Helena Deland

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  (Le) Poisson Rouge

  158 Bleecker St, New York, NY 10012Maps ↗ to (Le) Poisson Rouge

  1 date listed

  Tickets for Helena DelandSource for Helena Deland
  Apr 2, 2027

  Eternity Shrugs begins with an act of trespass. At a party, Helena Deland slips toward the edge of the room; no one sees her as she eyes a notebook which belongs to the party’s host. She insists she would never read it, then lets herself imagine being caught, only to learn that its owner had wanted to be discovered all along. Deland occupies both sides of the fantasy: the person reading and the person longing to be read. The journal becomes a mirror of songwriting: private processing made public and left to the interpretations of strangers. Across eleven intimate scenes, the album traces the desire to see into another person’s inner life and to be seen in return. Eternity Shrugs , Deland’s third solo album, follows the electronic density of Someone New (2020) and the grief-shadowed folk of Goodnight Summerland (2023). Across them, the Montreal songwriter has traced what passes, often unnoticed, between people. Here, she asks how those fleeting exchanges can become something that lasts. Recorded in rural Quebec in bursts over four seasons, Eternity Shrugs was produced by Deland with longtime bandmates Francis Ledoux and Alexandre Larin, who also engineered and mixed it, as well as musicians Lysandre Ménard and Cedric Martel who have played with the band for years. Piano, bass, organ, Rhodes, viola, and woodwinds gather around Deland’s voice and guitar in patient arrangements anchored by finely textured percussion; the songs can feel spare one moment and subtly ornate the next. Nearing the record’s centre, the piano-lit “Room” concerns an external voice addressing Deland in the second person, a recurring device through which the album’s characters seem to speak back to their author. Deland’s close, unhurried delivery and the song’s suspended hush faintly recall Sibylle Baier or Jessica Pratt. Denial keeps her moving while intuition gathers like a premonition. She runs toward a space where she might process what is happening, asking an imagined companion to name it. In “Great Dreams,” over five-minutes, the album blooms around a meteor shower, an easy silence, and a body listening with all its senses. Its 1960s-era strings and bass line widen into cinema, with a glance toward Lee Hazlewood, while Montreal contemporary Cindy Lee flickers at the edge of the frame. Deland imagines the album’s palette in browns: wood, leather, smoke. Warm and inhabited, the music never entirely settles.

  Upcoming Dates

  • Fri Apr 2
    6:30 PM tickets for Fri Apr 2

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