The Toronto-based band seems to have that effect on a lot of people in the crowd. Their mix of screechy guitars, thumping drums, and steady, cursing bass is hard to dismiss. Overall, they’ve got an amazing punk-infused garage sound, with elements of lo-fi and shoegaze.
Singer and guitarist Katie Monks’ vocals slip between stealthy screams and a hushed mumble. At times, they are equal parts nasally and throaty. That duality is present throughout the band’s entire performance. Corey Marshall’s drum lines are symbol-heavy at times, and a strong march at others. Mike Giuliani’s bass thuds on steadily, but still manages to exude the raw energy of a powerful raging river. Liz Ball’s reverby guitars, meanwhile, easily transition between slow and low, and buzzing and whirring – often in the same song.
It’s these things that make Dilly Dally’s set so great. They’re fast and exciting – sometimes absurdly fast and almost too exciting. They get your head bobbing without your consent; you’re unable to stop – faster and faster and faster . . . .
Despite their sublimely grainy guitars and those great gurney coevals, when the band plays together, they are clean and cut – they hit every mark and leave no one discontent.