As we enter a new decade, its bands like The Besnard Lakes that lend credibility to all the Montreal-dominated hype. Led by the husband and wife duo of Jace Lasek and Olga Goreas, this four-piece combines shoegaze swirliness, soft psychedelic elements, and joyful atmospheric intensity, with boy-girl harmonies floating above the layers of swooshing guitars and lush soundscapes. Exploring sonic territory that’s indebted to spacey dream-pop, The Besnard Lakes are one of those bands with the ability to mesmerize the audience.

Reuniting for a one-off show for CMW and to be inducted in the Canadian Music and Broadcast Industry Hall of Fame, the influence of Platinum Blonde may not come as a surprise as they laid the groundwork for much of the 80’s musical landscape. These New Wave monarchs, trading in the hairspray for Brit-cool, dazzled the crowd of primarily 40-somethings with punchy glam-pop hits, musical chops and garish stage presence including the track “Somebody Somewhere” dedicated to bassist Kenny MacLean who died in 2008. A performance that cements Platinum Blonde’s place as a landmark Canadian band of the 80’s.

The clanking of gold medals, renaming it The Molson Canadian Amphitheatre, and of course, Canadian Music Fest.

One thing that could be said for sure about Airick Woodhead, he’s equal parts experimenter and songwriter, and as far as side-projects go, Doldrums allows him the opportunity to wear on his sleeves the influences only hinted at in Spiral Beach. Assembling a band (including members of Heartbeat Hotel & The Miles) to translate his home demos live, this four-piece employ a seamless blend of psych-laden electro-driven pop, touches of avant-garde and IDM leanings, synchronized to live double-drumming. A sound collage that more than holds up on its own.

What happens when you get Fred Astaire mixed with David Letterman’s Stupid Human Tricks? Enter the nerdy in-your-face song-and-dance man at your service. Almost as unpredictable as whether Anton Newcombe is going to start a fist-fight onstage, the debaucherous theatrics backs up the myth, from performing in Rancho’s diminutive washroom to tying an audience-member’s shoes together. Let B.A. Johnston entertain you.

While there is a definite rock edge, Ashley dips into the same school as The La’s or The Smiths with their ringing guitars, shimmering energy and ultra-catchy hooks. With a flamboyant frontman invoking Julian Cope and just the right amount rock dynamics combined with retro indie spirit to appease the crowd, this four-piece just continues to pull-off a tight lively set that definitely speaks to the Ashley-chanting-faithful.

Recently digging up an old punk documentary where the premise, as always, lends itself to bands basically doing their own thing in sticky-floored dives and low-budget spaces. The Vive Quebec Libres sort of hoist that same flag, unleashing fuzzed-out punk-hinted-garage-rock played very loud and with attitude akin to cranked-up drinking/party songs bashed-out in basements everywhere. A slice of catchy irreverent rock.

The intimate-below-street-level space has been a destination for Groovetastic Entertainment’s eclectic bi-monthly line-ups featuring interesting under-the-radar bands. This two-piece (normally a trio) delivered a shoegaze-post-punk sound drawing on both The Jesus & Mary Chain & The Velvet Underground accentuated by inspired vocals, gritty guitar-playing, steady drumming, mixed with the genuine sentiments of rock and roll.

Anchored by a music-as-life ethos, these guys make a bold musical statement bursting with instrumentation and strong songwriting, resulting in a sound collage that ranges from neo psychedelic gems and atmospheric indie-pop to spacey-art rock to glitchy electronica. Exploring territory that blurs genre lines, this is a band with their sonic path and creative process fully intact.

Already winning folk awards in her late-teens and not to mention critical nods, Ariana Gillis delivers upbeat rootsy-pop with utter charm and poise well beyond her years. With her powerfully sweet voice accompanied by a guitar-driven stomp, exuberant banjo licks, and joined onstage by Carmen Elle for the CBC Radio-worthy “Simon Brooke”, this talented songstress is poised to take over new musical realms.