Death from Above 1979 Throws Calgary Back to 2004: You’re a Woman, I’m a Machine 20th Anniversary Tour
Death From Above 1979 @ The Palace Theatre - Photo Credit: Shannon Johnston (@me_onlylouder)
On September 13, 2024, Death From Above 1979 stormed the Palace Theatre in Calgary as part of their 20th anniversary celebration of I’m a Woman, You’re a Machine, an album that revolutionized the post-punk and dance-punk scenes when it dropped in 2004. With a dynamic set that expertly balanced nostalgia with raw, unrelenting energy, the duo—Sebastien Grainger (vocals, drums) and Jesse F. Keeler (bass)—proved that after two decades, their chemistry is still as explosive as ever.
The Palace Theatre, a venue known for its intimate setting, was the perfect backdrop for the band to unleash their chaotic blend of crunchy-laden rock and gritty electro-punk. As the lights dimmed to a blood red, the crowd burned in anticipation, before the iconic bassline of "Turn It Out" detonated in a burst of sound, immediately setting the tone for a night of frenzied energy and sweat-drenched intensity.
Death From Above 1979 @ The Palace Theatre - Photo Credit: Shannon Johnston (@me_onlylouder)
For those in attendance, the night was a reminder of the power of punk and indie rock. Much like the emerging energy of bands like Washington, D.C’s Teen Mortgage, whose own brand of fuzzed-out, genre-blurring tunes has gained a cult following, and much like DFA is also a two piece. Rising to fame through the use of their music by Vans and the tv-series Shameless, the duo showcased how punk rock continues to be a visceral experience—one that demands to be felt, not just heard .
Teen Mortgage @ The Palace Theatre - Photo Credit: Shannon Johnston (@me_onlylouder)
It was clear from the outset that this was no ordinary anniversary show. Rather than relying solely on a sterile “greatest hits” performance, DFA 1979 opted for a full-throttle dive into the raw, boundary-pushing sound of I’m a Woman, You’re a Machine, playing the album front to back with only a few moments to catch their breath between tracks. The primal force of their music, defined by Keeler’s thunderous bass and Grainger’s ferocious drumming, sounded as fresh and vital as it did two decades ago.
“Romantic Rights,” one of the band's most enduring anthems, saw Grainger’s rapid-fire drumming and Keeler’s fuzzed-out bass intertwining in perfect harmony. The familiarity quickly signalled the crowd to loosen up, with the moshpit commencing for the first time that night as Grainger’s vocals seethed with defiance. It was during this song that Grainger, usually a maniac behind his drum kit, took a brief respite from his usual post, running around the stage to engage with the crowd, pumping his fist and encouraging the audience to sing along. His brief moment of abandonment—pushing his kit aside to taunt the chaos of the crowd—was a testament to how killer this song still continues to be. Grainger’s delivery of the line “You don’t know the half of it” felt like a challenge to the audience, daring them to keep up with the ferocity of the performance.
Death From Above 1979 @ The Palace Theatre - Photo Credit: Shannon Johnston (@me_onlylouder)
Another classic standout was “Black History Month,” which explores themes of alienation and identity. Keeler’s bass work on this track was particularly devastating, making the walls of the Palace Theatre feel as though they were vibrating in time with the music. As the track came to a close, the room was already simmering with the intensity of the performance, setting the stage for other crowd favourites like “Little Girl” and “Pull Out”.
While the show was, naturally, a celebration of I’m a Woman, You’re a Machine, Death From Above also used the occasion to pepper in a few tracks from later albums, including a powerful extended set that showcased the band’s evolution without losing any of their signature energy. "White is Red" and "Nomad," both from their 2017 album Outrage! Is Now, were electrifying, with Keeler’s bass lines cutting through the air, while Grainger’s drumming felt both mechanical and human—impossibly precise but brimming with feeling. It was increasingly impressive to note Grainger’s stamina, as he never once let up. With each song maintaining its own, distinct anthemic chorus, and the crowd cheering along in unison, it was a testament to how the band’s distinct style has resonated with fans across the years.
Death From Above 1979 @ The Palace Theatre - Photo Credit: Shannon Johnston (@me_onlylouder)
Death From Above 1979 @ The Palace Theatre - Photo Credit: Shannon Johnston (@me_onlylouder)
Perhaps the most exhilarating moment of the evening came during the finale of their set, when DFA 1979 launched into “Trainwreck 1979,” the lead single from their 2014 sophomore album The Physical World, a significant track in the band’s discography as it was the first taste of new music in almost 9 years after their debut. A near-perfect representation of the band’s sonic philosophy, the track’s chaotic and rhythmic drive created a cathartic release for the band. It felt like a fitting conclusion to a night that had been filled with liberation. As Grainger and Keeler traded glances across the stage, both wearing expressions of exhaustion and exhilaration, it was clear that the 20 years between I’m a Woman, You’re a Machine and this performance had not dulled their passion one bit.
In the end, Death From Above 1979’s 20th anniversary show in Calgary brought back feelings of why the band remains one of the most interesting and dynamic live acts to rise in Canada. They didn’t just play their songs; they made them feel alive, breathing new life into old favourites. Two decades later, the band leaves you wondering how they manage to make such a small, two-piece setup sound like an entire arena of chaos. Maybe Grainger and Keeler are the machines after all.
Death From Above 1979 @ The Palace Theatre - Photo Credit: Shannon Johnston (@me_onlylouder)