and chemistry of the entire Gowan band really shines the brightest.

Before the first show, Hailey and I did not want any setlist spoilers like our lives depended on it. We wanted to be surprised, and boy, we sure were. Once the high-energy rocker “Keep Up the Fight” left Gowan alone onstage, we were given two back-to-back surprises. It’s universally known by now that I am a frequent Styx-goer, and a highlight of several Styx shows I’ve attended is Gowan’s quick-paced and fabulist piano solo, entitled “Khedive”. The last time I heard this piece played live was September of 2024, and I have lamented every occurrence in the meantime where I could have witnessed it again, only for it to not be included in the setlists. When I think about it, “Khedive” is simply too powerful; it’s an extremely easy way for Gowan to steal the entire show by just being himself, even if the show is his own to begin with. When a weapon of such masterful musical execution is unleashed, you get the silent heartbeats of all in attendance, nearly drowning out the sound of the singular raging instrument. You also get the most ravenous applause of the night— once everyone is finally able to cheer at the tops of their lungs after remaining painfully silent for the course of the solo.

Did I mention there were two surprises at this mid-point in the show? The second was another powerful selection from the Great Dirty World album of 1987; “Dedication”. It closes out side one of the record as a haunting piano ballad, one which many people over the years have taken to heart in times of bleak desperation. I have only heard this song played live once before, and this was back when I saw Gowan solo for the very first time in 2023. Hailey, standing beside me, had expressed her desire for him to perform “Dedication” long before this trip had taken place. She became completely spaced out in blissful oblivion once she realized one of her favorite Gowan tracks was coming to life directly in front of her. I can only describe this part of the show as nothing short of ethereal. Imagine our surprise when we saw that the setlists had this song haphazardly penciled in!

With act one of the Gowan set now complete, and the full band back onstage, it was time for my setlist suspicions to be proven correct. Gowan loves opening his sets with “Cosmetics”, the opening track from his 1985 breakthrough album Strange Animal. However, the fact that he did not pick this to be first led me to believe we might have been in line for another complete playthrough of the record, just as they had done last year for its 40th anniversary. As Gowan expressed how much fun the band had while playing Strange Animal in its entirety, he proclaimed that they were going to do it again right that very second. 

Many albums throughout history give the listener a sense of being taken on a journey. From the second the needle drops, to the moment it hits the runout on the other side, your ears are quite literally walking from A to B (pun completely intended). Along the way, the scenery and stories that may be associated with the music are fluid and neverending. Strange Animal is, dare I say, a perfect example of one of these albums. In my opinion, it is the classic Canadian pop-rock album of the 1980s. The tracks span across such a mighty range of themes, moods, and musical compositions, that you are simply bound to connect with something on this record. Whether it’s the campy, tongue-in-cheek “Cosmetics”, the confidently domineering “Keep the Tension On”, or the disturbingly final “A Criminal Mind”, Strange Animal is a cornucopia of emotions for any listener.

I won’t bore you like a broken record (pun also intended) with another track-by-track analysis of this album, as I have already done that within the past year here at Rock DNA. The only significant difference I can point out this time is that we were introduced to the mighty drumming (and dreadlocks) of the newest member of the Gowan band, Sekou Lumumba. His forces to be reckoned with were showcased expertly during the final stomping measures of “Guerilla Soldier", sealing the crowd’s new-found enthusiasm for this new face.

Wait, did you think I was done talking about surprises at these shows? Not a chance, because we’ve still got one more to discuss.

Firstly, I must preface this with the fact that I don’t speak French. I know enough to be able to barely converse with an Uber driver, or perhaps greet a dog, but if someone were to (hypothetically) sing an entire song in this language, I wouldn’t be able to understand a lick of it. Be as it may, I was so overjoyed when Gowan returned to the stage for an encore, choosing to perform his trademark cover of Harmonium’s “Pour un Instant”. This very special performance is normally reserved for Québec dates, but being as Ottawa is so terribly close to the provincial line, it only made sense for him to bring this softly breathtaking piece to Ontario. Though he often jokes about his French communication skills and how he leaves something to be desired, he is still so eloquent in his recreation of the 1997 ballad. Maybe I’ll just have to memorize the French lyrics myself by the time Gowan comes back around (but I can’t promise I’ll know what they all mean).

Have merci on me.

Once Gowan’s “Moonlight Desires” began to haunt us, we all knew it was time for the final curtain call. As dreamy as the night itself, this grand finale packs a graceful punch that never fails to sweep me off my feet. One of my favorite aspects of any Gowan show is how often he’ll hop behind his keys and spontaneously begin to play the song’s melody as a random solo. Doing this for a song as sublime as “Moonlight Desires”, it makes for one hell of a closing number. The sharp, melodic glamour in every note was meant to paint your mind with the colors of the moonlight itself. When the moonlight comes out, however, the show must come to an end.

Now, picture yourself in this crowd as the lights come up. You turn to your friend standing next to you, and you beam at them, “That was awesome. Let’s do it again tomorrow!”

And you do, because there is another show tomorrow. See why I love going the distance for these concerts?

I think about how lonely I was the first time I made this trip; I had never left the U.S. before, I didn’t even have a passport until I thought of potentially seeing Gowan, and the only person I “knew” on the other side of the border was the kilted man at the piano I was traveling to see. With this being the third time I’ve journeyed to Canada, I now have several people expecting me, perhaps some dreading me, some even looking out for my friends and I, and many people who remember both my name and my artwork from previous Gowan shows. People now call my name and rush to embrace me upon seeing my triumphant return to this area. I also have people who remember me, but I don’t remember them in return. Is this what being famous feels like? Am I now a strange animal that others have got to follow?

Relax, of course I’m not being serious. Going on my silly little trips with my silly little camera is getting me to some silly little places, though. The more I travel this great, dirty world, the more I feel at home just about anywhere. I think I partially have Gowan to thank for that; he’s the inspiration that made me dare to go further in the first place.

Again, I ask: how can I get enough?

Gowan’s string of solo dates in Ontario runs through February 14th, with two additional dates in Calgary, AB on July 3rd & 4th. Catch Gowan on tour with Styx throughout the year, with more info at styxworld.com.

A bit of a list of people to give a shout-out to this time: Hailey, Jennika, Charmaine, Angela, Lando, Ryan, Derek, Sekou, and of course, Lawrence and Terence. Merci beaucoup, et à bientôt!

SETLIST (Feb. 6th & 7th):

Awake the Giant

One Brief Shining Moment

Dancing On My Own Ground

When There’s Time (For Love)

All the Lovers In the World

Keep Up the Fight

Khedive

Dedication

Cosmetics

Desperate

City of the Angels

Walking On Air

Burning Torches of Hope

Keep the Tension On

Guerilla Soldier

(You’re A) Strange Animal

A Criminal Mind

Pour un Instant

Moonlight Desires