On both the outside and the inside, the Royal Theatre does not immediately suggest a venue about to bring the ruckus. With its cushioned seats, gold-painted trim, sweeping ceilings, and balconies more expectant of an opera than a dance floor, it leans more toward Nutcracker than a nightclub. But on Friday, February 27, USS (Ubiquitous Synergy Seeker) was anything but a stuffy ballet performance. When Ashley Buchholz and Jason Parsons entered stage right, the energy in the room shifted. Audience members, tentative at first, stood up row by row until the entire theatre was on its feet, welcoming USS back to Victoria for what would prove to be a memorable night.
Starting the night off, in contrast to USS’s renowned energy, was Menno Versteeg, frontman of Hollerado, playing songs mostly off his solo album Why We Run. Not to say Menno didn’t put on a great performance, but the contrast between a guy on stage in a beanie with an acoustic guitar, singing solo, and USS’s high-momentum set was noticeable. It didn’t quite hit the mark of an ideal opener–headliner pairing. If Menno were a dry Chardonnay, USS was a slutty prosecco bottle that exploded on the audience. On their own, they’re lovely; together, it’s a hangover that calls for electrolytes and bailing on your brunch plans.
That being said, Menno is a natural on stage. His stories behind each song, paired with a voice that was genuinely enjoyable to listen to, were entertaining and, on more than one occasion, had the crowd laughing out loud and talking back to him. He had the easy comfort of a friend playing guitar and swapping stories at a house party, paired with a personality well-suited to a stand-up set. He also had some quieter, sweeter moments, including a grown-up reflection on a childhood bully and a short song he wrote for his dyslexic mom, where, apropos, the lyrics were jumbled.
Whatever restraint the night still held didn’t last. USS wasted no time, launching straight into their set. What I’ve always liked about USS, beyond the music itself, is how deliberately they connect with their audience through both their lyrics and their on-stage presence. They made a point of including fans up in the balcony as much as those on the floor, locking eyes, dancing along, and meeting the excitement coming back at them from every age group watching. That connection lives in the songs, too. The crowd practically erupted at the first beats of Work Shoes, a song about scraping by, saving what you can, and surviving your day job until the whistle blows and you’re free.
It was no surprise that the crowd connected so hard. I used to work cleaning yachts, listening to Work Shoes while fishing millionaires’ pubes out of shower drains, in bathrooms nicer than most working-class Victoria apartments can afford. Judging by the crowd’s response, it was one of those rare moments where people felt seen. But the connection didn’t stop with one song. Much like Menno, USS had the ease of hanging out with friends who genuinely love what they do and happen to be very good at it, too.
Ashley and Jason are an unlikely duo, which is exactly why they work. Ash brings a vocal style that’s edgy yet sometimes soft and endearing, especially on Us, where the emotion poured out of every note. It’s also a style that’s deceptively hard to replicate (and I’ve tried, mostly in the shower). Jason “The Human Kebab” supplies energy with a capital E: high kicks, relentless movement, and his now-famous upside-down DJing. At one point, while he was using his face on the turntables, I wrote “MEOW” in my notes, and I still stand by it. The duo were electrifying, and the crowd met them beat for beat.
Throughout the night, USS made it clear how much they appreciate their Victoria fans. The feeling was mutual.
Whenever USS comes to town, Victoria shows up. That much is certain.
