It may have been a quiet Sunday night on the streets of Victoria, but the atmosphere in the Capital Ballroom was anything but. Goldie Boutilier’s energy filled the venue on her first headlining tour in support of her new album, The Actress. After catching her stunning alt-country set at the Reverb Backyarder this past August, I was eager to see Boutilier in a more intimate setting.
Leeroy Stagger from our own Garden City opened the night with the warmth of a seasoned performer. His Americana style was evident as soon as he took the stage solo, armed with just his guitar and a harmonica. A great storyteller, he shared anecdotes about opening for Modest Mouse and Hot Hot Heat at the Capital, wondering aloud if anyone in the audience was old enough to remember Hot Hot Heat. We were, we were just lingering in the back, either leaning against the walls or seated. One standout song was “St. Patricia,” inspired by everyone’s “punk rock grandma,” Patti Smith, and the power of her Instagram presence during 2020.
Goldie Boutilier brought drama and glamour from the moment her set begins. An announcement filled the room: “Get your cameras and phones ready to take lots of pictures to share with your friends and family—just not with your friends and family…” The set is divided into three acts, starting with Act One: Goodbye Paris (I regret not noting the names of the second and third acts). Boutilier took the stage in a sparkling denim ensemble, adorned with a large white flower at the side of her face. She opened solo, singing Rhinestone Ceiling, with just her wind fan. As the song ended, the flower was abandoned and she was joined by her drummer, Zoe McMillan, and guitarist, Erica Fox.
Boutilier performed her bright alt-country music with charisma and care. The Angel and The Saint a medley of covers — “It’s Too Late” by Carole King, “Jealous Guy” by John Lennon, and “Wild Horses” by The Rolling Stones — before returning to her original work. “Three years ago, things really started to change for me, and I owe that to myself,” she explained, launching into “K-Town” from her 2022 EP Cowboy Gangster Politician. That EP was the start of this era of Boutilier’s career, as she has also dabbled in pop and EDM previously. It’s very apparent that she was comfortable; the crowd was loud and gracious and she was an affectionate storyteller.
She had a few costume changes and props to add to the show. For the second act, she dazzleed in what I can only describe as a sequin bonnet. Act three saw hers in a sequined shirt and leggings. Boutilier incorporated props as well, tossing a newspaper into the air and declaring, “I had to go absolutely psycho,” before the band launches into “Psycho,” seamlessly blending in a few lines from Nine Inch Nails’ “Hurt.” She even drank from a martini glass, adding to the show’s flair.
The last song of the main set was “Pretending,” and as the band exited the stage, I bade farewell to my friends and made my way out. As I left, the crowd erupted in chants of “Goldie! Goldie!” It’s clear that this won’t be the last time Victoria calls her name. The calibre of the performance was stellar. Goldie Boutilier and her band are poised for a bright future ahead.
