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X-WR-CALDESC:Events for KLONDIKE INSTITUTE OF ART & CULTURE
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DTSTART;TZID=America/Whitehorse:20260213T193000
DTEND;TZID=America/Whitehorse:20260213T220000
DTSTAMP:20260413T065723
CREATED:20260113T190316Z
LAST-MODIFIED:20260203T191940Z
UID:10027092-1771011000-1771020000@kiac.ca
SUMMARY:An Evening with Destroyer at Dënäkär Zho / Klondike Institute of Art & Culture
DESCRIPTION:An Evening with Destroyer\nFri\, Feb 13 at Dënäkär Zho / KIAC Ballroom\nCo-presented with the Dawson City Music Festival\n\n\n\n\ndoors open at 7:30 / music at 8:00\nTickets on sale here \n\nOpening set by Cryptozoologists (solo)\nSince 2016\, Cryptozoologists have been creating scrappy art rock in Whitehorse\, Yukon\, with acclaim and without it. Backwater Station\, their new album\, is the band at their most honed and confident\, a culmination of a decade of irreverent and angst-fueled songwriting in Whitehorse’s fast-changing social landscape. As contrast to the romanticization of Whitehorse as the unblemished\, so-called “wilderness city\,” the album’s nine songs centre elements of the left-behind\, the unremarkable\, and the undesired of the gentrifying urban public sphere – the city’s undeveloped gravel lots\, its puke averted on the sidewalk\, and the route of its human waste to the municipal sewage lagoon. \n\n— \nWhat is a “boogie”? In the common tongue\, it’s a dance or an occasion to dance\, a song or a shindig\, an incitement to move\, quickly\, whether it’s on the floor or out of town\, getting down or lying low. This being a Destroyer album and not the common tongue\, the implications of a title like Dan’s Boogie are at once more alluring and dangerous. “A boogie is a hustle\, a scam that doesn’t quite work\, the moves we make when we’re up against it\,” explains Dan Bejar. “I think of spy work\, double agents\, sleeping with one eye open\, an eye on the exits. But I also think of petty street-level victories and losses and improv.” \nDan’s Boogie is a breakthrough album for Destroyer\, both in the sense that it makes moves that no Destroyer album to this point has made\, and in the sense that\, to record it\, Bejar had to burst through a series of intentional and unintentional barriers to write the songs. Initially challenging himself to not write songs so the ideas would well up inside of him until they breached containment\, the months following the completion of LABYRINTHITIS turned into one year then two\, at which point Bejar gave himself a New Year’s resolution to play the piano every day for an hour. That lasted about four days\, but the songs Bejar credits as coming from that resolution—“Cataract Time\,” “Hydroplaning Off the Edge of the World\,” “Bologna\,” and “Dan’s Boogie” among them—are all-timer Destroyer songs across the vast spectrum Bejar and his collaborators have established for themselves: spectacle-laden pop epics\, personal piano ballads\, and smouldering works of mood that blur the lines between song and novel and cinema\, each brimming with the urgency of a state secret in the mind of a tortured spy. \nLead single “Bologna” is the most radical frame for this energy\, as it’s the first time Bejar wrote a song where he imagined himself as a supporting character. Taking lead is Fiver’s Simone Schmidt\, whose voice—tough and expressive\, piercing through the murk of the scene—is a siren’s call that haunts the album. The gravity of their voice pulls Dan’s Boogie into order around a sense of impending doom\, the way a fatale’s promise of the unusual and the ecstatic dooms the principal character of an erotic thriller. \n“Hydroplaning Off the Edge of the World” is a delicious bit of contradiction\, a peppy song that came out of the havoc Bejar was intentionally wreaking on himself—its holiday cheeriness making the angst of its lyrics go down smoothly until the song veers off the road. “We are now entering a new phase\,” Bejar intones\, introducing layers of guitar and synthesizer that considerably darken the palette as he alternates between singing and speaking. The lyrics and vocals are improvised\, invented as Bejar recorded the demo in his garage—a manic stream-of-consciousness and simultaneously exquisite display of his songwriting mastery. \nContradiction informs much of Dan’s Boogie\, the fog swirling around Bejar illuminated by the friction between competing truths and tastes\, as when his interest in jazzy ballads runs aground on producer and bassist John Collins’ interest in bands like Led Zeppelin and Scritti Politti. When Bejar told Collins that he was thinking of Sammy Davis Jr.\, the title track bloomed into being\, Bejar adopting a Rat Pack swagger with almost delusional glee against a dreamy soundscape of soaring guitars\, lush horns\, jazz drumming\, spaced-out synths\, and\, perhaps truest to how Bejar sees himself\, plinking lounge piano. \nIn terms of shaping sound\, the centerpiece of Dan’s Boogie may be “Cataract Time\,” an eight-minute epic that ranks as some of the heaviest lyrics Bejar has ever written\, and one of Destroyer’s most musically intricate compositions. Borne aloft on an easygoing groove\, Bejar’s lyrics—“a reckoning\, a dressing down” as he describes them—are transfigured\, their melancholy tasting almost counterintuitively like hope. It’s an intimate song that puts away Destroyer’s usual urban fable milieu in exchange for bracing interiority\, but its lilting groove can see a future\, one that Bejar and his band are eager to meet. \nIt is\, to use Bejar’s phrase\, the kind of song you make when you’re up against it\, when it seems as if the world is crashing down upon you. And therein lies the album’s most radical shift: Where previous Destroyer albums were locked in combat with the world\, Dan’s Boogie dances with it\, its nine reveries coalescing into one long hustle. Dan Bejar’s eye may be on the exits\, but he’s not leaving anytime soon. \n— \nFunded by Canada Council for the Arts\, Government of Canada\, and Yukon Government
URL:https://kiac.ca/calendar-of-events/an-evening-with-destroyer-at-denakar-zho-klondike-institute-of-art-culture/
LOCATION:Klondike Institute of Art & Culture (KIAC)\, 902 2nd Avenue\, Dawson City
CATEGORIES:Performing Arts
ATTACH;FMTTYPE=image/jpeg:https://kiac.ca/wp-content/uploads/2026/01/TICKETING-PAGE-PHOTO-scaled.jpg
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DTSTART;TZID=America/Whitehorse:20260220T193000
DTEND;TZID=America/Whitehorse:20260220T220000
DTSTAMP:20260413T065723
CREATED:20260123T183603Z
LAST-MODIFIED:20260123T183603Z
UID:10027164-1771615800-1771624800@kiac.ca
SUMMARY:Opera Concert at Dënäkär Zho / KIAC Ballroom
DESCRIPTION:Danlie Rae(baritone)\, Jeremy Scinocca (tenor)\, Spencer Kryzanowski (piano)\nCo-Presented with Yukon Arts Centre\n–\nFRI\, February 20\, doors at 7:30 / Music at 8:00\nPay-what-you-want: kiacyukon.square.site\n— \nDescribed by Opera Canada magazine as possessing “a warm lower resonance [and] brilliant top end\,” and by Le Devoir as “possessing true stage charisma”\, Canadian baritone Danlie Rae is quickly making his mark in the operatic world. \nDanlie Rae sang the roles of Figaro in Il barbiere di Siviglia\, Gianni Schicchi\, Dr. Falke in Die Fledermaus\, Papageno in Die Zauberflöte and most recently had covered the role of Sharpless in Madama Butterfly to name a few. A distinguished graduate of the Faculty of Music’s Opera Program at the University of Toronto\, Danlie is the recipient of many awards\, including the Encouragement and Audience Choice awards given by the Metropolitan Opera Laffont Competition. \nIn concert settings\, Danlie Rae appeared as a soloist for Orff’s Carmina Burana\, Handel’s Messiah\, Brahm’s Requiem\, Mozart’s Requiem and Finzi’s In Terra Pax. In premiering new works\, Danlie was involved in the premiere of Rebecca Gray’s Bus Opera\, Matthew Ricket’s The Cremation of Sam Mcgee\, and most recently Danlie helped premiere Renee Fajardo’s digital Filipino art song project Liham. Danlie performed recitals in the Philippines\, Toronto\, Vancouve and Montreal. \nDanlie Rae is a graduate of Vancouver Opera’s Yulanda M. Faris Young Artist Program and a current Emerging Artist with Edmonton Opera and an Emerging Artist with Opera On The Avalon. \n—\nJeremy Scinocca is an award-winning tenor based in Toronto. He has performed across Canada with companies including Vancouver Opera\, Edmonton Opera\, National Arts Centre Orchestra\, Goodmess Theatre\, Yukon Arts Centre\, Festival d’Opéra de Québec\, Toronto City Opera\, Voicebox: Opera in Concert\, Okanagan Symphony\, Saskatoon Symphony Orchestra\, and Manitoba Opera. His roles include Nemorino (L’elisir d’amore)\, Tonio (La fille du régiment)\, Ruggero and Prunier (La Rondine)\, Rodolfo (La Bohème)\, Le Remendado (Carmen)\, and Spoletta (Tosca). Jeremy is an alumnus of Vancouver Opera’s Yulanda M. Faris Young Artist Program\, Manitoba Opera’s Digital Emerging Artists Program\, and Edmonton Opera’s Emerging Artist Program. While at Manitoba Opera\, he created The Petrarch Project\, a digital production using contemporary dance to reinterpret Liszt’s Petrarch Sonnets. Most recently\, Jeremy performed in Opéra de Montréal’s Talent Gala\, where he was awarded the Jury Prize for his performance. \n—\nSpencer Kryzanowski is a Canadian crossover artist working in opera and musical theatre as a conductor\, music director\, vocal coach\, and répétiteur. He is a staff coach in the University of Toronto Opera Department\, resident music director for Good Mess Opera Theatre\, and host and music director of Against the Grain Theatre’s Opera Pub series. In 2025\, he joined the faculty of the Banff Centre’s Interplay opera program. As a conductor and répétiteur\, Spencer has worked across Canada on productions including Die Walküre\, Bluebeard’s Castle\, and Die Fledermaus with Edmonton Opera; La rondine and Hänsel und Gretel with Good Mess Opera; Cendrillon with the University of Toronto Opera; and El huésped del sevillano with Toronto Operetta Theatre. His musical theatre credits include Newsies\, Mean Girls: The Musical\, and Beauty and the Beast. A committed arts educator and advocate\, he regularly delivers opera education programs to students in rural and underserved Yukon communities.\n–\nThanks to our funders – Government of Canada\, Yukon Government\, Canada Council for the Arts\nand special thanks to Northern Vision Development / the Downtown Hotel
URL:https://kiac.ca/calendar-of-events/opera-concert-at-denakar-zho-kiac-ballroom/
LOCATION:Klondike Institute of Art & Culture (KIAC)\, 902 2nd Avenue\, Dawson City
CATEGORIES:Performing Arts
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